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.

Birmingham New Street is the latest updated development of a typeface family inspired by the hand lettered title on a 19th century railway map. The map, prepared by the London and North Western Railway was headed "Birmingham and environs". New Street, meanwhile is the great 19th century commercial road linking the city centre of Birmingham with the train station of the same name. So, in a spirit of 19th century enterprise, we present "Birmingham New Street", a fun family of three display faces, laden with open type features and late Victorian charm, ideal for posters, book covers and any other high flown design you might have in mind.

Bella Copia is a font dedicated to the world of childhood, to the writing of primary school children, but can also be used to compose texts or express essential concepts. It can be used for food, fashion, logos and much more. The clarity in the sign wants to express simplicity and immediacy. As far as possible, what is "not needed" has been taken away from individual glyphs. In the illustrations an attempt has been made, by combining images with fonts, to express the concept of cleanliness, simplicity and clarity. It is composed of 314 glyphs to try to embrace as many languages as possible.

A digital foundry situated in England's rural South-West and established in 2005, Sparklefonts is Geoff Andersen, a man on a quest, from philosophy to aesthetics, from wild inspiration to wild gesticulation, from post-modernism right through to post-rationalisation. Boldly seeking unique and viable letterform architectures, he is equally determined to maintain legibility without compromising style. His journey has taken him through stencils and uncials, calligraphy and typography, through graphic design and guitar design. The story has been moving, the view spectacular, the punctuation superb. Geoff's sources are apparently limitless, his passion overwhelming, his fonts a labor of love, his therapist a Trojan!

Evergreen is Koziupa and Paul going all Zeitgeist after a few Malbec drinks. Two fonts praise nature from when the lights go out to the crack of dawn, and vice versa. That's 24/7/365 of wild leafy Kumbaya. Even butterflies and flowers were mystified so much they had to get in there. Evergreen is local, organic, and certified free trade. At some point we wrote down the name of the jungle where it originated, then lost the parchment in the hot springs a few hours later. But that's immaterial. Crank up your Deep Forest sound, prep your Earthtone and Foliage palettes, and get into the big herbal.

Rail Line JNL is a font for the railroad enthusiast for making their own model train car emblems. The logos contained in this font are or may be the property of the various rail companies, their assigns and/or successors. Outside of non-profit hobby use or for historical/educational purpose under the Fair Use rules, any commercial application of these logos must be obtained by written permission by the respective logo owner or owners. Jeff Levine fonts provided Rail Line JNL strictly as a hobby font. We assume no liability for the use, misuse or misrepresentation of any of the logos contained within the font file.

Kolm Keltek is a collection of ornaments organized into two font files. The ornaments can be divided into two groups: Friezes (borders) and Rapports (patterns). All ornaments belong to the Celtic culture. These ornaments are taken from manuscripts. This makes the font exclusive and unique among other digital collections of ornaments. These patterns perfectly suit to be used in the design of invitations, diplomas, certificates or other printed materials in historical style design. Kolm Keltek - Demo Guide contains basic examples of how to combine the ornaments that significantly facilitates the use of the collection. Kolm Keltek is one of the many high-quality ornamental fonts offed by the 2D Typo foundry.

A digital foundry situated in England's rural South-West and established in 2005, Sparklefonts is Geoff Andersen, a man on a quest, from philosophy to aesthetics, from wild inspiration to wild gesticulation, from post-modernism right through to post-rationalisation. Boldly seeking unique and viable letterform architectures, he is equally determined to maintain legibility without compromising style. His journey has taken him through stencils and uncials, calligraphy and typography, through graphic design and guitar design. The story has been moving, the view spectacular, the punctuation superb. Geoff's sources are apparently limitless, his passion overwhelming, his fonts a labor of love, his therapist a Trojan!

ITC Ludwig has an edge. It's nervous, tense - maybe even a little scary. Drawn by Italian designer Giuseppe Errico, ITC Ludwig refuses to be confined to a traditional baseline. Its twisted lowercase g" and an "e" that could double as an upside-down "a" both add to the design's spooky personality. As a young man, Errico studied to be a fine artist. He became a graphic designer only after a “long reflection period,” he says. His early training is evident in many of ITC Ludwig's suggestive qualities. There is far more to this face than cranking up the “distort” knob in Fontographer. Reflection and personal expression are at its core."

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!

A digital foundry situated in England's rural South-West and established in 2005, Sparklefonts is Geoff Andersen, a man on a quest, from philosophy to aesthetics, from wild inspiration to wild gesticulation, from post-modernism right through to post-rationalisation. Boldly seeking unique and viable letterform architectures, he is equally determined to maintain legibility without compromising style. His journey has taken him through stencils and uncials, calligraphy and typography, through graphic design and guitar design. The story has been moving, the view spectacular, the punctuation superb. Geoff's sources are apparently limitless, his passion overwhelming, his fonts a labor of love, his therapist a Trojan!

In the early days of printing everything had to be worked out from scratch. This set of lettering is based on section headings used by the Printer Lucas Brandis (no known relation), the first printer to operate in the city of Lübeck around 1473. They remind me of a medieval version of the spray paint graffiti so often seen on the sides of trains. A bit on the crude side, but also and importantly extremely noticeable. So whether you use it for creating old styled printing or some wild modern eye grabbing text item, its robust and sturdy shapes will be certain to grab the eye.

Greycliff Arabic CF adapts Greycliff’s popular soft, geometric design to the Arabic script. Both Latin and Arabic glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside Arabic script diacritics and wide language support, including Modern Standard Arabic, Persian, Pashto, and more. Greycliff Arabic CF works as a complete, self-contained type system, with both Arabic and Latin scripts included and designed to compliment one another. It also pairs well with contrasting typefaces, such as serifs, in both Arabic and Latin scripts. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Hanseat is a profonts typeface family by Ralph M. Unger, heavily inspired by Germany’s official DIN 1451 Engschrift. Originally, the German DIN (Deutsches Institut für Normung / German Committee for Industrial Standardization) typefaces were taken as the standard traffic fonts for street signs and house numbers. During the 1980s, the DIN fonts became digitally available for sign making systems, initially again primarily for traffic sign purposes. However, later on, the DIN fonts became also popular in the world of designers and art directors. Hanseat is a modern, contemporary interpretation of the DIN fonts, responding to the ever growing demand for such typeface designs reflecting the spirit of the industrial area.

A digital foundry situated in England's rural South-West and established in 2005, Sparklefonts is Geoff Andersen, a man on a quest, from philosophy to aesthetics, from wild inspiration to wild gesticulation, from post-modernism right through to post-rationalisation. Boldly seeking unique and viable letterform architectures, he is equally determined to maintain legibility without compromising style. His journey has taken him through stencils and uncials, calligraphy and typography, through graphic design and guitar design. The story has been moving, the view spectacular, the punctuation superb. Geoff's sources are apparently limitless, his passion overwhelming, his fonts a labor of love, his therapist a Trojan!

Introducing, Jacky Chan - Brush Font Jacky Chan font preserves all the high definition detail of the original handwritten letters. This font it truly looks realistic. Take your design to the up level with a hyper-realistic font that truly looks hand painted. Jacky Chan uses feature Bitmap Trace in Inkscape that makes way for more authentic looking fonts and is sure to grab the attention of customers and designers alike. Jacky Chan installs like any other font, and can be used in any color, on any background. What's Included? :: Uppercase & Lowercase (Regular and Italic Version) :: Numbers & Punctuation : Swashes Ligature :: Multilingual Support Enjoy our font, thank you.

1970’s Techno-typography finds its rebirth in Berkmire AOE. From its beefy weight to its narrow and sometimes unusual counter cuts, Berkmire AOE started as a digitization of a film typeface called Belden by LetterGraphics. This bulky techno typeface was taken from its limited character set and fleshed out to include an expanded language glyph set. The Capital letterforms seem to push the edge of readability, while the lowercase falls more in line. The letterforms of Berkmire AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs.

Project D is the fourth typeface released by DM Founts. It was inspired by the infamous graffiti atop the former Heygate Estate in South London, which I had passed by numerous times on the overground train years ago. Heygate Estate has since been replaced by soulless luxury flats, as per the gentrification agenda. The letters don't entirely match the graffiti as they were created from memory, but I thought such a profound statement should be honoured. Project D is best used for impact at large sizes, although it should scale well. Use it for computer interfaces, retro headings and anything involving defiance, espionage, infiltration and spy games.

Cullion is a new departure for Greater Albion, being a modern Fraktur, embodying future trends sch as highly stylised glyphs, a single case of lettering and highly evolved letterforms. At the same time it can trace its inspiration back to blackletter traditions, and is inspired by the sort of ironwork to be found in a medieval portcullis. The resulting typeface can sit happily in traditional, modern or futuristic design work. As the gallery images suggest, it does rather lend itself to work with a 'horror' theme, but it could have many other uses too-even in religious work. Cullion is particularly effective in poster headings.

Forte was designed by the Austrian commercial artist by Carl Reissberger who was trained as a compositor and later taught typography and drawing in Vienna. The idea for the Forte script font came from the study of plants, individual letter forms being inspired by the long stems and furry heads of the reed. Slightly inclined, it gives the impression of having been made with a bold brush or marker, and can therefore be used in work that requires an informal appearance. Forte is a strong design which contrasts well with sans serif faces and classical modern types. Use the Forte font in advertising, flyers and labels.

On first impression, Venis is a traditional text typeface: clean, simple and elegant with nice contrast. On closer inspection, you'll notice nuances that add charm and wonder, much like its name (rhymes with "tennis"). Is this font a serif or sans serif? Hmmmm, it never really commits. Further design liberties were taken to create unique qualities in its characters, which are best exemplified by the signature lowercase y. This font family is optimized for print, and has worked beautifully for letterpress projects including wedding invitations and birth announcements. Venis will also work well in newsletters, brochures, proposals, magazines, books, and other text-heavy paper products, bringing creative elegance to your designs.

What a nice tranquil feeling you get from the wide forms of this font. The air of spontaneity was the most important thing about developing Rifleman. The forms were carefully and slowly constructed and then loosely traced with a paintbrush. Maybe the original drawings will become a font someday but i like to think that they won't for some reason. Surprisingly Rifleman is left to only the bare essential elements, anything that wasn't necessary was left out or removed. The goal was to make it as lightweight as possible to make up for the intricate detail. Rifleman is a surprisingly lightweight font offering lends itself to speedy typesetting!

In the July 24, 1915 issue of “Dry Goods Reporter” is a demonstration of hand lettering rendered with the use of a “speed pen”. Two suggested examples cited in the accompanying article were the Payzant pen and the then-new Speedball pen. An ornate Art Nouveau serif alphabet is displayed, with some examples having delicate floral elements entwining the letters. The initial alphabet was auto-traced, then cleaned-up and modified to recreate the core design of the basic (unadorned) letters. The numerals, punctuation and all additional characters were then made from scratch. Nouveau Rose JNL is the finished result, and is available in both regular and oblique versions.

Akira Kobayashi modified his Eurostile Next design into a fun unicase version. Ascenders and descenders have been traded in for alternates of letters that all share the same height. The effect is similar to using all caps, although this is quite a bit more quirky. For example, letters like the lowercase a and e are now the same height as their capital versions and the lowercase y has been raised to fit between the baseline and top height. Odd relationships such as these give Eurostile Unicase a fresh and funky feeling. Try using it for headlines and titles, then use Eurostile Next for the body text!

I read something interesting the other day: in 1910 a cat called Kiddo snuck on board an airship and was found by aeronaut Walter Wellman - after he had already taken off in an attempt to cross the Atlantic Ocean. Wellman and Kiddo spent 71 hours aboard the airship, but never completed the journey, due to engine problems and foul weather. Luckily, they were both rescued. It was a funny story, so I decided to name a font after it. Reluctant Aviator is a handmade font (pen and paper). It has a rough edge, some shaky glyphs and a lot of bravado. Comes with diacritics and swashes.

The name Type Warmers JNL traces its lineage to small catalog booklets issued by Indianapolis' Cobb Shinn for his line of letterpress cuts; of which a few can be found included within this typeface. Presumably type could "warm up to" these stock illustrations and work hand-in-hand to deliver the message, hence the "Type Warmers" sobriquet. Originally known for illustrating many attractive and comical postcards of the early 1900s, Shinn moved into the field of purchasing stock art and redistributing them as electrotypes or "cuts", the predecessor to today's digital clip art. A number of the cartoons he sold can be found in the Shinn Kickers JNL font.

The marker has been sitting in your pen drawer for years. You can't bring yourself to throw it out, because it's the best marker in the world; but it has become worn and frayed, and you can't bring yourself to use it, either. But today you have just the project for the best bad marker in the world, and you take it from the drawer, remove the cap, and notice with glee that time has accumulated a perfect supply of ink in the frayed tip. You bring it down on the pristine white paper in front of you, and magic begins to trace itself on the page...

Alf Becker was a master sign painter and lettering stylist who created well over 100 alphabets for a monthly feature in the trade magazine "Sign of the Times" during the 1930s and 1940s. Thanks to Tod Swormstedt of ST pubications for supplying the source material. One of these designs features a modernized version of Old English or "text" lettering making it more legible for sign and show card work. Doing away with extra curves and swashes, this type style is more calligraphic in nature than classic. Modern English JNL was modeled from Becker's original design, and is available in both regular and oblique versions.

A digital foundry situated in England's rural South-West and established in 2005, Sparklefonts is Geoff Andersen, a man on a quest, from philosophy to aesthetics, from wild inspiration to wild gesticulation, from post-modernism right through to post-rationalisation. Boldly seeking unique and viable letterform architectures, he is equally determined to maintain legibility without compromising style. His journey has taken him through stencils and uncials, calligraphy and typography, through graphic design and guitar design. The story has been moving, the view spectacular, the punctuation superb. Geoff's sources are apparently limitless, his passion overwhelming, his fonts a labor of love, his therapist a Trojan!

Scriptek was created by British designer David Quai in 1992, based on the constructivist forms which became popular after the First World War with the progressing industrialization in Moskow. Typefaces such as Scriptek were often used in the propaganda of totalitarian political systems and can still be seen on monuments like the central train station in Milan or political posters of the 1930s and 40s. The robust Scriptek has strong serifs in the upper left and lower right of characters and this, together with the diagonal strokes of many lower case letters, gives the font a dynamic feel. Scriptek is best used for headlines and display.

The name of this robust typeface is adopted quite literally from the slice taken out of certain characters. The same sliced angle is also applied to many of the terminals, creating a clean-cut styling throughout the family. Tilted versions emphasise the descriptive name further, with an implied cutting stance. Wider versions go even further still, taking on a more thrusting, squat dynamic compared to the condensed styles. The standard Sliced family is complemented by Sliced Open, a lighter, more open set which extends the versatility and design flexibility of the typeface and comprises a total of 14 font styles, all with extended European character sets.

The Flinscher family contains twenty display typefaces, in weights that vary from light to black, and widths that extend from condensed to expanded. The family’s design inspiration traces its roots to the early portion of the twentieth century. In essence, it is a calligraphic script typeface family with blackletter influences. The letter forms are decorative and distinctive, yet clear and easy to read, and in use set up a regular rhythm that leads the eye from character to character. The Flinscher typefaces are well suited to design work that needs to combine formality with fun. Just the thing for a certificate or a book cover!

Kansas Casual offers a more upright, gothic, and modern alternative to the conventional sign painter's one stroke. Kansas provides a completely unique take on a overdone classic with proportions and crossbar heights inspired by the more friendly Chicago style. This all-caps set provides six weights so that you can adjust size with weight to maintain that authentic single brush weighted look. The proofing process included projecting, tracing, and then painting the letters out to see how true the small details were to the medium. The set also includes wide language support, opentype fractions, and arrows. You can learn more about its development here.

A variation of ”Helvetica according to the blur principle.“ The underlying typeface is ”Helvetica“, the only true ”run-of-the-mill“ typeface of the twentieth century. The distortion principle used simulates the photographic effect of halation and/or overexposure. The light weight, »DeFonte Léger«, nearly breaks on the thin points, whereas on those points where the lines meet or cross, dark spots remain. The characters are ”nibbled at“ from the inner and outer brightness. On the normal and semibold typestyles, »DeFonte Normale« and »DeFonte Demi Gras«, the effect is limited almost exclusively to the end strokes and corners, which appears to be strongly rounded off. The bold version »DeFonte Gros« is especially attractive. As a result of ”overexposure“, counters (internal spaces) are closed in, while characters become blurred and turn into spots; new characteristic forms are created which are astoundingly legible. The fat version »DeFonte Gros« is particularly appealing. “Overexposure” leads to drifted counters, letters blur into spots; new characteristic forms emerge, which are surprisingly easy to read.

Valmera is an elegant serif font, designed with modern-classy style. Valmera has a high contrast of the strokes that gives the minimalist looks, the serif crafted minimal to makes the letterform more classy. Also, the letter spacing is set wide that looks so clean. It is versatile and luxury! Available in 3 weights that you can use it for a headline, sub-headline, and body text. Valmera is a great choice for a minimalist design such as book cover, magazine, cards, packaging, quotes, editorial needs, advertising, traveling needs, logos & branding. Valmera is complete with alternates and swashes on the uppercase letter that possible you can make a typographic text. Font Features: Uppercase Lowercase Numbers Symbols Punctuation Stylistic alternates Swashes Accents (28 Languages) Thank you for visiting and watching, have a nice day!

Sabbatical is a no nonsense brush font family with lots of character. The family contains 3 hand-lettered fonts, Regular, Bold and Basic. This dry textured script font is inspired by travel journals written by adventurous souls, hence the name. The design is perfect for any type-based creations, quotes, invites, packaging, branding and much more! Sabbatical Basic has his own unique form which complements Sabbatical Regular and Bold. It consists of a fun caps font with an even more playful variation. All Sabbatical fonts have alternate glyphs that can either be accessed by the swashes feature, stylistic sets, or glyphs panel, depending on the application you are using. There are lots of discretionary ligatures that offer more variation. With over 880 glyphs the design options are unlimited.

A lot of time and effort has been put into the process of creation the Boos Font. A careful analysis of the current font market and overly increasing customer needs have shaped Boos' final appearance and content. We don't have a precise target audience for Boos, since the amazing amount and structure of the chosen characters enables a very wide utilization. It will be best suited for headlines for classy magazines. It's look and feel came from a different designing approach, so that it can successfully satisfy the needs of even the neediest. Shining with calm and dignity, while in the roots being aggressive, it has successfully connected classic and modern styles - representing it's largest value. Medium, bold, black and light versions are included in the complete package, at a discounted price!

The Pergamon series is a creation of Alfons Schneider (1890–1946) and was issued by the foundry of Ludwig Wagner in Leipzig in 1937/1940, though the website of the Klingspor-Museum says that several of the faces were probably produced after the death of Schneider. This digital version is extended with the necessary OT characters and signs, while also the “символы кириллицы” are added. Also, in addition to the members of the family designed by Schneider, regular, italic, bold and bold italic extended versions were produced. The specimens of Ludwig Wagner stated emphatically: “In allen Graden werden beide K K geliefert”, so these two forms are in all the faces, while the two condensed members also have k k, as the specimens said that this alternative character was also in these two faces.

Hi, guys! I like creating fonts with a story. Once me and my family were traveling and exploring the northern area of our region and came across an inscription carved on the wall of a monastery tower. It inspired me to create a full set of a multulingual font, but there is no lowercase letters. What's included? Only uppercase Multilingual support Numbers Symbols Punctuation Ligatures If Northern Monk is not ok, please check out my Celtic Spiral font https://www.myfonts.com/fonts/kaer/celtic-spiral/ I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you!