Download Festo Font Family

Download Festo Font Family

font family

Festo is a hand made font ideal for your graphic project.


Usage recommendations: Title, short text, children’s book, poster, book cover, brochure.

More…

Download Festo Font Family Style

Download Festo Font Family Style

Download Festo Font Family

font family

Festo is a hand made font ideal for your graphic project.


Usage recommendations: Title, short text, children’s book, poster, book cover, brochure.

More…

Download Festivo Letters Font Family

Download Festivo Letters Font Family

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L.

NO:8 Font’s Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer.

But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font.

The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

read more

Download Festivo Letters Font Family Style

Download Festivo Letters Font Family Style

Download Festivo Letters Font Family

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L.

NO:8 Font’s Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer.

But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font.

The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

read more

Download Festivo LC Font Family Style

Download Festivo LC Font Family Style

Download Festivo LC Font Style Family

With the lowercases of Festivo Letters Font Family, Festivo LC comes with new sketchs, new shadows and also ornaments. Festivo LC Font Family is a handmade layered font which includes several textures and shadows. Different font types can be created using various combinations of Festivo LC Fonts and colors.The kernings and the metrics of Festivo LC Fonts are not the same as Festivo Letters' kernings and metrics. It is advised not to use them together.The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

read more

Download Festivo LC FonS Family Style

Download Festivo LC FonS Family Style

Download Festivo LC FonStylet Family

With the lowercases of Festivo Letters Font Family, Festivo LC comes with new sketchs, new shadows and also ornaments. Festivo LC Font Family is a handmade layered font which includes several textures and shadows. Different font types can be created using various combinations of Festivo LC Fonts and colors.The kernings and the metrics of Festivo LC Fonts are not the same as Festivo Letters' kernings and metrics. It is advised not to use them together.The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

read more

Download Festival Script Pro Font Family

Download Festival Script Pro Font Family

font family

Festival Script is a logical evolution within the deco script territory previously explored by Koziupa and Paul in efforts like Aranjuez, Bellas Artes, Heraldica and Tanguera. This time around, the bilinear contrast is quite pronounced, and the ornamental swashing treatment is really kicked up, modernizing the bold luxury that elevated simple everyday objects to ridiculous levels of appeal and want in the twentieth century.

read more

Download Festival Script Pro Font Family Style

Download Festival Script Pro Font Family Style

Download Festival Script Pro Font Family

font family

Festival Script is a logical evolution within the deco script territory previously explored by Koziupa and Paul in efforts like Aranjuez, Bellas Artes, Heraldica and Tanguera. This time around, the bilinear contrast is quite pronounced, and the ornamental swashing treatment is really kicked up, modernizing the bold luxury that elevated simple everyday objects to ridiculous levels of appeal and want in the twentieth century.

read more

Download Fertigo Pro Script Font Family

Download Fertigo Pro Script Font Family

family of 1 font from exljbris

Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch.

More…

Download Fertigo Pro Script Font Family Style

Download Fertigo Pro Script Font Family Style

Download Fertigo Pro Script Font Family

family of 1 font from exljbris

Fertigo Pro Script. Fine connected type with a lyrical calligraphic touch.

More…

Download Fertigo Pro Font Family

Download Fertigo Pro Font Family

family of 2 fonts from exljbris

Enjoy Fertigo Pro. The font nobody was waiting for.

More…

Download Fertigo Pro Font Family Style

Download Fertigo Pro Font Family Style

Download Fertigo Pro Font Family

family of 2 fonts from exljbris

Enjoy Fertigo Pro. The font nobody was waiting for.

More…

Download Ferry Font Family Style

Download Ferry Font Family Style

Download Ferry Font Style Family

Ferry is the second contribution to Letters from Swedens Fabrik Suite a project inspired by Swedish industry, factories and harbours.

This time we found our inspiration in the three Stockholms Strm ferries that float in our beautiful capital. These boats were originally built as steam ferries between 1894 and 1907, but today they are motorized and function as charter boats taking groups out to the Stockholm archipelago. More…

We couldnt find any information about who was responsible for the interesting and sturdy lettering (just look at that K!) but this typeface was built with inspiration from those nine letters.

Ferry is designed by Erik Moberg and comes in one black style with language support for Latin, Greek and Cyrillic.

read more

Download Ferrus Font Family Style

Download Ferrus Font Family Style

family of 2 fonts from Wiescher Design

Ferrus is named after the location of famous French foundry Deberny & Peignot which was at 18 Rue Ferrus, XIV Paris.

More…

Download Ferox Font Family

Download Ferox Font Family

Ferox, but not bad to the bone. by Claudio Piccinini Demystifying the black letter negative identity, from Bastard to Ferox... More…

Weve been always fascinated by the work of Miles Newlyn and theres a thing that sets his work apart from the efforts of any other contemporary type designer, with maybe the only exception of Jonathan Barnbrook. Were referring to the fact that, although many designers flirted once with the black letter style (were not talking of revivals, here), the latter has been present constantly in Newlyns research, revealing an authentic interest and fondness, not to mention a deeper knowledge of the subject than many designers of today have. The fantastic exhibition and publication 'Blackletter: Type and National Identity', conceived and developed between 1997 and 1998 by Paul Shaw and Peter Bain has provided finally a historically informed evaluation without prejudices over the many categories of the blackletter, a style, that, we must not forget, has been the first to be mechanized for printing in Gutenbergs 42 line bible.

1) The desire of talking with you about the blackletter and of your latest Ferox typeface in particular, fostered from a statement you made we find really objective. You wrote For many of us, the blackletter type style has become synonymous either with evil by historical association, and second generation consumer design; sections of the music industry for example, or with quaintness of the Christmas card type. Clearly a typeface cant possess any political or moral attribute by itself, it is in context that these perceptions arise, and so the associations we make with letter forms are flexible, changing with time and society. Do you think, despite the lack of their commercial success, theres still hope for the updating and reprise of the blackletter?

Blackletter was indeed captured by the pirates of darkness, and I very much doubt that well ever see it on the side of light again. It tried to take it out of the shadows with Ferox, but because of black letters continuing usage precisely for its negative associations, it will continually accumulate dark vibes. Black letter is a repository for evil associations, in much the same way that society vilifies many things, Afghanistan for example. Perhaps (and I hope not) the west will begin the same process with Kufic and other Arabic styles. It IS possible.

2) Steven Heller, the famous and controversial design critic, has written many articles and a book on the associations between the swastika and the black letter with the Third Reich and Nazism, saying that the swastika is a symbol beyond redemption (despite his original use) andin his article Designing Hate (1) he stated that anything set in Fraktur, even the most harmless words and phrases, takes on an decidedly ominous look. It may be true, but we ask: why forever?

Perhaps answered above, I suppose that to reverse or reprise the now ominous forms, Designers will have to use black letter typefaces in upbeat, positive, friendly applications. This seems difficult to imagine, and goes against the process by which designers use form. I havent read the Steven Heller article, but I dont think anything is really beyond redemption, and that I suppose has influenced how I design. Many designers allow certain forms to become untouchable, and draw clear lines between what is part of their palette and what is not. For example I know designers that will only use san-serif faces, and designers that will only use a handful of san-serif faces. This is the same to me as disallowing oneself to use pink or blue, though it maybe the same as someone saying they only like R&B music. Personally I like to think that Im fairly broad-minded and my palette reflects that. Therefore, it will take a very large number of broad-minded designers to redeem black letter, and I dont see that happening soon. The exception that disproves the rule is Austria, where one can see many styles of black letter used on fire stations to chemists without such associations. Re-phrase the question from forever? to everywhere? and the answer will be different.

3) The first digital design taking a fresh approach (albeit based on a historical Albrecht Drer experimentation) to the black letter has been Bastard, by Jon Barnbrook. Although, as the name implied, the typeface obviously criticized nazism (and neo-nazism stupidity and hate), it did so using its same weapons and the name of the face was also intrinsically ironic. Do you think this may be seen as a start to recover the value of the beautiful black letter styles in a contemporary setting?

I dont think that Bastard is a criticism of Nazism or Neo-nazism. Jon, I expect, is interested in black letter for the same reasons as I am, and thats a fascination with a group of forms that have undeniable power, authority, and heart felt effect. As designers, we all utilize this language of forms; we depend on it to be able to guide users to the associations we want them to make. Its not surprising that that so little is said specifically about this language of form, since design critics and journalists are so scared of taste. Taste and form are very closely related, its difficult to talk about form without making value judgments; this shape is more beautiful than that shape. It is presently unfashionable to talk about taste in an era of multi-cultralism and diversity, as if taste were their enemy and not their doorway. I cant think of any design critic or journalist that can talk about form (and taste for that matter) with the clarity and judgment that Clement Greenberg did for the art world. Since I am very interested in car design, Id hoped to discover another language to describe form within this industry, but I found it to be a lot more obvious, and I suppose less precise than Id hoped (consisting mainly or positive and negative volumes). The fact that we decline or find it difficult to talk about form per se protects the designers skills in some way. Its a bit like if you have to say something is cool, then its not.

4) Talking about Ferox you said that you were ‘still in Oz Cooper shoes’ and this sounded to us particularly significant, since if we have to think of a ‘type feeling’ contrasting with the hard-edged-ness usually associated with black letter, our mind would surely go to the good-hearted, funny, optimistical and chocolaty forms of Cooper Black. Has Oz Coopers spirit been a good guide in your reprisal of the black letter through the design of Ferox?

Well, you had a go at talking about form there, and it shows how difficult it is. The best way is often to quote similarities with other designers work. Writing about form has been out of fashion now for too long, issues like context, business, social and cultural aspects have begun to obscure the designers skills core skills, which I believe is still Taste. However, Ive never started out on a project with the intention to create something tasteful. I approach a project with the intention of growing, broadening and refining my taste. Cooper Black was an influence on the terminals of the letters, though not in any other aspects. The major influence on the design though was technology, the tool, since all the curves are constructed from ellipses, a very easy shape to make on the computer. I was again pursuing my interest in the synthesis of historical form and computer aesthetics.

5) We like to see Ferox as a beautiful and courageous step towards the reprise of black letter today and we hope to see more designers acquiring interest in it and in exploring and studying a rich and culturally important patrimony that could be sadly dismissed and relegated because of the nazis blindness. Unluckily you told us Ferox wasnt selling at all. We know that true experimentations hardly sell well, but they often prepare the path for work to come. What can you tell us, also about your migr release Sabbath Black?

I like black letter, and Im interested in its rhythm, colour and dynamics, but its not my intention to reprise it. I wouldnt dream of using it on a corporate identity, even though I think I could make the case for it. Its a novelty type form, as most of my other earlier typefaces are novelty fonts too. The thing is I love novelty, and so do most people. Theres something uniquely human about liking odd, unique, personal, sentimental things. The reason why Ferox hasnt sold is that Im not actively selling it. The proliferation of small foundries selling typefaces of varying quality has meant that designers today just dont have the time to learn about typography and the typefaces available. For a foundry to be successful it has to do a lot of marketing, and Im not prepared to get involved with that yet. I hope to release Ferox through a large foundry soon. Sabbath Black is based on the ‘Old English’ plastic lettering stencil by Linex. So its really just the black letter companion to Template Gothic. I never intended to release it but Anne Burdick saw it and asked me for a beta version to use in an issue of migr that she was guest editing. Thats how Rudy and Zuzanna got to see it and thats how it got into the migr library.

5) Another very interesting and demystifying typeface based on the black letter is the great Auferstehung, designed by , from the Linotype library, based on the very first typeface of all time, the aforementioned 42 line Bible type by Johannes Gutenberg. It spans over all type history. What do you think about it?

I would like to use it sometime, but Im not sure what for, Id love to see it carved in to the wooden beams of a neo-medieval pub, spelling out a slogan about how good it is to drink microbrewery beer.

6) We wish you to sell more of your great typefaces. On our part, we will always sustain your work! Thank you for the talk, Miles.

Its great to talk with someone so interested.

(1) from the AIGA Journal 12, no.2, 1994. The article has been also reprinted in the excellent book ‘Texts on Type’ edited by Heller and Philip B. Meggs and published by Allworth Press, 2001

read more

Download Ferox Font Family Style

Download Ferox Font Family Style

Download Ferox Font Family

Ferox, but not bad to the bone. by Claudio Piccinini Demystifying the black letter negative identity, from Bastard to Ferox... More…

Weve been always fascinated by the work of Miles Newlyn and theres a thing that sets his work apart from the efforts of any other contemporary type designer, with maybe the only exception of Jonathan Barnbrook. Were referring to the fact that, although many designers flirted once with the black letter style (were not talking of revivals, here), the latter has been present constantly in Newlyns research, revealing an authentic interest and fondness, not to mention a deeper knowledge of the subject than many designers of today have. The fantastic exhibition and publication 'Blackletter: Type and National Identity', conceived and developed between 1997 and 1998 by Paul Shaw and Peter Bain has provided finally a historically informed evaluation without prejudices over the many categories of the blackletter, a style, that, we must not forget, has been the first to be mechanized for printing in Gutenbergs 42 line bible.

1) The desire of talking with you about the blackletter and of your latest Ferox typeface in particular, fostered from a statement you made we find really objective. You wrote For many of us, the blackletter type style has become synonymous either with evil by historical association, and second generation consumer design; sections of the music industry for example, or with quaintness of the Christmas card type. Clearly a typeface cant possess any political or moral attribute by itself, it is in context that these perceptions arise, and so the associations we make with letter forms are flexible, changing with time and society. Do you think, despite the lack of their commercial success, theres still hope for the updating and reprise of the blackletter?

Blackletter was indeed captured by the pirates of darkness, and I very much doubt that well ever see it on the side of light again. It tried to take it out of the shadows with Ferox, but because of black letters continuing usage precisely for its negative associations, it will continually accumulate dark vibes. Black letter is a repository for evil associations, in much the same way that society vilifies many things, Afghanistan for example. Perhaps (and I hope not) the west will begin the same process with Kufic and other Arabic styles. It IS possible.

2) Steven Heller, the famous and controversial design critic, has written many articles and a book on the associations between the swastika and the black letter with the Third Reich and Nazism, saying that the swastika is a symbol beyond redemption (despite his original use) andin his article Designing Hate (1) he stated that anything set in Fraktur, even the most harmless words and phrases, takes on an decidedly ominous look. It may be true, but we ask: why forever?

Perhaps answered above, I suppose that to reverse or reprise the now ominous forms, Designers will have to use black letter typefaces in upbeat, positive, friendly applications. This seems difficult to imagine, and goes against the process by which designers use form. I havent read the Steven Heller article, but I dont think anything is really beyond redemption, and that I suppose has influenced how I design. Many designers allow certain forms to become untouchable, and draw clear lines between what is part of their palette and what is not. For example I know designers that will only use san-serif faces, and designers that will only use a handful of san-serif faces. This is the same to me as disallowing oneself to use pink or blue, though it maybe the same as someone saying they only like R&B music. Personally I like to think that Im fairly broad-minded and my palette reflects that. Therefore, it will take a very large number of broad-minded designers to redeem black letter, and I dont see that happening soon. The exception that disproves the rule is Austria, where one can see many styles of black letter used on fire stations to chemists without such associations. Re-phrase the question from forever? to everywhere? and the answer will be different.

3) The first digital design taking a fresh approach (albeit based on a historical Albrecht Drer experimentation) to the black letter has been Bastard, by Jon Barnbrook. Although, as the name implied, the typeface obviously criticized nazism (and neo-nazism stupidity and hate), it did so using its same weapons and the name of the face was also intrinsically ironic. Do you think this may be seen as a start to recover the value of the beautiful black letter styles in a contemporary setting?

I dont think that Bastard is a criticism of Nazism or Neo-nazism. Jon, I expect, is interested in black letter for the same reasons as I am, and thats a fascination with a group of forms that have undeniable power, authority, and heart felt effect. As designers, we all utilize this language of forms; we depend on it to be able to guide users to the associations we want them to make. Its not surprising that that so little is said specifically about this language of form, since design critics and journalists are so scared of taste. Taste and form are very closely related, its difficult to talk about form without making value judgments; this shape is more beautiful than that shape. It is presently unfashionable to talk about taste in an era of multi-cultralism and diversity, as if taste were their enemy and not their doorway. I cant think of any design critic or journalist that can talk about form (and taste for that matter) with the clarity and judgment that Clement Greenberg did for the art world. Since I am very interested in car design, Id hoped to discover another language to describe form within this industry, but I found it to be a lot more obvious, and I suppose less precise than Id hoped (consisting mainly or positive and negative volumes). The fact that we decline or find it difficult to talk about form per se protects the designers skills in some way. Its a bit like if you have to say something is cool, then its not.

4) Talking about Ferox you said that you were ‘still in Oz Cooper shoes’ and this sounded to us particularly significant, since if we have to think of a ‘type feeling’ contrasting with the hard-edged-ness usually associated with black letter, our mind would surely go to the good-hearted, funny, optimistical and chocolaty forms of Cooper Black. Has Oz Coopers spirit been a good guide in your reprisal of the black letter through the design of Ferox?

Well, you had a go at talking about form there, and it shows how difficult it is. The best way is often to quote similarities with other designers work. Writing about form has been out of fashion now for too long, issues like context, business, social and cultural aspects have begun to obscure the designers skills core skills, which I believe is still Taste. However, Ive never started out on a project with the intention to create something tasteful. I approach a project with the intention of growing, broadening and refining my taste. Cooper Black was an influence on the terminals of the letters, though not in any other aspects. The major influence on the design though was technology, the tool, since all the curves are constructed from ellipses, a very easy shape to make on the computer. I was again pursuing my interest in the synthesis of historical form and computer aesthetics.

5) We like to see Ferox as a beautiful and courageous step towards the reprise of black letter today and we hope to see more designers acquiring interest in it and in exploring and studying a rich and culturally important patrimony that could be sadly dismissed and relegated because of the nazis blindness. Unluckily you told us Ferox wasnt selling at all. We know that true experimentations hardly sell well, but they often prepare the path for work to come. What can you tell us, also about your migr release Sabbath Black?

I like black letter, and Im interested in its rhythm, colour and dynamics, but its not my intention to reprise it. I wouldnt dream of using it on a corporate identity, even though I think I could make the case for it. Its a novelty type form, as most of my other earlier typefaces are novelty fonts too. The thing is I love novelty, and so do most people. Theres something uniquely human about liking odd, unique, personal, sentimental things. The reason why Ferox hasnt sold is that Im not actively selling it. The proliferation of small foundries selling typefaces of varying quality has meant that designers today just dont have the time to learn about typography and the typefaces available. For a foundry to be successful it has to do a lot of marketing, and Im not prepared to get involved with that yet. I hope to release Ferox through a large foundry soon. Sabbath Black is based on the ‘Old English’ plastic lettering stencil by Linex. So its really just the black letter companion to Template Gothic. I never intended to release it but Anne Burdick saw it and asked me for a beta version to use in an issue of migr that she was guest editing. Thats how Rudy and Zuzanna got to see it and thats how it got into the migr library.

5) Another very interesting and demystifying typeface based on the black letter is the great Auferstehung, designed by , from the Linotype library, based on the very first typeface of all time, the aforementioned 42 line Bible type by Johannes Gutenberg. It spans over all type history. What do you think about it?

I would like to use it sometime, but Im not sure what for, Id love to see it carved in to the wooden beams of a neo-medieval pub, spelling out a slogan about how good it is to drink microbrewery beer.

6) We wish you to sell more of your great typefaces. On our part, we will always sustain your work! Thank you for the talk, Miles.

Its great to talk with someone so interested.

(1) from the AIGA Journal 12, no.2, 1994. The article has been also reprinted in the excellent book ‘Texts on Type’ edited by Heller and Philip B. Meggs and published by Allworth Press, 2001

read more

Download Ferns Font Family Style

Download Ferns Font Family Style

Download Ferns Font Style Family

Beautiful fern silhouettes. Ferns is a picture font with highly detailed illustrations drawn by hand from careful botanical study. Great anytime you need an organic feel, some nice plants or a touch of nature.

read more

Download Fernburner NF Font Family

Download Fernburner NF Font Family

family of 1 font from Nick's Fonts

This stunning display face is based on Hans Bohns 1929 opus for Gebr. Klingspor, originally named Orplid. One of the treasures discovered in the legendary green vinyl binder that launched Nicks love of type, its a real crowd pleaser. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

More…

Download Fernburner NF Font Family Style

Download Fernburner NF Font Family Style

Download Fernburner NF Font Family

family of 1 font from Nick's Fonts

This stunning display face is based on Hans Bohns 1929 opus for Gebr. Klingspor, originally named Orplid. One of the treasures discovered in the legendary green vinyl binder that launched Nicks love of type, its a real crowd pleaser. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

More…

Download Fermo TRF Font Family Style

Download Fermo TRF Font Family Style

Download Fermo TRF Font Family Style

family of 6 fonts from TipografiaRamis

Taking into consideration some complaints about lack of capital letters and deficiency of heavier weight styles, the Fermo typeface was redesigned to replace the existing font, dated 2002.

More…

Download Ferforje Font Family Style

Download Ferforje Font Family Style

Download Ferforje Font Style Family

In Turkish, Ferforje, is originally a French word and written as "en fer forg", which means wrought iron. Nearly all over the world, the doors, the windows and many more parts of the houses are decorated with decorative wrought iron.

The stylish and mysterious configuration of the wrought iron had been the source of inspiration for “Ferforje”.

Ferforje had been built up with quite smart and unique borders and frames.

With Ferforje borders and frames, unlimited variations can be created. With Ferforje, you can decorate your designs.

read more

Download Feosa Font Family Style

Download Feosa Font Family Style

family of 5 fonts from Intellecta Design

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

More…

Download Fenwick Font Family

Download Fenwick Font Family

family of 8 fonts from Typodermic

Fenwick is a lineal, metal type with unusual proportions. The almost sinuous curves of the numerals revive their inherent Arabian roots and the italics line thickness was amended by eye so as not appear too mechanical.

More…

Download Fenwick Font Family Style

Download Fenwick Font Family Style

Download Fenwick Font Family

family of 8 fonts from Typodermic

Fenwick is a lineal, metal type with unusual proportions. The almost sinuous curves of the numerals revive their inherent Arabian roots and the italics line thickness was amended by eye so as not appear too mechanical.

More…

Download Fenotype Dingbats Font Family

Download Fenotype Dingbats Font Family

family of 1 font from Fenotype

A set of urban images for flyers, posters and LP-covers.

More…

Download Fenotype Dingbats Font Family Style

Download Fenotype Dingbats Font Family Style

Download Fenotype Dingbats Font Family

family of 1 font from Fenotype

A set of urban images for flyers, posters and LP-covers.

More…

Download FeltTip Futhark Font Family

Download FeltTip Futhark Font Family

The vikings searched in vain for hundreds of years over much of the northern hemisphere, but their dreams of writing with felt-tip pens went unfulfilled--until now!

This is a novelty font containing the 24 runes of the Futhark, but with a modern bent. In addition to regular, bold, oblique, and bold oblique, we have included two outline styles.

Also included is a PDF page identifying the characters.

read more

Download FeltTip Futhark Font Family Style

Download FeltTip Futhark Font Family Style

Download FeltTip Futhark Font Family

The vikings searched in vain for hundreds of years over much of the northern hemisphere, but their dreams of writing with felt-tip pens went unfulfilled--until now!

This is a novelty font containing the 24 runes of the Futhark, but with a modern bent. In addition to regular, bold, oblique, and bold oblique, we have included two outline styles.

Also included is a PDF page identifying the characters.

read more

Download Feltrinelli FoSt Family Style

Download Feltrinelli FoSt Family Style

Download Feltrinelli FoStylent Family

family of 1 font from T-26

read more

Download Felt Tip Woman Font Family Style

Download Felt Tip Woman Font Family Style

Download Felt Tip Woman Font Style Family

Felt Tip Woman is based on the handwriting of designer Patricia Thompson. The name was inspired by a mis-hearing of the name “Felt Tip Roman” by a colleague.

read more