Introducing new layered font family it's call Chester , inspired from combine old postcard stamp and rustic sign painting with have unique decorative shapes. This is collection of type with a layered type system, many possibilities combination and options with 5 font system that can be layered to create different effect ( Basic , Inline, Inner dot, Gradient Inline, Shadow outline & Drop Shade ). You can use this font for various purposes.such as logo, product packaging, labeling, logo, classic shop, badges, quote, sign ,movie title, t-shirt, posters, lable, greetingcard, letterhead, book cover, any artwork.

Boondock is another Imre Reiner design resurrected from the ashes of hot metal type for digital use. This wild paint font is a revival of the fascinating Bazaar brush type from 1956. Boondock has some very unique characters that combine to form a statement of casual but loud strength, seriousness and raw primal emotion. Great for short sudden-impact spurts, like book cover titles, single sentence headers, movie posters and music sleeves. Redrawn from original specimen by Patrick Griffin, and expanded with some built-in extras too add to the convenience of this digital version.

While searching online for vintage type inspirations, an image was spotted of an old letterhead for a steel manufacturing company. The hand lettering of the word 'Ludlum' only offered D,L,M and E as visual examples, but from this Jeff Levine has designed Eckhardt Dualine JNL - a Deco-flavored dual-line type font. As with a number of other releases that emulate hand-lettering or sign painting, Jeff has named this font in honor of his good friend, the late Albert Eckhardt, Jr.; who ran Allied Signs in Miami from 1959 until his passing.

Epica is a contemporary interpretation of the Venetian Renaissance types. A humanist type family with a contemporary design. This family encompasses different typographic scenarios with emphasis in style and functional equilibrium. Its letterforms show the visual richness of Epica that includes some calligraphic reminiscences perfectly legible in small and display sizes. Its strong personality makes it distinguish, because it perfectly combines the elegance of antique typographies and the forcefulness of contemporary ones. This family has been designed in two different moments. Epica Serif, which have a more classical design, was finished 5 years ago in its first version. The first sketches were drew 8 years ago during the Master of Type Design at the University of Buenos Aires. Through the years was re design in several times to the point of reaching its current version. On the other hand, Epica Sans was completed in 2020 and is the counterpart of Epica Serif. A complementary system designed to enrich the serif version and give new options for hierarchy and composition. This is a versatile type family perfectly fit for books, editorial, and usage in print and on screens. It possesses great legibility in body texts, which makes it ideal for extended reading and supports a variety of languages.

Panopticum is a Vladislav Ivanov font family with 3 styles- Panopticum,Panopticum Re and Panopticum Broken. Panopticum is a custom font which is applicable for any type of graphic design - web, print, motion graphics, etc. and perfect for t-shirts and logos.

Nünooska is a sans serif type designed by Luke Turvey in 2014. The minimalist charm of Nünooska offers a soft unique style while remaining legible and clean. This rounded geometric sans serif is designed to look excellent for display or printed publication.

"Pimpaw Cat" is a unique and cute display font. This font is decorated with different types of cat shapes. Equipped with uppercase, lowercase, ligatures, punctuations, numerals, and multilingual support Suitable for posters, banners, prints, branding, stickers, magazine titles, film titles, and more.

An elegant font that is suitable for all types of printing. Latin font support for these languages: English, Danish, Spanish, German, Norwegian, Polish, Portuguese, French, Swedish Also support for a large number of languages in Cyrillic:Russian, Belarusian, Bulgarian, Macedonian, Serbian, Ukrainian, Kazakh, Kyrgyz

Trade Printer JNL is another font design inspired by an old rubber stamp sign printing set. In this case, the lettering has a classic "wood type" look, reminiscent of the letterheads, billheads and fliers made by local printers of the 1880s-1920s.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

Alexander Quill was originally designed in the early 1980s to be cut in 14 point for casting into foundry type for the setting and printing of limited edition books at Pie Tree Press, Jim Rimmer's private sanctum. This alphabet exhibits traditional calligraphic tension, which helps its simple, somewhat octagonal forms play well together for an easy read. Its setting expresses a dramatic sense of history or fantasy. Alexander Quill was updated and remastered for the latest technologies in 2012. It comes with plenty of built-in alternates, a glyphset of over 410 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

Years before the many "modern" ways to creates signs and posters, the popular method was the rubber stamp printing set. Many of these sets used the classic DeVinne typeface, and were manufactured by at least a half dozen different companies. The "sign and chart printers" (as they were known) often consisted of both upper and lower case letters, numbers, punctuation, pointing hands and other symbols. "Hand Stamped JNL" puts all the fun of the rubber stamp printing set into an easy-to-use digital font with no messy ink spills or clean-up.

Balboat is a plain calligraphic face with a very small x-height, long descenders, and tall ascenders. Having the appearance of a pen-drawn sans serif, it has four styles: regular, bold, italic, and bold italic. Although Balboat is quite legible, it is condensed and may need to be printed at a larger point size than other typefaces.

This is a funky hand lettered font that just begs to be used for coffeehouse promo. It is best when used in sizes above 16 points and is even better when used for posters where it can be printed in giant sizes. It was hand drawn in Fractal Designs Painter with lots of little Doo-Dads.

Linotype Impacta is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Dutch artist Marc Lubbers designed Impacta with little contrast between strokes, rather, he depended on the slope of the strokes to give his font character. Impacta can be used in small or large point sizes and its constructed forms bring a modern feel to graphic design.

Old Claude was drawn by Paul Shaw to simulate an old cut of the classic (Claude) Garamond type designs of the 16th & 17th centuries. The pronounced rough edges and coarse letter shapes create the effect of letterpress printing with old foundry type onto handmade paper. The companion Old Claude Expert includes small caps and old-style figures. This "antiqued" design works equally well for both text and display.

Blambot’s first font featuring Contextual Alternates: COLLECT EM ALL BB! As you type, you'll discover six versions of every letter, three versions of every number, three versions of the exclamation point and question mark, auto-correction of serif-I per standard American comic book tradition, and if you type from three to six of any letter, you'll get a bouncy baseline! All this, plus a hefty set of European characters.

Linotype Indus is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by P.H. Hashin from India, Indus finds its historical roots in inscriptions found on ancient Indian graves. Thus Indus has a unique look and is versatile in point sizes from middle to headline. The font combines well with sans serif and slab serif typefaces.

Linotype Dot is part of the Take Type Library, featuring the winners of Linotype’s International Digital Type Design Contest. Designed by Lucy Davies, the figures are composed of a combination of white and black dots and the contrast makes the font look like points of light and darkness. The general impression of Dot lies somewhere between ornamental and technical. It combines well with sans serif and calligraphy fonts.

Sagebrush John, your bank robbin' days are over. I'm throwin' you in the hoosegow! Hoosegow JNL isn't a small town jailhouse, but it is Jeff Levine's take on a classic wood type that brings out the Old West in any design layout. The beauty of many of these vintage wood type alphabets is their "imperfect" letter forms - giving your work a touch of the old days of letterpress printing.

Linotype Rory oblique is part of the Take Type Library, selected from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. The font was designed by Canadian Tad Biernot with strictly constructed forms. The similarly formed figures seem mechanically created and their light slant gives the impression of strenght and dynamism. Linotype Rory oblique should only be used in the shorter texts of headlines in larger point sizes.

Proudly present Nutshell Crew - Street Brush Type, created by ikiiko. Nutshell Crew is a rough handwriting type inspired by hand-drawn street brushes. A type of decorative font that features bold, brush-like strokes, often resembling calligraphy, graffiti, or hand-painted lettering. This font features a rough and edgy style, making it ideal for any urban-inspired design project with a blend of grungy and hand-drawn lines will give your words a distinctive and rebellious character, setting you apart from the crowd. The perfect one for the modern-day hipster! This type is very suitable for making a streetwear brand, poster or magazine layout, posters, album covers, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates Multilingual Support Works on PC & Mac

HWT Brylski is a typeface by Nick Sherman, named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. This font is the digital counterpart to the wood type made as part of the Hamilton Legacy Project . It incorporates several themes that were common in 19th-century type design, including split tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne, regardless of any actual relation to those countries), and an extended overall width. This digital version contains over 400 glyphs for full European language coverage.

Joseph is a slab-serif face designed by TOMO. With a wood type look - letterpress print, this fatty comes in handy when is time to design an informal —yet strong—looking communication piece. Imagine this typeface on a T-shirt, even a mug! Sweet.

Arupala Grotesk is a Grotesk font this versatile typeface will grab readers’ Attention. This font was inspired by a character named H. Aroepala. This font is suitable for both formal and informal events and is also suitable for various types of print and digital media.

Alterous is made for a bold impression on each of your works. This font can be used for title and text display so it is suitable for all types of designs, whether posters, flyers, banners, t-shirts, screen printing, magazines, newspapers, logos, and others.

Codename FX is an elegant slab serif font family. It's perfect for any project like logos, t-shirt printing, creative products, typing, titles and many other projects. Codename FX comes with 9 weights with italics, and some outlines to complete your variation of choice.

Alterous is made for a bold impression on each of your works. This font can be used for title and text display so it is suitable for all types of designs, whether posters, flyers, banners, t-shirts, screen printing, magazines, newspapers, logos, and others.

Plz Script is a warm and friendly script font that can be used as body copy or for headlines. Great with Architectural Lettering or Plz Print. It can also be found in the book "Indie Fonts 3, a Compendium of Digital Type from Independent Foundries".

Designed for ParaType (ParaGraph) in 1989 by Elvira Slysh. Based on Slogan of Ludwig & Mayer type foundry, 1959, by Helmut Matheis. An informal flowing script simulating pointed brush calligraphy. A style of medium weight and coherent lowercase. For use in advertising and display typography.

Introducing Hipetype, a handwritten font with a unique and strong character crafted with high-definition paint textures. Hipetype can be used for various types of design needs such as branding materials, t-shirts, social media templates, business cards, logos, promotional flyers, posters, and more. With multilingual support, this font is also suitable to be combined with san-serif to get an extraordinary result for your design projects.

Linotype Sansara, from Swiss designer Grégoire Poget, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This fun font is a type experiment behind whose oriental facade hide Arabic letters, recognizable only at second glance. This font displays generous, pointed ascenders and descenders as well as a bar-like emphasis on the upper third of the figures which connects lines and words and gives them a decorative look. Linotype Sansara reveals an astounding variety of details which bring to mind 1001 Arabian Nights, flowing gowns and snake charmers. This font is best for display in point sizes of 14 or larger.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Speedy Space Goat Oddity is the font with really interesting mood. My purpose was to transfer freedom, immediacy, and a bit of insanity with it. I've painted it with self-made paint and brush in a trippy environment. You can use Speedy Space Goat Oddity almost everywhere (not for body text). It's great for posters, clothes design, package design, music album covers. Also, with the right approach, you can use it as horror font. Speedy Space Goat Oddity Features: Pant texture 2 ligatures for tt and ff 14 contextual alternates for most common double letters Carefully tuned kerning (preview above doesn't show it for some reason) If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Speedy Space Goat Oddity!

Prof. G. Pott’s Ruling Script first appeared in 1992 with Linotype-Hell. The font is a part of the package Calligraphie for Print, which also contains Sho and Wiesbaden Swing. Calligraphie for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. Ruling Script looks like the zestful handwriting of a calligrapher but its legibility even in longer sentences set it apart from others of its type.

Reaktif type family has been created with a new and modern approach to the popular geometric sans serif type. It has a very legible, multifunctional, contemporary and dynamic design. Sharp-angle details in minuscule letters “a, b, d, f, g, m, n, p, q, r, t, u” boosts its' characteristics in the Reaktif font family. Reaktif type family contains 24 fonts and 550+ glyphs. Stylistic alternatives come with 30+ ligatures and many opentype features. It can meet your needs in many medium such as Reaktif branding, editorial, web and printing.

Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes.