Brohillo font is created from the frequent use of typeface for wedding needs. This font has an elegant and bold concept. It is perfect for designs with romantic themes such as wedding properties, Valentine cards, romantic quotes and others. This Dio font when combined is really good with a bold and bold serif combined with an elegant and spontaneous script to create an awesome design.

Introducing "ZT Monstion," a fusion of sans and grotesque styles, both in bold weight, radiating an essence of simplicity and modernism. Crafted meticulously, this typeface embodies the purity of sans-serif aesthetics while embracing the boldness of grotesque forms. Its carefully refined x-height and expertly smoothed angles create a mesmerizing balance, where minimalistic design meets commanding boldness. With each character empowered by the weighty black typography.

Bernhardt Standard, which was designed in 2003 by Julius de Goede, is a flowing Bastarde script. Bastarde is one of the sub-categories of Blackletter typefaces. The term Blackletter refers to typefaces that have evolved out of Northern Europe’s medieval manuscript tradition. Often called gothic, or Old English, these letters are identifiable by the traces of the wide-nibbed pen stroke within their forms. Of all of the various sorts of Blackletter styles, Bastarde scripts are the most flowing, or Italic. The first Bastarde typefaces, cut in the late 1400s, were based on French handwriting styles, especially those styles popular in Burgundy. The flowing nature of Bernhardt Standard makes it similar to some other sorts of Blackletter typefaces as well. Bernhardt Standard, because of its handwritten roots, is also similar to Kurrent, a style of handwriting that was popular in Germany prior the 20th Century. Bernhardt Standard is a very calligraphic face, suitable for formal applications. This typeface would be an excellent choice for certificates or awards. The old style figures in the font allow for nice short settings of text as well.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Antique Decorations JNL collects more images of vintage letterpress embellishments [primarily from wood type sources]; redrawn in digital format and made available in one convenient font file.

Jelloding contains 32 funny & cute dingbats. Comes in TTF, OTF and Windows Postscript format to suit your every need. You gotta love 'em, and they're free too!

Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

Precious Sans Two is a complete reworking of the 2002 design which was only ever available in PostScript format. Over a decade later G-Type’s Nick Cooke decided to re-appraise the typeface, scrutinise the old letterforms and overhaul the family. Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and improved. Precious Sans Two is now in cross-platform compatible OpenType format with extended Latin language support for Western & Central Europe, the Baltics & Turkey. The original quirkier glyphs (f, g, I) have been retained as an OT style set feature and the typeface now contains small caps and an extensive set of discretionary ligatures as well as both proportional & tabular figures. The character set is further enhanced with the addition of 20 directional single and double arrows in each of the six weights which range from Thin through to Black, all with accompanying italics. Precious Sans Two is a distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.

DT Portal: This stylised, partially serifed font, made with a slightly rounded square form, may have been inspired initially by old cathode ray tubes and computer screens. Although not intended to be purely a ‘tech’ font, it can have a strong tech feel to it. More suited to being a headline font than body text. It also appears to have a monospaced look to it, since most letters, (other than letters like ‘i, l and t’), do have the same width. There is some automatic contextual shape adjustment happening in places, to avoid taking up too much space, so contextual ligatures should be turned on. As is the case with most of my fonts, when given the choice, ‘metric’ spacing should be used in preference to ‘optical’. Initially this font was going to be called ‘DT Portal’, because its form was similar to that of a window or doorway. But due to other fonts already having that name, I chose to rename it as ‘DT Partel’, for no reason other than it is only a very small change visually.

Simplo: the ‘Italian Futura’. Simplo is a geometric sans serif typeface, built in sixteen styles. It is a tribute to the 1930s typeface Semplicità, designed by Nebiolo’s Alessandro Butti. Although many details of Simplo differ from Semplicità, it preserves the spirit of the original. Simplo is ideal for use in display sizes. It is also quite legible in text, and is well suited for graphic design and corporate identity design. Simplo has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. The most notable characteristics of this typeface are the ‘t’ and the ‘f’. The ‘t’ is the culmination of simplicity: a vertical line with just a simple right-side crossbar. The ‘f’ also has just a right-side crossbar, and is really tall: it reaches both the highest and lowest vertical position of the typeface. The top of the distinctive ‘s’, is much narrower than its bottom. The ‘a’, ‘b’, ‘d’, ‘g’, ‘p’, ‘q’, and ‘u’ are spurless, and show a family resemblance with Hans Reichel’s 1990s typeface Dax. However, these letters are rounder and more geometric than Dax’s counterparts, because of Dax’s higher x-height and narrower design. In Paul Shaw’s Imprint article about typefaces that have been overlooked and/or underappreciated, “Overlooked Typefaces”, he concluded his discussion of Semplicità as follows: “These idiosyncrasies suggest that Semplicità might find a warm reception today, given the current love affair with Gotham, Neutraface and Proxima—and the resurgence of ITC Avant-Garde Gothic.” Free demo font available. For more information about Simplo, download the PDF Specimen Manual.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

Denmas Font is Engaved Bold Decorative Font that ornamental. This Font is Best as tittle of the novel, Poster, Theatre, Logo and also tatoo. This font is bold , strong , classic and luxurious in the same time.

Browser Sans is a companion to Browser Sans, sharing similar forms and metrics. The four styles (Regular, Italic, Bold and Bold Italic) make it simple to use in desktop applications and easy to implement on websites.

Concapita is a bold modern vintage display font, featuring thick and weighty characters. Ideal for headlines and branding, its fat, bold strokes seamlessly blend contemporary and vintage aesthetics, creating a unique and attention-grabbing typographic style.

Browser Sans is a companion to Browser Serif, sharing similar forms and metrics. The four styles (Regular, Italic, Bold and Bold Italic) make it simple to use in desktop applications and easy to implement on websites.

Introducing Regave, a typeface inspired by Danish style lettering based off the work of Knud Valdemar Engelhardt (1882–1931) who designed the street signs for the Copenhagen suburb of Gentofte. The Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they’re still in use today. The most noticeable characteristic of Danish style are: a flat apex of the A the widening of diagonal terminals a double-storey g with its loop terminating before it forms the bottom most stroke (Erik Spiekermann coined this a Danish g) a single-story g with a stumpy tail a K with an almost laterally moved crotch, connected to the stem by an extra horizontal stroke widened diagonal connecting strokes forming flat apex or baseline strokes Regave comes in 11 weights from Thin to ExtraBlack with matching italics and also available in Variable Font format for more flexibility in weight selection. This family also equipped with useful OpenType features such as Ordinals, Superscripts, Subscripts, Stylistic Alternates, Stylistic Sets, Proportional Lining, Standard Ligatures, Fractions, Numerators & Denominators. Each font has 490+ glyphs which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Regave will be suitable for many creative projects. This masculine, strong and unique typeface will be suitable for logos, posters, presentations, headlines, lettering, branding, quotes, titles, magazines, headings, web banners, mobile applications, art quotes, advertising, packaging design, book title, and more!

“Break on through to the other side” of design with Densmore, the typeface inspired by The Doors. Created with geometric shapes and a hand-drawn touch, this font pays homage to the band’s iconic logo. Featuring three styles, including the regular, blue, and pink, Densmore is perfect for any creative project. Take your design to the next level and experiment with layer effects by offsetting and changing colors. And with ligatures that automatically replace double lowercase “o” combinations with a mirrored “oo” combo, you can add a touch of cool to any project. “Light my fire” and download Densmore today! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

This roly-poly, rollicking display font is based on a design from the 1946 book Blue print text book of sign and show card lettering by Charles Louis Henry Wagner, who seems to have had an aversion to combination words (like blueprint, textbook and showcard).

Valentine Street - Graffiti Font is a free style font that has the characteristics of street art that shows freedom and is filled with unique characters. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate. I really hope you enjoy it.

Following the success of our LoveHearts, valentine inspired ornaments, we decided to show our love for Christmas. With more than 170 hand drawn unique designs, LoveChristmas is the perfect choice for designing Christmas greeting cards and gift wraps as well as letter signatures and accessories.

Graceful, elegant, and at times eccentric, Homage Script was inspired by James Hellmuth’s hand-lettered design for the cover of “Homage to the Alphabet” — a gigantic tome produced in 1980 to provide full-showings of photolettering fonts available for traditional typesetting at Phil’s Photo.

Aminetta is a beautiful hand-written display font which shows happiness and joy in your heart. This font is most suitable to celebrating your holiday season but also to any occasion you have. Feel free to use it on any creative design you want.

Trocadero JNL was inspired by an early 1950s photo showing the signage for the Trocadero Restaurant located on Liberty Avenue and 23rd Street in Miami Beach. Highly stylized and classically Art Deco in design, it is best used in short one- or two-word titles.

Loopo was created as an experiment with rotating forms. The cut of the stencil shows the rotation and creates a reference to motion throughout the font. Characters are created by manipulating the rotations of the stencil which gives the font a round and fluid look.

Sauce Grotesk is a compact typeface much like the classic unassuming sans serif grotesques but with softer features that shows fluidity and a sense of easiness. We wanted a typeface that can relate to a broader audience for maximum message clarity while maintaining aesthetic qualities.

Newlook is a display font drawn with geometric shapes and high contrast. The stylistic set 01 shows capital letters using heights from descenders to ascenders and x height which gives a crazy dancing look. Perfect for display, poster, magazine etc… Support all latin languages.

The lettering found on an 1878 Salt Lake City advertisement for the Forepaugh’s Circus inspired Faux Pas JNL, which is a bit of a pun on the circus’ name and also a commentary on how this unusual lettering style seems to break all of the rules on stroke width and balance. According to Wikipedia: “Adam John Forepaugh (February 28, 1831 - January 22, 1890) was an American entrepreneur, businessman, and circus owner. Forepaugh owned and operated a circus from 1865 through 1890 under various names including Forepaugh's Circus, The Great Forepaugh Show, The Adam Forepaugh Circus, and Forepaugh & The Wild West. In 1889, Forepaugh sold his circus acts to James Anthony Bailey and James E. Cooper and he sold his railroad cars to the Ringling Brothers. The Ringlings used the equipment to transform their circus from a small animal-powered production to a huge rail-powered behemoth, which later purchased the Barnum & Bailey Circus. Thus, in liquidating his circus assets, he indirectly contributed to the demise of his arch-rival.” Faux Pas JNL is available in both regular and oblique versions.

Introducing Syndra, a typeface that’s as timeless as it is modern. With its unique Y2K style, this typeface boasts letterforms that seem to have come straight from a machine. You can almost feel the hum of technology when you look at it. But don’t let its cold, emotionless shapes fool you. Syndra’s tireless character set works hard to make your message sound authoritative and technical. With OpenType fractions, numeric ordinals, and plenty of currency symbols included, you’ll have everything you need to create a professional and polished look. It’s the perfect font for anything related to plastics, medications, technology, and renewable energy. And with seven weights to choose from—Thin, Extra-Light, Light, Regular, Semi-Bold, Bold, and Extra-Bold—you’ll have the flexibility to create the look and feel you want. So if you’re looking for a typeface that’s both unusual and tech-savvy, look no further than Syndra. It’s a font that’s sure to turn heads and make your message stand out in all the right ways. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Roller Poster is named after Alfred Roller. In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. The exhibit was to take place in Vienna during January & February 1903. The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). Because of its dome, it is called “the golden cabbage.” The poster itself is unique. The word “secession” is in one type style and takes up two-thirds of the elongated poster. At the bottom of the poster are the details in a different lettering style. It is this second style at the bottom that is the basis for the font Roller Poster. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. Alfred Roller’s Secession Poster was part of that exhibit. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Wilson adapted Roller’s letter forms to his own fluid style. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. Each is different and yet each clearly shows its bloodlines. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. We recommend that you buy ours and at least one of the other three. According to Alaccari, a version called URBAN was released by Franklin Lettering in the 70’s (and is shown on page 51 of The Solotype Catalog). For comparison of our font to original design, see image files roller_poster_2s.jpg of original poster and roller_poster_2sx.jpg showing reconstruction using our font for the lower portion (recontructed area indicated by blue bar). Please note the consistency of character width. In the lower case, 23 of the basic 26 letters are 1/2 EM Square wide. The ‘i’ is an eighth narrower, while the ‘m’& ‘w’ are one quarter wider. All the Upper Case letters are 1/8 EM wider than the lower case. This is to make it easier to fill a geometrical shape like a rectangle, allowing you to capture a little of the flavor of Wes Wilson’s Fillmore West poster using only a word processor. We have also included a number of shapes for use as spacers and endcaps. If you have a drawing program that allows you to edit an ‘envelope’ around the letters to distort their shape, you can really get creative. I used Corel Draw for the gallary images, but there are other programs that can accomplish the same thing. The image file “roller_poster_keys.jpg” shows the complete character set with the keystrokes required for each character (see “HiH_Font_readme.txt” for instruction on inserting the non-keyboard characters). The file “roller_poster_widths.jpg” shows the exact width of each character in EM units (based on 1000 units per EM square). You will notice that the font is set wide for readability. However, most programs will allow you to tighten up on the character spacing after the manner of Roller & Wilson. In MS Word, for example, go to the FORMAT menu > FONT > CHARACTER SPACING. Go to the second Drop-Down Menu, labeled ‘Spacing’ and select "condensed' and then set the amount that you want to condense ‘by’ (key on the little arrows); two points (2.0) is a godd place to start. Let your motto be EXPLORE & EXPERIMENT. Art Nouveau has always been one of my favorite movements in art -- I grew up in a home with a couple of Mucha prints hanging on the living room wall. Perhaps because of that and because I lived through the sixties, I have enjoyed researching and designing this font more than any other I have worked on. Let’s face it (pardon the pun), Roller Poster is a FUN font. You owe it to yourself to have fun using it.

United Kings is a masterfully crafted formal script font that exudes an air of perfection and fine art. Designed for high-end projects and showcasing genuine, authentic craftsmanship, this font brings an unparalleled sense of balance and beauty to your creative work. The exquisite, well-crafted letterforms of United Kings make it an exceptional choice for logotypes, professional branding, and artisanal projects that require a touch of finesse and sophistication. Use ¤ to make tail swashes, or multiple for longer swashes. Example: Kingdom¤¤¤ Use underscores _ anywhere in a word to make an underline. Example: Belo__ved Use # after any letter to give it a crown. Example: Que#en The United Kings font family includes six elegant styles to suit various design needs: The weights Thin, Regular and Bold, enabling your design to range from a delicate and graceful style for a refined touch, to a more bold, assertive and captivating presence for impactful designs. In addition to the thicknesses, each style is provided as Italic. Built with advanced OpenType functionality, United Kings ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs as unique and impressive as the font itself. United Kings offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

Royalana is a modern royal font with a minimalist factor. A complete font set containing all the important glyphs. Royalana has been inspired by the very minimalist and compact designs in trend to deliver a new look and yet keeping the professional outlook of any design or print. Royalana font set includes; Royalana Light, Royalana Light Italic, Royalana Regular, Royalana Italic, Royalana Bold, Royalana Bold Italic, Royalana Extra Bold & Royalana Extra Bold Italic. Kufic Studio is a platform that provides professional and high-quality designs & fonts to fill the gap that has been missing in the market.

Godger Condensed Sans Serif: Boldness Redefined Step into the bold world of Godger, where strength and simplicity converge. This bold, masculine font is a powerhouse, built for strong, memorable branding. Its condensed form is not only space-efficient but also packs a punch, perfect for headlines that demand attention. Masculine and Commanding Godger’s bold, condensed letters exude a sense of command, making it a go-to for titles needing a masculine touch. Each letter is crafted for high impact, ensuring your words aren’t just read, but felt. This font doesn’t whisper; it shouts with a clear, authoritative voice.

Ozonos is a brand & design font to make your products look more bold and elegant. Rounded, Elegant, Minimalist & Bold Font that goes smoothly with any font, especially script fonts. The bold design of the font emphasizes your product, brand design and will surely satisfy your clients. The complete font set will surely bring a chic design touch to your website, the font is designed so easily be read & bring the bold effect to any kind of design. Kufic Studio is a platform that provides professional and high quality designs & fonts to fill the gap that has been missing in the market.