Schneidler-Initialen (initials) was designed in 1936-37 by Friedrich Hermann Ernst Schneidler (1882-1956). Originally known as Schneidler Mediaeval, the font was revived and released by GroupType in 1994.

The font DXOldStandard Condensed No2 was revival on the basis of the Antiqua Condensed type, which was issued by type foundry of Russian from the beginning of the 20th century.

Originally completed in 2002, this font was lost in a hard disk failure. A later perusal of old disks unearthed an early version and this set was created from that.

Franklin Gothic EF is a font family from the Elsner+Flake Library. It had its debut in 2000. In 2016 it was renovated and an additional weight "Italic“ was added.

Outscript is a "groovy script font" which has alternative to already ones. The most popular of this category has a disrepute for commercial uses. Outscript is a better way to use for amusing commercial purposes or just fun.

Valvolina is a bold headline font inspired by Italian Futurism and the Moderne graphic design of the inter-war period. It uses elementary geometric shapes to build its characters, lending it an energy and punch. Dramatic and contemporary.

A World War II training film had its opening title card “First Aid” hand lettered in a casual, Art Deco sans serif design. This is now available digitally as Film Title JNL, in both regular and oblique versions.

The Dada* is a dumb idea that got way too far, but nonetheless, can still be quite useful for designers, illustrators and typesetters in need of manicules. * as with the foundry’s name, bonus pun for portuguese speakers only

Albion Sharp Italic is an elegant sharply cut italic display face. Its classical elegance is ideal for setting headings alongside conventional body text faces, and an ideal way to imbue such settings with a little life and energy.

You can't take anything for granted when it comes to the Party Mush font - every single letter has got its own personality...and madness! This is a font that will definately kick those party invitations the right way!

Talloween is a bizarre typeface in which the letters have a fraktur form, but look as if they had been made of wax that has partially melted. It comes in four styles, regular, oblique, shadow, and oblique shadow.

Spargo is inspired by 20s and 30s American typefaces, often seen on share certificates and other securities. Spargo is offered in six all capitals display typefaces. Bring a touch of inter-war America to your next design project!

Militaria JNL is a collection of various military insignias modeled from vintage printer's blocks. While this in no way represents all ranks, specialties and branches of the military, it is still a nice little package for themed projects.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

Himawari means ‘Sunflower’ in Japanese. It was raining while I worked on this font, so I needly something to cheer me up - like bright yellow sunflowers! Himawari Script is a nice and neat handmade font, which was (more or less) inspired by an older font of mine, called mama Bear and, like the font it was modeled on, was made with a bamboo pen and Chinese ink. Himawari Script comes with some swashes and a cute smiling sunflower (just enable Stylistic Alternates and hit *).

It was used in parts of Transylvania until the 1850s, although it was banned by Istvan, the first Christian king of the Hungarians (Szekel), in line with an order to "destroy all pre-Christian inscriptions". Hungarian runic script was usually written on wood-stone pieces in the bustrofedon style. In this method, the writing was written consecutively from right to left and from left to right. This article is available in Bosnian, Carpathian and Glozel editions. Whenever possible, I will present the fonts in these versions.

Bielik was created for a comic book that I’m working on. Main goal was to achieve random character of texts, so I made three glyphs for every letter, even for diacritics. Firstly I was drawing using brush pen with ink, so thickness of letters was really various. I decided to implement this style into a font. So that is how Bielik came into the world. This is good choice for comic books, children books, display designs and much more. Bielik is a polish word for Haliaeetus albicilla.

Down in his secret underground font laboratory, mild mannered John Roshell was tinkering with his iPad when the Apple Pencil suddenly bit him and he found himself feverishly creating letterforms on the tablet... Before long his hand was burning and glowing with superspeed — his penstrokes were longer than one-eighth of a mile; he was suddenly able to letter a twenty-story omnibus with newfound fontastic strength and could create tremendous weights with more leading than an express train... And thus was born: ORIGIN STORY!

Gill Floriated is based on a single character which Eric Gill drew as a decorated initial for use on a specimen setting of his Perpetua type. Although Gill was at first reluctant to produce a full alphabet, Monotype advisor Stanley Morison was able to persuade him to draw a few more characters from which the Type Drawing Office was able to create a full set. Issued in 1937 for display casting, it was revived by Monotype in 1995 for electronic publishing. Best used sparingly as dropped initials.

When you hear that name, you likely ask yourself, ‘why?!’ I did too, but the number of requests could not be ignored. Once I finally decided to move forward with it, the only way to solve the offering would be to adhere to the same theme of indulgence, I planned for the same number of optical weights AND Italics. Yeah, italic stencils… ok, why not? It’s not a new concept. One thing to note and a creative liberty I assumed during the design. Lust Stencil would not be just a redaction or removal of stress to produce a quick stencil. To do that, would just be a cheap solution. Strokes had to resolve themselves correctly and/or uniquely to the concept of the stencil format. And, it had to be heftier. For it it to look correctly, it needed about 8% additional mass to the strokes for it to retain the effervescent flow of the curves and the resolute scalloped lachrymals. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine. It would have taken even longer if not for font engineer and designer, Potch Auacherdkul. Thanks Potch.

Venetian 301 is the Bitstream version of the Centaur type family. Centaur was designed by the American book designer Bruce Rogers on the basis of Venetian typefaces of 1470 of Nicolas Jenson. Beautiful Italic based on a face by Ludovico degli Arrighi was developed by Frederic Warde who was an American calligrapher and typography researcher was added as Italic to Centaur. Adapted for mechanical composition by English Monotype in 1929. Its lettershapes owe much to pen-drawn letters of Italian humanist minuscule and cursive. This elegant humanist face is useful for the finest typography both for book text and display matter. Cyrillic version included small caps was developed for ParaType in 2003 by Dmitry Kirsanov.

The concept for ‘Scroll’ came to me fully formed when setting out to design a bold display typeface. The premise for this was to base the letter-forms on a rolled strip of paper. A simple enough idea in principle but one I hadn't seen before. After working out the basic characters I set about completing the full effect I was after. This was achieved by applying a suitably incised line following the curve at each turning point to convey the important three-dimensional aspects of a scroll. Although the phonetic name personifying the font was there as a working title from the outset, I didn't commit to it fully until everything was completely resolved.

19th Century Retro is a re-design of an official German font style (called ‘Fraktur’) which was used in official documents in the 19th and early 20th century. There is an alternative small letter ‘s’ which you generate by typing the @ sign. This alternative letter was the original small letter s which was printed in the middle and at the beginning of a word originally (for example in the words ‘slightly’ and ‘best’). However, if the s was at the end, the normal small letter s was used (for example in the words ‘it's’ and ‘columns’). For readability reasons I decided to put the normal small letter s onto the s-key on your keyboard.

Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva. The fonts were based on Cyrillic version of Excelsior that was developed in 1936 in Moscow by professor Michael Shchelkunov, Nikolay Kudryashev et al., that in its turn was based on Excelcior by Chauncey H. Griffith, 1931, Mergenthaler Linotype. Digital version was developed in ParaGraph (ParaType) in 1991. In 2012–13 designer Natalia Vasilyeva made some corrections in original digital data, extended character set and add bold italic style. The family was rereleased in ParaType in 2013.

Candida roman was designed by Jakob Erbar and appeared after his death with the typeface foundry Ludwig & Mayer in Frankfurt am Main in 1936. Due to the original designer’s death, the italic was designed by Walter Höhnisch shortly thereafter. In 1945 the roman was reworked, the breadth of the figures was reduced and the strokes made heavier. The bold weight followed in 1951. Later the typeface was expanded with further weights, which have for the most part fallen out of use. Three weights can still be found in catalogues, available as early as 1937 for the Linotype machine. Candida is a modest text font which retains its legibility even in smaller point sizes.

One Code was made in the end of 1998. Original naive character was specially created for an unique design project, but now it is ready for use as an ordinary typeface.

AZ Declan was inspired from a need to develop a san serif typeface with a scrawled scratchy feel to it. This font was designed for use as a fun bold headline.

A tribute to Jan Tschichold. His hot-metal font Saskia was released in 1931 by Schelter & Giesecke. This elegant italic font was finally redrawn, extended and digitized for present-day use.

Lagoena Font was designed by Zainul Faozi from San Studio. This was inspired by road markings. This font fits on any project You make, on posters, logos, ads, banners, and more.

Medina - Cute Valentine Display Font is a font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten dishes. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature. Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu. There it is. I really hope you enjoy it. Comments & likes are always welcome and accepted.

Sweet Frosting is a cute script font designed to be reminiscent of a script from a handwritten menu or sign. It will add a quirky, fun but still elegant touch to your designs. The smooth edges create a clean look for your modern design projects. It’s perfect for branding projects, social media posts, product packaging, product designs, labels, and invitations. Sweet Frosting comes with 297 glyphs- including 2 uppercase sets, lowercase, numerals, punctuation and includes 16 ligatures for a more natural handwritten feel. OPENTYPE: Sweet Frosting is an opentype font and recommended for programs that support opentype features such as Adobe Illustrator, Adobe Photoshop, Adobe Indesign, Pages, Word. Please make sure you know how to access these features before purchasing. ➤ What’s Included ❤ 297 glyphs — 2 Uppercase sets, lowercase, numbers, symbols, punctuation, 16 styled ligatures ❤ Multilingual Support : AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸỲŸÆŒßÞþ

The legendary retro-futuristic typeface returns, now in digital format! While there may be copycats of varying quality, none of them have taken the time and care to revive, reproduce, and expand the original Roc Mitchell “Corporate” typeface like Corporatus has. Made directly from scans of the original type specimens and expanded to include the full WGL4, Corporatus is YOUR solution for your retro, futuristic, and corporate design needs. Descended from Microgramma and originally designed to be the American competition to distant cousin Eurostile, Corporate and subsequently Corporatus is best known for being the typeface used by video game developer and publisher Nintendo for many NES-related media in the West, including its controllers, and by Colecovision for its logo. With the original Latin character set as well as Greek and Cyrillic lettering available, now you're playing with TYPOPOWER!

Say hello to New Stylish Script, Grandiose! This font combines stylish letter shapes with contemporary twist. It's the perfect fit for all luxury projects, such as elegant logos, printed quotes, lovely wedding invitation cards, social media headers, product packaging and a lot more! It includes full set of elegant uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all types of printing techniques+you can do embroidery, laser cut, gold foil etc. What's Included? - Grandiose OTF - More than 100 of glyphs - Ligatures - Works on PC & Mac - Simple Installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters - Fully accessible without additional design software. - Multilingual Support Let me know if you have any other questions. Thanks and have a wonderful day, dharmas