Introducing Benacio Display Font is a handmade font style dance and then traces of life to have a Grungy brush and unique calligraphic shape, the writing style is very natural and simple. Benacio Handwriting Font multilingual support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, French, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and many more. What’s Included : Web Fonts Standard & Multilingual glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. Hope you enjoy with our font!

At first glance, Handbills and Posters JNL bears a strong resemblance to Classroom JNL. True, they both share the visual qualities that are based on Franklin Bold Condensed, but this is where the similarity ends. Handbills and Posters JNL is a refined re-draw of the classic design, based largely on vintage typographic examples. There are also some character variances. Classroom JNL is a rougher alphabet with varying curves and lines, and resembles such letters traced and cut out of construction paper for a bulletin board display at school.

Asly Brush is the font style handmade dancing and then live trace to have Grungy brush and unique forms of calligraphy, the writing style is very natural. The Features of this fonts is: Standart ligatures Stylistic Alternates Stylistic sets PUA Unicode (Private Use Areas) Can be used for various purposes.such as headings, logos, wedding invitation, t-shirt, letterhead, signage, labels, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7

ITC Bailey Sans is the first typeface family created by Kevin Bailey, a graphic designer in Dallas, Texas. He was once looking for an understated block serif for a design project and could find nothing suitable. Bailey began working on his own serif face but then found that the basics of his new design worked well as a sans serif and continued on that track. ITC Bailey Sans font is available in four weights: book, book italic, bold and bold italic and even has a companion serif display font, ITC Baily Quad Bold.

Originally Mamontov has been inspired by poster (usually wooden) types of the end of 19th—the beginning of 20th centuries. The type family was named after Savva Ivanovich Mamontov (1841-1918), Russian industrialist and patron of the arts. Massive asymmetric serifs, stocky proportions, type weight... are traces of harsh imperial reality. And soft forms of ovals, exaggerated compensators, humanistic curves of serifs and horizontal strokes betray the sensitivity and artistry of Savva Ivanovich. Mamontov has 25 styles, ranging from Light to Black and from Condensed to Wide, with more than 1000 characters per font.

One of the most successful new ornament fonts is CalligraphiaLatina. It is part of a trend that's been quite popular lately: messed-up calligraphy. You can dirty up (or "deconstruct") gracious classic-looking curves in many ways: using a variety of software filters; by superimposition; or even by hand. Brazilian designer Paulo W has his own method, possibly involving a scanner and some auto-tracing. The result works well when you want that worn-down grungy look, combining CalligraphiaLatina ornaments with the equally wobbly Liam. Source : Rising Stars February 2008.

A circa-1951 toy set called “Kusan Kavalcade of Letters” was comprised of molded plastic letters and numbers a child could play with, trace and arrange to learn their alphabet and numerals. Typographically, the design was all over the place – from sans serif characters to those with some spurred serifs and even some stenciled characters because of the nature of manufacture. As odd as this combination seems, it was novel enough to be turned into a digital typeface called Stencil Playthings JNL, which is available in both regular and oblique versions.

ITC Tremor is the work of British designer Alan Dempsey. You might think that it looks like the letters are in a seismically lively geological zone, but Dempsey had other kinds of motion in mind. Most of the faces I design come from trace 'work-outs' for advertising products. In the case of Tremor, it was to reflect a lively teenager," says Dempsey. The result is ITC Tremor, a cartoony slab serif typeface with irregular angles, straight-edged curves, and lines surrounding each character, making them look like they are jittery.

Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

Manifold® CF is a utilitarian typeface inspired by the precision of a computer terminal, softened by contemporary design and rounded corners. Manifold's unified letterforms and tall x-height are great for user interfaces, or track it out for a sophisticated look. Manifold also offers wide language support, including Cyrillic script, Vietnamese, and Pinyin Romanization. Manifold® CF excels as a headline or display typeface, and pairs well with contrasting simple serifs like Artifex CF and Artifex Hand CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Azalleia is a new exaggerated flourished caps typeface. Well elaborated and unusual design, inspired by old cross-stitch and craft books. Works great when used for display artworks. Entirely designed by hand, without use of auto-tracing and available in two different designs. Buying the two fonts pack you get free the exclusive collection of Azalleia native colored eps vectors, zipped with the font and ready to use. Take a look at the banners in the gallery section to see samples of this nice collection of eps free vectors.

This font was made during testing of a neat little application, that traced hand-written letters on the fly. That application was later abandoned, and the font, named Simpel for it's obvious casual simplicity, was finished separately. This story goes up to the year 1998, and recently the font was returned from the archives. SImpel was completly remastered and some useful ligatures were added. It is nice, clean and really, quite simple. Which often comes very handy. It will work well in comic books, magazines and party flyers, for instance.

Baluarte is a display typeface inspired by fortifications and military buildings used to defend and protect a specific place during war times. Its main characteristics are the irregular trace and the solid presence in all its characters. It has 5 weights + obliques It is perfect for titles in big sizes, video game logos, movie titles or credits, posters, and many other visual graphics. Key features Meticulously designed Comes in 5 weights and obliques for each weight Uppercase and lowercase characters Ligatures and fractions Supports a lot of languages Licensed for Personal or Commercial use (OFL)

Colmena studio presents Chula, a geometric typeface 100% original, traced in the beginning by hand, chula is not based in any other typeface, each glyph was drawn in base of circles and rectangles, the tail of certain glyphs gives to the typeface and designs fluency and movement. Chula is fresh and modern but with a little touch of vintage, ideal for big texts and formats, but also legible in small size. You can use it in 3 versions, regular, medium full and full. It works perfectly in logos, monograms and patterns.

Complement your collection of animal-shaped fonts with an illustration series that brings the different moods and moments of wildlife right to your desktop. Formed by shadows of animals in a variety of real life poses, it's perfect for design situations that require animals with a non whimsical look and a more correct morphology. 87 silhouettes and 9 pairs of tracks that range from the enigmatic energy of dodgy rats and rabbits, to the mysterious serenity of amphibians and much more. A simple and useful picture of nature.

Kopik is a modern hand-drawn script inspired by the 1960's architectural handwriting style practised by draftsmen. Originated using a Copic 1.0 Multiliner pen, then traced digitally using a stylus and tablet to help reduce imperfections. The result is a simple, readable, monolinear typeface with a marker pen quality suitable for a wide range of written applications. Details include 440 characters, three weights with matching italics, alternative a, g, and y four numerals variations. Opentype features inferiors, superiors, fractions and language support covering Western, South and Central Europe.

Peach Crush is a bold vintage style serif font with a soft charm and smooth features. Peach Crush delivers a reminiscence of a familiar and warm nostalgic feeling. Peach Crush is equipped with Contextual, Swash, Stylistic and Titling alternates as well as Discretionary Ligatures and even more extra alternates. All these features can be accessed by OpenType controls or straight from Character or Glyphs window. Contextual Alternates and Standard Ligatures are automatically on and they simply do small changes to prevent certain character collisions. Other features are optional and can be used for bolder design solutions. Peach Crush has a total number of 115 alternate characters, even Swash Alternates for certain Standard and Discretionary Ligatures such as ch, ck, sh, sk, ff, fl and fi. Peach Crush is a great typeface for contemporary graphic design with that certain feeling of familiarity. It works well on logos, packaging, restaurant graphics, or any display use, as well as in headlines or shorter texts. Try Peach Crush with reduced tracking for tighter word images, or if you want to use it in really small sizes add some tracking. Peach Crush is based on another Fenotype font, Tomato Ketchup but has more contrast and sharper serifs.

Supera Gothic is a design inspired by the early geometric and humanist typefaces of the 20th century. Its characters draw inspiration from Erbar Grotesk by Jakob Erbar and Johnston by Edward Johnston; hence, in heavier weights, the “f” and “t” bars are pointed which honor Erbar’s work, and Supera’s uppercases and numbers reflect Johnston’s proportions and features. The result is a sans serif family with both, a historical and modern touch perfectly suited for all types of graphic works. Super Gothic comes in 9 weights plus its matching italics and is equipped with a large range of opentype features. Fun fact, Erbar had attended calligraphy classes carried out by Anna Simons, who was a former student of Johnston (Tracy, 1986). Maybe in modern times, they had met through social media, and some collaborative work would have risen, who knows.

Prolific illustrator and veteran typographer Tracy Sabin draws on more than 40 years of multi-disciplinary design experience to bring us Muschamp Pro, a loopy, bouncy, free-form alphabet adaptable for many uses. It embodies the spirit of the massive art nouveau wave that broke out in the late 1950s and ingrained itself in popular culture for about three decades on both sides of the pond. Carefree, playful, rhythmic and versatile, this font evokes plenty of album jackets, children book covers, and cartoon titling from the times that really defined those design expressions and enshrined them as essential pop art. Muschamp Pro comes with plenty of alternates, ligatures of both standard and discretionary varieties, and extended Latin language support, all contained in a glyphset of more than 500 characters. Use this font if you want your design to transmit a message of crafty and joyful activity.

The term Sanseki (Japanese for Three [Brush] Traces) is used to describe three famous Heian period calligraphers: Yaseki, Gonseki and Saseki. Not that I would ever dream of comparing my messy brush-work with theirs, but the name stuck and I kind of liked it. I used Chinese ink and a high quality brush (which I got in a sale actually) to create this font. All glyphs were hand painted in one go! Sanseki is a very detailed brush font. Upper and lower case letters mingle and there’s even an alternate for every lower case glyph. Comes with an abundance of diacritics.

The German designer Alexander Dosiehn developed the Liga Sans type family as part of his graduate thesis at the Fachhochschule Düsseldorf in 2001. Liga Sans is a sans serif typeface that acts as a bridge between classical modern styles. Traces of pen forms and brush strokes can be seen mixed together with the most legible elements from grotesk-style faces in the alphabet’s letterforms. These features work together to create a style that works very in many sizes, including smaller ones! Liga Sans is an original, lively addition to the porfolio from Linotype suitable for text, magazines, and corporate identity work.

French Art Deco lettering found within the pages of the 1934 publication L'Art du Tracé Rationnel de la Lettre (roughly translated to “The Rational Path Art of the Letter”) have provided a number of designs well-suited for digital revival. A hand lettered sans with varying character widths was the basis for Colmar JNL, which is available in both regular and oblique versions. As the source of the lettering design was a French publication, the typeface is named for the city of Colmar, which (according to Wikipedia) is the third-largest commune of the Alsace region in north-eastern France.

Pixerius is a family of pixel fonts containing 3 characters in width and 12 styles, from square shapes to very rounded ones. There is also a tracing mixing letters of different widths in a random order. The font is suitable for logos, large headlines, posters and signs. It combines the classic retro character of 8-bit games and the playful character of a random set. Pixerius contains extended Latin, Cyrillic, ligatures and space invaders. It contains OpenType features: liga, numr, dnom, calt, ss01, ss02. The font is also case sensitive, has fractions, currency signs including the ruble sign.

Mr Jones was originally conceived as a family for print design consisting of a sans and a headline. The lowercase are wide for legibility at small sizes while the caps are narrower to save space and keep an even balance of negative space when used in body copy. The overall widths of certain characters have been adjusted to almost extremes to keep an even balance of white space around each letter. He works well in body copy, but will need decreased tracking for larger settings. He comes with small caps; proportional, oldstyle, and tabular figures and discretionary ligatures.

MVB Gryphius is a digitization of uncommon type from an era normally associated with the work of Nicolas Jenson. Produced by Otto Trace, the fonts come from types used by Sebastian Gryphius in Lyon in the early 16th century. The italic appears in a book from 1524 and the roman and small caps appear with the same italic in another book printed by Gryphius in 1541. Retaining the rough contours and uneven texture of its source, MVB Gryphius is best used at text sizes from 12- to 15-point, but its old world character can work in display settings too.

This font is for parents and educators that want to easily be able to print out the alphabet in order to have their child or student then trace them. This eliminates the need for creating the dotted lines by hand and lets the user type out exactly what letters they need instead of relying on pre-made charts. The font is upper and lowercase letters and numbers only - no punctuation. Comes in Regular and Guides (get both for the same price as one) which draws guidelines with the letters. Best when used at a large point size.

The inspiration for Mimosa comes directly from the packaging for “Moulinard Jeune”, a line of French toiletries from the 1920s. I created the 240-odd glyphs needed to make up a complete font based upon the style of a handful of hand-lettered characters that were used on the original items. Mimosa is a mono-weight, connecting vertical script with a fairly regular set of lower case and slightly more decorative upper case glyphs. As with any decorative script, if you set copy in all caps, you will be tracked down and severely punished by the type police.

The lettering for Stencil Box JNL was found on the packaging of a children's toy stencil set circa the 1940s. Popular for years, Pencil Stencils were a series of "connect the line" stencils where a series of dashed lines were traced from the cutouts and the lines connected to complete pictures of animals or other subjects. Although the packaging itself was often updated to reflect the current times during the life of the product, it was this hand-lettered example of stencil-meets-Art Deco from the 40s that proved worthy of saving as a digital typeface.

The Mailart Rubberstamp font was inspired by rubberstamped envelopes and artworks by Mailartists Jonathan Stangroom, H. R. Fricker and Flea Art, and the typeface Clarendon Condensed. Mailart Rubberstamp now has an additional Bold weight and complimentary Obliques. The typeface has also been updated with subtle outline improvements, a bigger repertoire of European accented characters, and more consistent, slightly tighter spacing; increase the tracking to recreate the more relaxed, rustic appearance of the earlier version. The fonts are derived from the individually rubber-stamped letters on printed and collaged envelopes received from mailartists, and the typeface Clarendon Condensed.

Melts Script from Estudio Calderón is a typeface based on Harlow Solid SB from Colin Brignall. It is made by round traces, with a simple design and a slightly “chubby” look. We wanted to propose a new version that works as an alternative of Harlow Solid, with connectors at the same heightand a complementary Font “Melts Sanscript” with sans serif capitals to be combined with lowercase scripts. Specimen Supporting 219 latin based languages, which are spoken in 212 countries. Psssss....It includes alternatives, swashes, ligatures and a version called Glint Glint, especially designed for those who want to highlight their works.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

It could be you’ve never heard of Kapsalon and I will forgive you for that. Kapsalon is a Dutch word, meaning ‘hairdresser’s’. Since 2003 it is also a very popular snack food, which consists of french fries, döner kebab, lettuce, sambal, garlic sauce and melted Gouda cheese, served in an aluminium tray. I have to admit that I have never eaten a Kapsalon myself, as I am not too fond of fast food. I named this font package Kapsalon, because, like its namesake, it consists of several unrelated elements that work really well when combined.

In this font from graphic arts veteran Tracy Sabin, his trademark whimsy and playfulness are exhibited in spades. Sabin takes a multitude of influences, from mid-century art nouveau to today’s pleasant dream-pop doodles, and mixes them up into a sweet and animated alphabet that oozes energy, enthusiasm and honest innocence. Alongside the chromatic and colour-play possibilities that come with two layerable fonts, the jumpy, rough and curly elements that make up Schneeberger’s construct make this face a unique and essential tool for display and packaging aimed at catching the eyes of kids and teens. Use it for fantasy flicks, sugar-fix wrapping, and the elaborate backyard birthday party invite where the program is just as appealing for the adults as it is for the children. P22 Schneeberger comes in solid (Black) and outline (Regular) variants, each of which containing more than 400 characters, some very cool built-in stylistic alternates, a bunch of ligatures, and support for the majority of Latin languages.

The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans (derived from the serif) is an excellent compliment and works together harmoniously with Gilman on the page.

Named after Italy’s northernmost region, Alto Adige is a high-contrast display serif typeface. With its condensed width and bold contrast it is excellent for headlines, packaging, magazines, posters and advertising, among any other display use. Alto Adige has large x-height making it a steady choice for sturdy text blocks with tight leading. In large sizes, you can also try tighter tracking for maximum impact. Alto Adige comes with a set of OpenType features: Contextual Alternates and Standard Ligatures are automatically on for certain character pairs. In addition it has over 50 alternates for display capital initials, set in Swash, Stylistic and Titling Alternates.

It occurred to me years ago that the graphic arts community might find useful a digital typeface that mimicked the classic look of nineteenth-century handwriting. Conveniently, my mother then still volunteered at the Center for American History at the University of Texas at Austin, my hometown. She made copies of the letters of a few famous Texans -- Houston, Austin, Travis, Burnet, Rusk. Thomas J. Rusk’s penmanship caught my eye as the most accessible of the bunch. I hadn't realized at the time what a challenge it'd be to render a realistic-looking script face, but the result has, in fact, filled a niche.

La plupart des fontes “script” tentent de reproduire l’écriture humaine et se heurtent au problème suivant: la lettre tracée à la main n’a pas la méme forme suivant la lettre qui la précède ou celle qui la suit, ou suivant sa position au début ou à la fin du mot. La fonte “delicate” résoud ce problème grâce à la récente technologie OpenType, et propose de nombreuses ligatures - des groupes de lettres pré-dessinés - qui permettent toutes les combinaisons fondamentales. Ainsi, “delicate” n’est-elle pas seulement élégante et calligraphique, mais également fluide et énergique. Pour profiter au maximum de cette police, veuillez activer les fonctions OpenType de votre logiciel.

ITC Malstock is the work of Czech designer Frantisek Storm. The idea is based on a sign painting technique that uses a flat brush and a Maalstok, a long bar with soft padding which is used as a rest for the painter's hand and a guide for vertical lines. The strokes of this font end with a split stem which recalls the traces of the writer's brush. ITC Malstock is a narrow typeface which is ideal for headlines, invitations and advertisements. The designer recommends combining his typeface with others, to create harmony with sans serif typefaces in text sizes or contrast with serif typefaces.

Mozzart Sketch is a decorative version of Mozzart Sans, slightly rounded, Neo-Grotesque corporate font, created for MOZZART D.O.O. company from Belgrade, Serbia. Mozzart Sketch is a decorative hand-sketched font for headlines and short texts, and also very readable in small weights. All glyphs were carefully hand drawn, with marker as a tool, then traced and digitized. The family contains: 5 Weights, 3 Condensed and 1 Oblique versions of the font, complementing each other perfectly. All versions contains completely MacOS Roman and MacOS Cyrillic code pages, tabular figures, small caps... perfect for profesional designers and very useful for artistic things, catalogues, music... and many other sensual and beautiful things. Enjoy!