A large and rare undertaking, Charcuterie Serif Font is a family of ten distinct yet related typefaces, many of which have their own font families, and three decorative/ornamental typefaces.

Charcuterie Serif Font ambitious, yet accessible, set offers a virtually endless series of combinations, allowing each designer to form a tasty platter of ingredients, one that is uniquely theirs, for each project.

Used solo or blended with other Charcuterie Serif Font from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising.

Charcuterie Serif Font Dig deep into each typeface to find a rich set of fonts (the number depending on the typeface), revealing variations upon variations.

The word Charcuterie Serif Font means the preparation of meats. Today, it often refers to a wide and varied selection of meats served together, listed as a single, beautiful, and complex menu item.

Charcuterie Serif Font celebrates the personally crafted—the sense of the human touch giving it a slightly rough edge that only adds to its charm.

The “roughness” derives from a slight stressing and small irregularities in some fonts. This bit of unevenness doesn’t dominate the look—it’s simply the personality and humanity of the type designer cooked into the final piece.

Charcuterie is an homage to the inventiveness, passion, and care of peasants who proudly handed down recipes through generations.

Their humble fare is used by bistro chefs to create masterpieces by ever so slightly transforming the simple into the sumptuous.

Similarly, with Charcuterie the designer can employ the handcrafted look of the many letters within these font families to create a project that is jaunty, quirky, and juicy or one that is a gloriously rich and varied feast for the eyes.

The family of Charcuterie is a bit reminiscent of early 1900s styling, not precisely Bauhaus or Art Deco, not a revival, but an imagined restoration based on memory, captured from novels and movies set in Paris, a modern echo of collections of impressions of a time when people strolled along and stopped to read a French bistro chalkboard menu drawn with letters that resemble Charcuterie.

It was a way of living, of enjoying the food of the well-considered choices of the trained, experienced bistro chef, of sipping local wines and basking in the warmth of chatting with friends on leisurely weekends, sitting at little tables and observing the passersby.

Charcuterie is a smorgasbord of delightful type inspired by our sense of a happy time at a splendid table.

Charcuterie also serves to transcend a central taboo in our industry—that of mixing too many fonts in one page or project.

This forbidden act gained its unfortunate reputation from abuse and excess or simple inexperience. Charcuterie brings back a powerful tool for artfully tackling a project and retaining all the complexity the designer envisions.

It does all the heavy lifting, taking the guesswork out of combining typefaces and providing a set unified by the eye and hand of one type designer.

Despite the multitude of font combinations available, there is a sense of harmony and continuity, just as the interior design world discovered that they could, indeed, combine plaids, stripes, and florals if they were based on a common thread: such as the same tones or intensities of hues.

The single hand that created Charcuterie imposes a sense of compatibility, despite how different the fonts initially appear to be.

The further glue that holds this set together is the availability of font files, purchased separately, of decorative elements: Charcuterie Catchwords, Charcuterie Ornaments, and Charcuterie Frames (borders, corners, and frames).

If you’d prefer, purchase individual fonts within these typeface families. Each is strong enough to stand on its own.

However, using elements from many of these faces and fonts adds layers of textures and richness to your work, and with their infinite number of variations, flavors the work with your own talent and flair.

The entire family lends itself to experimentation, acting as a complete and complex toolbox, enabling you to work in extraordinarily varied ways within the subtle yet studied constraints of the collection as a whole.

Font | Prestinia PRO

Skooled Serif is a clean hand-drawn font face that is perfect for creating a handmade look on your website. The text is easy to read, even in smaller sizes.

The download includes all of the formats needed to embed the font in your webpage. The font features 195 glyphs including accented characters.

Formats included:

– TTF
– OTF
– SVG
– WOFF
– EOT

A distressed typewriter font design, great for mimicking the distressed and sloppy ink effect of older machines.

A complete set of characters with support to Albanian, Bosnian, Croatian, Czech, Danish, Dutch, Estonian, Faroese, French, German, Hungarian, Icelandic, Italian, Malagasy, Norwegian, Polish, Portuguese, Serbian, Slovak, Slovenian, Spanish, Swedish languages.

A Geometric Didone.

Baltimore Typewriter Basic Pack: 4 styles from this typewriter-style font: regular, bold, italic, and “keys” (letters in circle capsules).

The pack has a true type and open type formats available. So, eight fonts for a really special price: only 49,00 USD !!! LIMITED TIME OFFER.

A complete set of characters with support to Albanian, Bosnian, Croatian, Czech, Danish, Dutch, Estonian, Faroese, French, German, Hungarian, Icelandic, Italian, Malagasy, Norwegian, Polish, Portuguese, Serbian, Slovak, Slovenian, Spanish, Swedish languages.

Another serif handwriting font. It includes numbers as well. Enjoy if bought!

“Blue Goblet Serif Font is a series of fonts and ornaments by Cory Godbey and Jeremy Dooley. This best-selling series has now been extended to include a new member, Blue Goblet Serif Font.

Blue Goblet Serif Font comes with a variety of weights and also an outline version. Blue Goblet is hand-lettered by the artist, Cory Godbey, and is organic, spontaneous, and exuberant.

Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script.

Not only is Blue Goblet Serif an excellent choice, but it also is a member of a wide family of different fonts.

You can use it side by side with the original Blue Goblet, and there is a wide range of ornaments available, totaling over 350 illustrations!

These illustrations include frames, florals, and other text ornaments that can be inserted into your text and resized at will.

This makes the Blue Goblet series a great pick when you want a type system that works very well together for a very unique and consistent look. The Blue Goblet series continues to grow and be expanded, making it a valuable investment.

Blue Goblet Serif also includes auto-replacing ligatures that make it appear that the script was drawn by the artist’s own hand, just for you!

Blue Goblet Serif also includes a wide variety of alternates that can be accessed in any OpenType-enabled application.

Blue Goblet includes over 150 OpenType glyphs and is loaded with features including an even more unique alternate alphabet.

Included are swash alternates, style sets, old-style figures, and small caps. Please see the informative PDF brochure to see these features in action.

OpenType-enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes glyphs to support a wide range of languages.

Blue Goblet Serif is a great choice for display and short blocks of display text, children’s books, packaging, or other unique applications.

Fill in the counter spaces with color for a unique look, or alternate the different weights. Use Blue Goblet whenever you want to inject a sense of fun and whimsy into your designs. Give the Blue Goblet series a try today!

Presenting Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Thin Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.