Welcome to the old version of Kage. "Old does not mean obsolete" In April 2022, we updated whole letterforms. We redrew all glyphs and refined the nodes, corners, rounded shapes, flowing tails, etc. Of course, you can still use the update of an older version of Kage, although we highly recommend you move to the Pro version for the full benefits. Kage Pro has massive development, puts forward experimentation on alternate letters, and applies an oblique style to provide diverse style choices. Come with tons of swirly ligatures and advanced opentype features include case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Learn more about Kage Pro here: Kage Pro 2.0 | Type Specimen About Kage The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage has 11 styles, from thin to black; all family-style consist of one variable font with two axes. The total number of glyphs is 748 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: discretionary ligatures, stylistic alternates, ordinals, fractions. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

In most cities during the 1950s and 1960s the corner pharmacy or soda shop was a mainstay of teenage life. It was a place to hang out with friends, hear the latest hits on the jukebox and indulge in everything sugary from malted milkshakes to banana splits. During this time, a popular form of window advertising was supplied by the Coca-Cola Company to promote its product being served by these locations. Specialty window decals designed to emulate drawn (raised) Venetian blinds "bookmarked" by the soda's logo were adhered to the shop's windows, with a space provided to add in customized lettering. The store's name or its specialties were applied to each window pane, and this formed a consistent border at the top of all of the shop's windows. Although few visual images exist of this specific bit of advertising nostalgia, an old record album by a late-1950s singer named Chip Fisher called "Chipper at the Sugar Bowl" provided a somewhat usable sample for what is now Soda Fountain JNL.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Sutro Deluxe is a bold slab serif with a double drop shadow. It was originally conceived as a simple black and white display alphabet. But it seemed unfinished, begging for something more. I decided to try adding a couple layers of fill and detail to try and make it interesting. The result is this five-layer chromatic font family. The Primary Font is the Main Font. The other fonts ( Fill, Inline Fill, Inline and Shaded Inline) only exist to support the Primary Font.There is some color trapping going on.To make sure you are laying the fonts on top of one another in the optimum order, I recommend the free PDF User Manual. The downloadable PDF Sutro Deluxe User Manual is in the Gallery section for this family.

Alf Becker graced the pages of "Signs of the Times" magazine month after month for decades, presenting attractive and unusual hand lettered alphabets as inspiration for other sign painters and show card writers. From straightforward text faces to novelty ideas, Becker's talent as a master sign crafter was constant in his work. Show Card Casual JNL is one example of what is referred to as a "one stroke" alphabet (utilizing a single brush stroke in each direction to form the letter or number). Its casual look and playful charm allow for a message to be presented in an informal format that is pleasing to the eye. The type design is available in both regular and oblique versions. Special thanks to Tod Swormstedt of ST Publications for providing the reference material.

Pinksoda is a notable and quotable font. Introducing our custom font creation service that offers you the opportunity to bring your favorite quotes and notes to life, in a unique way. At our custom font service, we specialize in creating handcrafted fonts that perfectly capture the essence of your personal style. We create handwritten fonts that convey the perfect tone and reflect your individuality. Whether it's a favorite quote, a special note, or a cherished message, we work tirelessly to create custom fonts that capture the true essence of your sentiment. Our custom-handwritten fonts are ideal for creating personalized stationery, invitations, greeting cards, posters and social media graphics. Whatever the occasion, our fonts are the perfect way to add a touch of charm and personality to your designs. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

HELLSCOURT is a display font intended for horror themes such as halloween events, horror movies and other horror events. With a rough style, adding to this font is even more scary, because technically it is digital hand lettering, so it adds to the impression that this font is handcrafted and the vector process does not refine the rough parts so that it still has a rough impression. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

In the 1949 Paramount comedy "My Friend Irma" (a film based on the popular radio series that introduced America to Dean Martin and Jerry Lewis), an opening gag set-up involving excavation work utilizes street barricades which inspired Work Crew Stencil JNL. Placed along the site, different advisories are stenciled upon barricades warning of the work in progress. The scatterbrained Irma (Marie Wilson) walks straight through the construction, oblivious as to what's going on around her and steps right into the open hole dug into the sidewalk (a scene she reprises in 1950's "My Friend Irma Goes West").

An all singing, all dancing performer, Showbiz is the perfect font for those who want to sprinkle a little stardust on their typography and give a sense of occasion to their special announcements. It's an in-line version of Studio K's Red Top, Export Drive and Soft Rock, with which it shares the same basic outline and metrics. Mix and match them to stunning effect!

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

At Comicraft we're always looking for new ways to help our loyal customers get more bang for their buck. There are times when when the big financial institutions turn their backs on the average working Joe, but that’s why we want to help you restructure your finances, renegotiate your commitment to font purchases... We're here to help you stretch your dollars a little further. With that in mind, our latest release is twice as wide as our usual fare and will help you make it to the end of the month in ways other fonts won't! It’s not so much a bailout or a refi... It’s more of a credit extension. I wonder what we should call it? See the families related to Credit Extension: Credit Crunch.

Blast into the past with Atomic DooDads, a set of 1950’s and 60’s-era dingbats. Baby boomers to late bloomers will enjoy this set of playful glyphs. Go get yourself a cup-a-joe and design the heck out of something.

Extremely influenced by the new rave trend, Fiasco is a reflex of it's excesses. Way too many elements, bright neon colors, and that not-knowing-when-to-stop sort of behavior. Acid House aesthetic remixed by the nu school DJs. Neon Flamboyant.

The Bekuri font is the perfect visual harmony for music-style projects, festivals, and special events. With seductive and graceful characteristics, this font carries a special tone suitable for celebrating historical moments in your designs. With a family that includes regular, shadow, outline, and distort, Bekuri provides unlimited flexibility to depict your message with a powerful style. However, what makes this font stand out is the ligatures that add a unique and artistic feel to each character, giving you the freedom to explore your creativity in every project. Its ability to support multiple languages makes it an invaluable asset in reaching a global audience. Bringing visual beauty and musical charm to every touch, Bekuri is the key to bringing the feel of festivals and big events to every design. So, if you are looking for a font that celebrates the musical style in all its glory, Bekuri is an undeniable choice.

Conceived on a cold evening to the hot Jazz of the Eri Yamamoto Trio at Arthur’s Tavern in the Village, font Molly Louie is best described by the person for whom it was named. “Very intricate, like a whole little world in each of them” and “The solid is nice too, like little cut up sandwiches.” The detailed and solid versions facilitate a variety of two-color applications. You might not use this decorative display font at smaller sizes, but you are encouraged to let your imagination guide you.

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

I have had the name "Fruitcake Fanatics" in my mind for quite some time now...but I needed a font that suited the name...then one day...actually last Wednesday, I was playing around with some letters (which eventually would turn out to be this font!) and suddenly it struck me: I got the letters for my Fruitcake Fanatics font! Another story could be - what does the name mean?! Well, to tell you the truth, I don't know - but what I do know is that the font is playful and unpredictable and loads of fun!

Knip, in Dutch, means ‘cut’. You can tell by the glyphs that I made this font by cutting out the shapes from black paper, gluing it onto white paper and photographing the result so I could digitalise it! I don’t make too many cut out fonts, as it is a lot of work and it often leads to nothing. Besides that, I depend on the paper supply from my kids and they happened to have black paper this time!

BAQ Rounded sets itself up as a simplistic and blocky font, but it hides a deeper form. With indents in all the right places, this font creates a double image in our mind, of the form we see and the form we know, letters that bulge into blobs and letters that are easy to follow. This double image results in a casual, over the top yet easy to read font designed for relaxing and carefree messages.

CTM Sans is a typeface of the grotesk category, it is designed based on a previous Herokid typeface, but with greater freedom to creative tastes and at the same time with more rebellion and errors (quite a few, but well-intentioned) than its predecessor. This makes Bellavista a somewhat messy clone, for the grotesk style. This font does not seek to be a correct typography, but rather fun and useful for the designer. I hope you like it

First conceived as the upper-and lowercase “e” for the logotype of independent publishers Elemental Editions, the letterforms were so well received that they were extended to an entire typeface and formed the basis for a bespoke font – Eef. The type design draws inspiration from the basic elements, the periodic table, functionalist vintage lettering and influences from other classic geometric typefaces with condensed cuts such as Futura and Trade Gothic. The extended set is now developed into a family consisting of three weights – Regular, Medium and Bold. While developing Eef it has been crucial to maintain the integrity of the geometrical shape in each glyph as much as possible, but also add subtle optical adjustments to make the forms more balanced and harmonic. Due to its detailed balance of simplicity, aesthetics and playfulness Eef works perfectly well in a corporate context as it does in editorial use or poster design. Eef feels most comfortable with text ranging from display to medium size.

Here's a lively new take on the swirly psychedelic type we all know and love, Spirit of '69 brings in some subtle dimensions of waviness to the vertical strokes, upslanted horizontal strokes, and alluring paisley shapes formed out of the negative spaces. This is a unicase font, in the grand tradition of the Art Nouveau lettering of the early 20th century, and the melty groovy fonts of the 1960s. Lots of fun and beautiful too!

Cormac is a humanist typeface characterized with it's large x-height and slightly flared stems. The word that best describes our ideas in the beginning of the project is "simple" - the idea behind it was to strip the letter forms of everything unnecessary, and yet keep the typeface interesting. The typeface is friendly without being too cheezy thanks to its humanistic character, flared ascenders and stems reminding of its calligraphic origin. The proportions are closer to the traditional old style typefaces. Cormac is open and readable typeface coming in 7 weights plus their matching 'true' italics - from Extra Thin to Bold. The family comes with Cyrillic support, great range of numerals, fractions, ligatures, alternates and a lot of special characters making Cormac a great solution for greate range of design work - branding, editorial, web, wayfinding, etc.

As with any attempt at a new typeface, you want to create something different. A difficult task as most legible fonts are based on something previous. Somatype isn't actually based on any particular font but it has unavoidable similarities to others. The important difference here being the distinctive quirk of the connection points going opposite to the norm; exemplified best by the lower case d & e. Once devised, the unique characteristic was applied wherever possible, keeping the rest of the characters in a sympathetic, rounded style. I first designed this in the light weight version, seeing it working best as a large open display font for magazines etc. but realized it would be too light for body copy at small scale, so, medium and bold weights were created to resolve that issue. Incidentally, the word ‘somatype’ literally means body-type.

Intended mainly for invitations, Galana is available in 4 styles: Uno, Dos, Tres, and Alt. The first three styles use the Open-Type ligature function for a better legibility. Alt style was thought for those who love swashes and flourishes. Galana was designed to look elegant and sentimental, each glyph being unique and hard to forget.

Keep up that great western tradition with Buckle Bold! Buckle was created to be a contemporary twist to old "cowboy" fonts. It is bold while retaining a narrow width. When reduced down, it has a slightly worn look caused by the reduced double diamonds inside the capitals - which does not look out of place at all.

No frills. No fluff. Still friendly. Keep your look clean and simple with the utilitarian but gentle Ultine. This font with a slightly extended geometric architecture gets straight to the point without pushing your reader away with too firm an approach. Ultine covers a large set of multi-Latin languages. It includes a wide range of other OpenType features, too, including ligatures and contextual alternates. Moreover, small caps of Utline and titling alternates are available for deepening your design capabilities with this basic face. The Ultine family consists of 42 fonts with three different widths and italics counterparts for every style. The design is well suited for graphic design and any use of the screen. It can easily operate as a webfont, as text for banner ads and for branding as well as editorial design. And just to show you how simple and friendly the font can be, the regular weight is free, so you can use it to your heart's content.

If you've got style and love all the luxuries in life, you're Rondawe! Add a touch of luxury and style to your projects too, with the new Rondawe Font Collection. It's highly recommended to turn your Opentype features on while using the Rondawe font, to make use of it's best features - the multitude of OpenType ligatures and alternates. This font is designed to pair harmoniously, and lend themselves to high end branding, logo designs, product packaging & invitation designs.Creates a perfect pairing contrast with combining Rondawe Serif and all Script font. and one more font recommendation that you should apply in your work,(Kelimajaroe Display) Get Discont 45% Use Code [ KLMJR45 ]

Every designer has a favorite geometric sans serif. For a century, they've been a staple for text that needs to be clear, strong, architectural, and objective. Mimolette offers a sans serif family that's great for text and display alike—the panache of Neutraface, the readability of Avenir, the sleekness of Avant Garde, the strength of Mark, the architecture of Gotham, and the classic lines of Futura—but she's entirely her own creature, and she's designed to offer maximum versatility and beauty at an affordable price. And she's got some nifty features, too! Her italic is a true italic, not just an oblique. Are the uberpointy diagonals (AMVW) not working in a particular context? Activate Stylistic Set 01, and they become flat-topped! Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mimolette was made with love, as always, by yer pals in the Ampersand Forest.

The "Nostalgia" font is a dark, vintage style that includes all the basic characters (letters, numbers, and punctuation) and is very simple to read. "Nostalgia" was inspired by inky handwriting with a natural flow and has fantastic starting and ending lowercase swashes. It works well for a wide range of projects, from wedding stationery to Instagram quotes to contemporary logos to packaging to websites. Consequently, these top-notch, traditionally-styled hand-drawn characters would be an excellent and priceless resource for those who want to write by hand. The headlines and titles you create will look fantastic with this font.

Stadia is designed around a series of modular units: quartercircles, teardrop shapes, squares, circles and variations thereon. The versatility of these basic shapes is such that a teardrop, for example, can represent a looped bowl, as in the lower part of the a, while also representing a curved arc at the top of the same character. The strict grid is broken for the T and the Y, and the placement of accents. The alternative – basing a T, for example, across three units – though rational, is far less aesthetically pleasing. As always with type design, one has to know when the internal structural rules should be bent for a more beautiful result. The horizontal lines appear to travel through the letters, bursting into stars in the counters of lower-case characters such as the o and p. The outline version is weighted to the same width as the gaps between the units.

Antique Stencil Borders JNL collects twenty-six vintage border designs from various sources for complementing copy set in stencil lettering or in stand-alone decorative projects. NOTE: The purchase of this font does NOT include license to replicate the designs as commercial products for resale. To do so, a Derivative Products License must be obtained by contacting Jeff Levine. Contact information is found within the End User License Agreement.