Cutlass was just for fun. A year ago or so [2009, maybe], someone on typophile showed a scan of the word "Ciruelo". I liked it. Those were the only letters I had and no one ever came up with the name of the original font that I saw. It doesn't matter as I went far afield as I designed, as usual. It's just a swashbuckling bit of fun. OpenType 476 Glyphs from my usual set minus the superior and inferior figures. Enjoy!

Etruscania font is base on Anchient Etruscan Alphabet. The Etruscan alphabet is an Ancient Italian alphabet used by the Etruscans, an ancient civilization of the central and northern lands, to write their language, from around 700 BC to around 100 AD. The Etruscan alphabet took inspiration from the Phoenician alphabet. The earliest known Etruscan abecedarium inscribed on an ivory wax tablet frame, measuring 8.8x5 cm, was found at Marsiliana near Grosseto, Tuscany in Italy. It dates from around 700 BC.

A burger and a shake - the classic companions! Mix those two and you get the Burger Shake - it may not sound very delicious, but the thought of mixing two nice things is great...or something! :) Anyway, the Burger Shake font is about having fun in a legible way. The letters are slightly uneven and rough here and there, and has this nice handmade organic feeling. I've added 5 slightly different versions of each letter, and they automatically cycle as you type!

The A.B. Dick Company was a manufacturer of mimeograph duplicating machines which produced copies by the process of transferring ink through an etched wax stencil onto paper. Customers had the option of purchasing various size and style lettering guides in order to create eye-catching headlines or announcements on their print projects. One such guide called ‘Modern Display’ featured a lettering style resembling Futura Black with added serifs. This is now available as Template Moderne JNL, in both regular and oblique versions.

Here's a deluxe comic book dialogue font with a vintage feel! Nerves of Steel BB comes with Regular, Italic, Bold, and Bold Italic. Contextual Alternates and Auto-ligatures enable six versions of every letter, and three versions of each number, the exclamation point and question mark. Barred-I correction is included as well as bouncy baselines when three or more duplicate letters are typed. To top it off, you get glyphs included for manga letterers, and a large European set of characters!

Gliners is a simple stylized font that overlies the center of the glyphs bar in the font. Glyphs font doesn’t have too many, it only offers Uppercase and Multilingual, but don’t worry because its simple shape will make your project look interesting. The Gliners font is very suitable for use as movie titles, movie title poster covers like the review image I shared above. how? are you interested in trying it? Thank You, stay the center of attention and classy!

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format. Look how people use it: http://use.type.org.ua/tagged/ziontrain

When this font slips on a pair of ordinary, over-the-counter spectacles, applies a little hair gel and straightens its red, white and blue tie, it disappears amongst common mortals like you and I... But when danger raises its ugly head, when Truthiness, Justice and the American Way are threatened, MildMannered abandons its secret identity, rips open its shirt and takes to the skies to fight evil... ... and, of course, to help sell colorful paper plates, halloween costumes and happy meals.

When looking for a neutral typeface with no historic reminders, we always end up with notorious designs made about 60 years ago. It’s a part of the whole Trivia type system. To our surprise, there are still people who can’t distinguish three basic latin type categories. The present font family has been created for them. A simple typographic Trivia: three ways to look at printed word, three fonts to design anything from business card to a billboard, three tunes for endless variations.

Getone is an exotic font, based on the Sereno font made by the same designer. It has a modern touch which makes it to stand out, all the glyphs are designed "out of the box" to combine each other in harmonious way. Getone is coming in ten styles : thin, ultra light, light, regular, bold and italics. Is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards as well as web and screen design.

Interstellar is inspired by science fiction movies and writings. My initial idea for the font was to be used for signage and user interfaces that would appear on spaceships and bases. However, Interstellar is very flexible and can be used in many creative ways. For example, it is perfectly suited for graphic design applications ranging from editorial, corporate, web, interaction, and product design. The font contains 400+ glyphs which includes uppercase letters, numbers, symbols, accented characters, and multiple language support. Check it out.

ITC Cancione is the inspired work of California calligrapher and illustrator Brenda Walton. She gave a rough texture to her tall, thin all caps alphabet and its ornaments, making them look as though they were drawn with a brush on stone and then left to withstand years of weather and wear. The graceful letters are complemented by a variety of ornaments and flourishes as well as alternates and even stylized words making ITC Cancione perfect for greeting cards and stationery.

Based on the handwriting of the eminent Dutch typographer Alexander Verberne, Julius de Goede's Xander typeface manages to be both sophisticated and whimsical. This monoline connecting script dances across the page with the grace of a ballerina. An accomplished graphic designer and writer of more than 20 books on calligraphy, de Goede's lettering skills are evident in this careful translation of casual handwriting into a lighthearted, affable typeface family. Like a warm breeze on a spring day, Xander is fresh and welcome.

The basic idea for this headline typeface is to create strictly geometric letters, similar to script typeface, as far as possible in a single sweep, without setting them down. And similar to a typeface written with a quill, there is a thin and a thicker stroke. The upercase letters can also be used with the lowercase keys. The varied and unusual variety of forms in this typeface gives headlines, keywords and even short texts the attention they are looking for.

Paralex is a complete typeface family of 12 fonts with geometric-slab style. The edges of shapes are rounded to give a smoother appearance. It contains several OpenType functionality, such as initial and final decorative forms, old style numerals and an extensive set of geometric style ornaments. The character set supports Central and Eastern European as well as Western European languages. Despite the robustness of its forms has a warm appearance, and good readability that make it useful for a variety of situations.

Zanzabar is an exotic display font with a distinctive Middle Eastern flair. Its characters loosely mimic the Arabic script with lowercase letters being much smaller than uppercase. Special emphasis was given to the wispy, brush-like appearance of its characters for a suggestion of authenticity. This works best from far away or at small sizes. Although decorative by nature, the entire character set is relatively easy to read. Use Zanzabar for a restaurant logo, children’s book, or a movie poster.

Fady Lingers is a mispronunciation of that famous Italian cookie - nevertheless, there is nothing awkward or wrong with the font! It is handmade using a thin marker, leaving an uneven edge. I did spend some time cleaning up each letter, but was carefully observant to keep the original handmade and organic look. I've added 4 slightly different versions of each lowercase letter. and they automatically changes as you type - a really great way to make your design stand out as organic and lively!

RNS Ahumada comprises 3 versions, Regular, Slanted and Ornaments, and was drawn pattienly with the handmade blackboards from the supermarkets in mind. A mix between readable and a warm human touch, that definitely makes it a friendly and sweet shape. The main features and advantage of having a varied set of widths, makes it a source that can be mixed to achieve a greater variety in composition. We recommend the use of color, it gives a strong personality and makes more attractive.

Growing Boy Display Font Family is designed with a rather high x-height and consists of cute and creative glyphs. Nine weights include regular and rounded styles, the rounded styles are designed for soft edge. The really uniquely drawn glyphs can work well with any composition to create the layout you want. In addition, rounded styles increase readability and simplicity, so they can be applied in a variety of ways, including editorial publishing, logo design, brand identity, and on-screen channels.

The name “Fiction Crusader” was generated by a random word generator. It may sound odd, but I like the feel of it. Use your imagination: what exactly is a fiction crusader? Each letter has 6 slightly different versions, and they automatically cycle as you type. A great way to make your text look more lively and vibrant! I guess that this is an all-purpose font, because I can’t think of a project that couldn’t use a font like this!

This is a leaves symbols font. Font elements are created from a base set of leaves. What that means is they work perfectly together. Professional artists and designers will appreciate all the ways you can combine these elements or use a single one for a simple elegant logo design. PSI Leaves works great for borders by simply creating a repeating pattern. Scrap-bookers can create beautiful and complex page designs with a few clicks. Thousands of uses equal thousands of ideas!

Canovaro was inspired by the hand-lettered masthead of Queenslander, a weekly magazine published during the first half of XIX century. The condensed serif letterforms of the magazine title, with the warm, human touch gave the shapes of Quenta a lively personality and a literary charme. To let you experiment with his vintage decorative layers, it comes in 4 styles including discretionary ligatures to allow you to use script elements to enrich its expressive range for editorial and logo design.

Micheliya has a font script that is provided with great tenderness to be presented with a variety of stunning character models. Micheliya combines a new design that features free, warm, modern features. taste. The diversity of weights provides a variety of choices that will help you find the best design colors for your project. Lighter weights are perfect for heavier body text ideal for high impact headers. Alternative styles available provide different characters that give your logo or business card a unique display.

Anko is a mix of Old Style Roman Serif styles. The glyphs are formed in extend width, smooth strokes, moderate stem contrast and soft edges to pursue clarity, quick recognizable text and warm personality. The italics style is 8 degree low slanted with redrawned lowercase which shown in more organic and flowy forms. Anko contains 8 weights with more than 450 glyphs that support extended latin language and opentype features such as standard and discretionary ligature and a variation of numeral figures.

The character of Sopran is expressed by long serifs that replace traditional drops. Contrast is distributed from monolinear in hairline and all the way to the extreme in the black style. Symbols and punctuation are drawn with monolinear strokes to give the typeface more playful typesetting. The long serifs allow for some interesting discretionary ligatures, like “fa” or “Ta”. With two stylistic sets the typeface enables different typesetting opportunities. Its characteristics should be expressed in headlines, larger texts, show posters, displays, signage etc.

Boldina consists of 18 fonts with a lot of personality. This is a font to be mixed. That’s its purpose and that’s why it's designed as one single weight in so many different styles. My intent was to give designers a chance to use the same typeface in many different ways, putting together sans and serif, lots of italics and even Greek, Cyrillic and CE characters. The Ligatures and the Script versions give a more poetic and more accurate feeling to the text.

Accidents happen. Things go where they don't belong, get changed - remade. Something new crawls out of the murky depths. Ghixm is a retrospective of the horror comics and movie posters of the 1960s and the 1970s. It's fluid forms harken to watery graves and tentacled unnameable horrors. These twisted shapes are reminiscent of titles that will make your skin crawl. It’s already warped and twisted, so don't hesitate to abuse it. This face can take it and still deliver its chaotic message.

The main difference between Accord Alt and Accord is in the way curved strokes join with vertical stems in letters such as “bpn”. The Italics are designed at an italic angle of 10 degrees. All the letter forms have been kept similar while designing italic instead changing the form e.g. 'a' remains same double story in italic also instead changing it to single story. The intention is to keep it simple and neutral which helps communicate the corporate sense of professionalism.

Journal Hand was inspired by a 45-year-old travel diary I bought at an estate sale. The carefully constructed all-uppercase letters indicated that this traveler cared about style and legibility. Each picture, postcard and brochure that was glued into the diary had a neatly written caption and I admired the care this day tripper took to record his European trek. While the pages are now yellowed and falling apart, the handwriting is still legible and stylish. Because his handwriting totally suits today's uses, I re-created it in modern journalistic style that looks like it was written with a technical pen. Use this typeface when you need a neatly handwritten style. Uppercase only!

Falstaff first appeared with Monotype in 1931, an alphabet in the style of a wide, bold antiqua that was especially popular in the first third of the 19th century. Such typefaces distinguished themselves through their consistent basis in the transitional antiqua style. They are characterized by their extremely fine unflexed serifs with no curve connecting them to the thick strokes. The numerals with their generous curves and ball-like stroke endings and beginnings are particularly decorative. The vertical strokes are dominant and give lines of this typeface a column-like and therefore static look. Falstaff is today often used for book titling, especially for mystery novels. It is best used sparingly in middle and larger point sizes.

Jochen Schuss, the Biedenkopf, Germany, designer who was most recently responsible for ITC Vino Bianco, has created in ITC Whiskey a condensed display face that's both angular and soft at the same time. While the letterforms of Whiskey are clearly roman, there's a slight reminiscence of blackletter in the face's narrow proportions, its dark weight, and its persistent internal angle - not quite the 45 degrees common in a classic German textura, but a gentler angle of 25 or 30 degrees. And the counters are all rounded, as are the ends of all the strokes, giving Whiskey a comfortable friendliness despite its severe structure. The character set includes an alternate z" and an "ft" ligature."

Rich Dingbats & Bursts was created with graphic designers in mind. I worked for a weekly newspaper, and finding different bursts was a challenge. You either had to draw your own (and who has time for that under tight deadlines) or use the same dull bursts over and over. I wanted to give the people I worked with at the newspaper choices, and Rich Dingbats & Bursts was born. There are several uses for this font. It's great for adding graphic elements to your Photoshop artwork. In FreeHand, users can convert the burst and paste a photo inside the burst for an interesting effect. QuarkXPress users don't have to import or draw bursts, just type the appropriate character!

American Uncial™ was designed by Victor Hammer in 1943. Uncial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Uncial faces date back to the 5th century. In 1953, American Uncial was expanded to include some new figures, also designed by Hammer, and was rereleased by Klingspor with the name Neue Hammer Unziale. The forms are based on old scripts in books of antiquity and the early Middle Ages and the font is a new variation of a classic. Neue Hammer Unziale font has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.

British designer Bob Newman's Horatio family is a delightful look back into the modernists experiments of the 1920s. This geometric sans serif design was created in 1971, and was originally released by Letraset. We are please to offer the family in digital form, in light, medium, and bold weights. Many designers during the 1920s were interested in reforming the alphabet, and wanted to reconcile letterforms with the machine and manufacturing technology of the age. Herbert Bayer at the Bauhaus was one of many designers who developed a universal alphabet," creating letters using only the simplest of geometric forms. Similar experiments in 1920s-style revivals were also created during the 1970s, most notably Herb Lubalin's ITC Avant Garde Gothic."

Twentieth Century was designed and drawn by Sol Hess in the Lanston Monotype drawing office between 1936 and 1947. The first weights were added to the Monotype typeface library in 1959. Twentieth Century is based on geometric shapes which originated in Germany in the early 1920's and became an integral part of the Bauhaus movement of that time. Form and function became the key words, unnecessary decoration was scorned. This clean cut, sans serif with geometric shapes was most appropriate. The lighter weights of the Twentieth Century font family can be used for text setting; the Twentieth Century bold and condensed fonts are suitable for display in headlines and advertising. Commonly spelled 20th Century.

Paperclip Wire is a great font for anyone looking to have a straightforward yet elegant look. All letters consist of Capitals yet the uppercase letters are exaggerated. Because of the nature of the font I suggest using it in no less than 20 pt. font. However, because it is simple it can easily be read when printed. This typeface was developed loosely based on a paper clip itself. the x-height was determined based off the size ratio of the clip and the cap height was based off of a paper clip as it is folded open. The overall shape is straight lines and subtle curves, all relating to each other to allow for a constant flow of letters.

Kismet has the look of a modern, ornamental alphabet, but looks are deceiving: the typeface was designed by John F. Cumming in 1879. The basic forms are strictly constructed, most based on the form of a circle, a shape which also appears again and again in the ornamentation. Cumming decorated his figures generously with spiral elements and tiny circles in the middle of the letters. Characteristics which suggest the beginning of the Jugendstil are the floral designs and some individual forms, for example, T, M or P. Small, pointed serifs add a sobering element to all the flowery, oriental decoration. Used sparingly in headlines, the extravagant Kismet will be sure to attract attention.

Hieronymus Andreae or latter in life Hieronymus Formenschneider as he proudly took a new surname to proclaim his success in the printing industry as the man who introduced the Fraktur script to the world of print. This project was undertaken at the orders of Emperor Maximilian I. One of Fraktur’s first appearances was in a joint venture with the great Albrecht Dürer. This font was based on a later work, Andreae’s magnus opus in the music field, the Coralis Constantini by Henry Isaac. Andreae worked as woodblock cutter and then became a publisher in the city of Nuremberg until his death in 1565. We at PLTF are proud to revive this enormously influential typeface.

Skaremoosh is display typeface that is wild and weird. It plays by its own rules, and so will you when you use this font. Included in Skaremoosh are standard ligatures, currencies, ampersands and footnotes consistent with the design. Skaremoosh is complete with alternates for each letter, and alternate ligatures for variation and stylistic choices. Skaremoosh is well suited for an informal look and feel for apps, games, fashion, posters, menus, graphic novels, and anything eye catching. This font was created after months of working on some very rule driven font projects. The need to just let loose was intoxicating - and the exact opposite of what I was doing. I really hope this font inspires some spirited designs!

“Growing up in Iceland, I was exposed to Scandinavian modernism from an early age. My parents had Arne Jacobsen furniture around the house and I was always enticed by the fun shapes and colors...."—SK Armchair Modern is derived from the logo created for Armchair Media Group by Stefan Kjartansson. The design is unabashedly ultra-modern, reminiscent of work by Mark Newson and the aforementioned Jacobsen. Armchair Media is a consulting company, working with clients from the Web and interactive TV, so the super-elliptical letterforms are also intended to evoke a traditional TV screen or CRT display. The complete family of five weights was co-produced by PSY/OPS in 2001.