Hamerslag is an ultra-condensed serif type family with uncomplicated, regular appearance, large x-height, relatively high contrast and modern glyphs shapes. Available in four styles, contain fraction- and scientific numerals, standard ligatures, currency symbols, proportional and tabular lining figures. Its wide character set support 200 Latin-script languages, 50 Cyrillic-script languages and 190+ romanizations/transliterations, e.g. The United Nations romanizations, Chinese official romanization (Hanyu Pinyin), BGN/PCGN (United States Board on Geographic Names and the Permanent Committee on Geographical Names for British Official Use), American Library Association / Library of Congress romanizations and others. The OpenType PostScript CFF (.otf) and OpenType TrueType TTF (.ttf) support encodings: Windows 1250 Latin 2 (Eastern European), Windows 1251 Cyrillic, Windows 1252 Latin 1 (ANSI), Windows 1254 Turkish, Windows 1257 Baltic, ISO 8859-1 Latin 1 (Western), ISO 8859-2 Latin 2 (Central Europe), ISO 8859-3 Latin 3 (Turkish, Maltese, Esperanto), ISO 8859-4 Latin 4 (Baltic), ISO 8859-5 Cyrillic, ISO 8859-9 Latin 5 (Turkish), ISO 8859-10 Latin 6 (Scandinavian), ISO 8859-13 Latin 7 (Baltic 2), ISO 8859-14 Latin 8 (Celtic), ISO 8859-15 Latin 9, ISO 8859-16 Latin 10, Macintosh Character Set (US Roman). Supported OpenType features: Acces All Alternates, Capital Spacing, Case-Sensitive Forms, Denominators, Fractions, Glyph Composition/Decomposition, Historical Forms, Kerning, Localized Forms, Numerators, Ordinals, Proportional Figures, Scientific Inferiors, Slashed Zero, Standard Ligatures, Stylistic Alternates, Subscript, Superscript, Tabular Figures. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

I hope you are very happy today. we want to introduce our newest font, which we named `` Original Taste font ''. This font is a very bold bold cript font and has cool alternets and swashes. original taste font. This font has a taste, old, modern and unique.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

RRollie is a typeface family inspired on the proportions of the Roman capital in the Augusto's age, some of them can be seen in inscriptions of Pompeii; in this particular case, it has taken an inscription from a tomb of the year 15 AD. The subtlety of the serif is hardly insinuates, helping to strut the terminals of the stems. Ascenders and descenders are very short. The thickness variation is presented quite delicate, highlighting the light-dark passage and even the agile counterblocks of the typeface. These fonts can be used in many kind of graphic works by its strong personality, visual impact and readability. This font family include OpenType features: Standard and discretionary ligatures, small caps, case sensitive from, old style figures, tabular, diacritics for western languages and many others. Roberto Rollie (1935-2003) was an outstanding professional of Graphic Design, Photography and Visual Artist. He was involved in the creation of the career of Visual Communication Design at the Faculty of Fine Arts (National University of La Plata, Argentina), in the late '60s; he was a pioneer and great teacher too, who loved the Roman Capitals for its subtle and balanced design, especially for high readability and clever design. Those who, like me, knew him as a person and teacher, we are deeply grateful for having received their warmth and enthusiasm for graphic design.

HOLD THE FRONT PAGE! STOP THE PRESSES! We have a new Headline for our Cover Story! DAVE GIBBONS is all over the tabloids, the trades AND the quality papers today. Yes, it's the opening of the WATCHMEN movie, but we have a much BIGGER story; the REAL scoop -- and we're announcing it in 72 point type... yes, there's a new addition to the Dave Gibbons family, and our editorial staff have the baby's name and our paparazzi have the pictures! Dave's new little sprog is called... GAZETTE. Man, that kid is gonna get teased at school, Dave.

Farmland JNL is an unusual Western version of Cornfield JNL. The shape of the original letters (inspired by a 1950s popcorn box) create a new variation on the lettering of the Old West.

Part pirate, part BBQ, all fun. Our new adventure inspired retro showcard font. Outpost was inspired by retro hand-lettered type used on vintage movie tiles, midnight movie posters, and pulp adventure magazines. But don't let that limit your creativity. Part pirate, part BBQ, all fun. Outpost is perfect for gaming titles, casual food packaging, and of course, Halloween projects.

Here's a Collector's Item Classic for all our fiends! Sit up in your Caskets and we'll help you spin a Shocking, Suspense-filled Tale of Terror with a font Bad Bad Leroy "JG" Brown found in the Vault! Give us your grimy little dimes and come down into the Crypt with us. We call this rotten little font... RIGORMORTIS! AHAHAHHAHHHAHHHHAHA-HAH-haa... Features: Four weights (Regular, Italic, Bold & Bold Italic) with alternate uppercase characters. Includes Western and Central European international characters.

Episodian is a retro-modern san-serif family with a sci-fi, techno edge and contemporary elegance of its own. Episodian now includes regular and bold with corresponding italic fonts.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

"Heart on a string" is from a song by Paul McCartney, and is one of his romantic ones. I tried to do the same by creating a font that has the same romantic feeling.

Megapolis - Sans Serif Font Family - Multilingual support - 16 Styles With its elegant and clean structure with 16 styles and multilingual supports, you can easily use the sans serif font feature in many areas. From body text to big headlines, from classic to modern and bold styles, you can develop your projects. Ideal for books and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. Have a good time.

Prushkov is the first typeface that I made. Its name comes from the town I lived in at the time. The design was inspired by both geometric typefaces like Futura, and didone fonts like Bodoni. Its aim (perhaps quite bold) is to blend high contrast with mathematical excellence. Prushkov will work well as a display font, both in uppercase and lowercase. It has a wide array of stylistic alternates for all of the capitals and some lowercase glyphs too.

Back when shop window decoration was done with a brush, every window designer had his own style. In this vein the sans serif Altrincham was created. But even as a text font, it has stood the test of time, since it is very easy to read even in smaller point sizes, thanks to its relatively large x-height. With the Altrincham Condensed and Altrincham Wide Bold two other fonts have been created to perfectly complement the font family.

Wine Cellar JNL is a bold, yet casual display face found on some 1930s-era sheet music entitled "Everybody Wants a Key to My Cellar". Since the subject of the song had a number of good times underneath the house, it's a fitting name for the font. The hand lettering for the original song sheet showed strong influence of the 1920s and the Art Nouveau style, and has hints of the popular metal type "Hobo" in its character shapes.

Interbellum is an Art Deco inspired font family which contains 3 display fonts, 2 modern-looking text fonts and 4 AllCaps fonts. In combination, you can easily give your designs a bold, yet elegant look. And by using the many different style sets, it is able to stand tall in all sorts of designs. Although it was inspired by the roaring 20s, we still think of Interbellum as an everlasting time traveller that will definitely impress your clients.

Step back in time and embrace the nostalgic allure of Blinkford, a captivating uppercase display font that transports you to a vintage charm. The characters are bold and robust, evoking a sense of grandeur and prominence that harks back to a bygone era. The open layout enhances legibility and imparts a sense of spaciousness that is characteristic of vintage typography. As a special bonus, this font includes ornaments. Blinkford fits in headlines, logos, branding materials, and many more.

Balogent is a elegant script with a new lovely stylish, a perfection style of the letters you want to use, modern handwriting with many alternatives. Now this is an opentype! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Thanks !

England's own Sean Phillips wanted a lettering font to suit his distinctive work with Joe Casey on WILDCATS -- and we gave it to him! Of course, the tricky bit was working on Sean's Northern accent, and making sure that every time words like color, favorite and neighborhood popped up, the letter "u" was correctly inserted. Sean's font has now undergone months of Beta testing and is now ready for release to the public. Yes, Sean Phillips, your favourite British Master of Comic Book Art is coming to a neighbourhood near you soon -- now in Full Colour!

The new distressed typewriter font Ollivette is inspired by a beatnik poet sitting on a beach in Mexico pecking away at his brand new, imported, Italian portable typewriter in 1954. That's where the basic letterforms for this font hearken from. The grungey patina has been added over the years and is now available for you to download in font format. If you prefer the basic TrueType or PostScript versions, you'll enjoy a new standard retro typewriter style. Users of the advanced OpenType features will appreciate stylistic alternates for almost every letter, and contextual alternates for a randomizing organic effect. Support for Western & Central Europe? Yeah! We put that in there, too. So go global, and go vintage, here's a classic new type for you.

We have been in lockdown for a long time now. The schools were also closed, meaning my kids had to stay at home. This week the schools reopened (not a day too soon!), which means my kids can play with their friends again and learn something too! My wife and I pack their lunchboxes every day and always add some fruit for snack time. That fruity snack inspired me to create this rather messy font! Fruity Snack is a handmade display font. It looks wobbly, comes with awkward angles and rough bits. It also comes with extensive language support (including Vietnamese) and 2 sets of alternates for the lower case letters.

Arepo is a display typeface inspired both by the Imperial Roman letter and the forms of Giambattista Bodoni. Together with Stone Print, SFPL, and Cycles it makes up a superfamily of typefaces.

This beautiful roman style typeface is inspired from an E.C. Matthews book. Although the book we have is dated 1967, the style appears to have been created in the 1920s or 30s.

Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek and has special Stencil faces especially for low-budget navigations (don't forget to get your own Stencil Medium for free!).

Diabolus - Serif Font Family - Multilingual - 3 Style On the basis of Diabolus, it is a mix of the old-fashioned Gothic serif family. The old-style serif combination combines modern aesthetics with fantasy and Gothic serif fonts, making Diabolus a versatile family that can be used in many different design projects. This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to big headlines, from classic to modern and bold styles. Well suited for books and magazines, magazine and album covers, editorial, headlines, websites, logos, invitations, branding, advertising, and more. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, Letterlike symbols, Arrows, Mathematical Operators, Miscellaneous Technical, Geometric Shapes, Miscellaneous Symbols CJK Symbols And Punctuation, Private Use Area (plane 0), Alphabetic Presentation Forms With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Harlan is from another place and time. But not just one specific place or time– with its barely-there, knife's-edge serifs, and its smooth curves and flourishes, Harlan feels both vintage and modern; both feminine and masculine. Inspired by the Baltimore bar "WC Harlan", which in turn was inspired by the old candle-lit bars of France, the tucked-away osterias of Italy, and the antique books and journals one might find in a patron's hand. It's a font you'll reach for when you're looking for something refined and elegant, but not too stylized or stuffy.

Young Finesse is a light, two-weight, announcement face with a large x-height whose characters contain only a few straight lines. It is based on the titling font that I designed for the dust jacket of my book Fonts & Logos. Its inspiration comes from Hermann Zapf’s Optima, a serifless roman text face, based on Renaissance inscriptions.Young Finesse italic has a set of elaborate swash caps that reference 16th-century writing hands. Both Young Finesse and Home Run include Richard Isbell’s “interrabang,” appropriately used for statements that are both interrogative and exclamatory.

This is our first font, based on Peter's own personal way of writing uncials, The rounded letters of the fourth to eighth centuries. The characters in the caps position are more closely related to the classical Roman forms, and the lowercase position has letters that are the more rounded, medieval forms, at the same size, so they can be freely mixed, for a hand lettered appearance. This typeface is currently used for the titles in the TNT Television show "the Librarians". It was originally designed in 1998, and is now available in Open Type Format.