Ekeras V2 Inline is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Ekeras is a futuristic, techno-looking and dynamic typeface with an appearance of machined-like parts with sharp and rounded edges. The large Pro font character set supports most Central European and many Eastern European languages.

Teip, designed by Alex Jacque in 2014, is a layerable geometric typeface system. Teip developed as a typographic exploration of overlapping tape where a over/under, foreground/background interplay would be a stylistic motif throughout. For the most part, the uppercase characters have a vertical stress in the foreground, while lowercase have the horizontal stressed in the foreground. Because this is a unicase typeface, upper and lower case glyphs can be mixed for a more random feel in the shape of individual words and the flow of sentences. In Teip, glyph widths and kerning are the same across all styles and weights. This opens up the ability to easily layer one style on top of another to create a large number of color and stylistic combinations.

Ingram BT might be described as Deco, or Arts & Crafts, in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines. There are two sets of alternate glyphs accessible via stylistic and contextual OpenType features. The contextual alternates offer the most interesting glyph substitutions. There are also oldstyle and tabular figures, superiors and inferiors, as well as unlimited fractions. Ingram is a very handsome, casual typeface, with a slightly rough finish. The compact lowercase remains very readable at text sizes and it is a pleasure to turn on the earth tone colors and typeset left and right justified paragraphs! The extended character set supports Baltic and Central European languages.

Konsteady a new very attractive brushed font with a natural, detailed and perfect texture. Additional Konsteady Underlines. Konsteady is perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm and more.

Novita is a new something. This font is a new very elegant – extremely slanted – joining script with long ascenders and descenders. It is the fiancée of Novido which is the more elaborate male part of this font pair.

Hello Aster is a new font brushed textured script which is also equipped with additional swashes. It is perfect for brand projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, or anything to feature a persona charm.

This is the Intellecta’s digitization of the fantastic heritage by Charles Derriey. Besides the original ornaments and fleurons, our collection has new interpretations and new designs based in the original work. A tour-de-force by Iza W.

This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set. A totally enjoyable reworking of an original design. Now also with a Bold and a brand new Light variant! Please note that these variants are made by adding/removing from the regular shape, so the letters no longer sits on the baseline. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century. Although Celtic lettering evolved on its own and prompted different calligraphic styles after the crusades, elements of the Arabic influence survived with it, its appeal remaining evident to this very day. For instance, this kind of lettering is very similar to the one Louis Tiffany used to make the most recognizable athletic insignia in North America - the New York Yankees logo, which is now over 110 years old, and has inspired hundreds of spin-offs in many athletic and non-athletic fields all over the world. The original character set made by Kausche was quite minimal, consisting of only numerals and uppercase letters along with a few alternates. But in this digital version the set has been considerably expanded into uppercase, lowercase, numerals, punctuation, a complete set of accented characters, and more than 15 alternate letters built into the font. Sultan is a great font choice particularly for design contexts of fantasy, middle ages legend, mystical and new age content, pirate literature, and Irish history. But it is also an excellent all-purpose display and poster font in general.

A new gothic great for books and magazines.

Geometric Sans for any use. Strong, modern, new.

A new gothic; great for books and magazines.

Digibeck represents a new style of digital font.

Neeskens, by Enric Jardí. A few years ago we used to talk about Neeskens as the font preferred by the crew of Ganimedes' commercial vessels. Now we see it as one of most solid geometrics of our typefaces. Neeskens has two versions: solid and inline.

Somes Slab Small Caps Extra-Light Display IMPROVED VERSION 2.0 + SWASH Somes Slab is a slab serif small caps designed by Ivan Yelizarow in 2019, inspired and named after The Matiu/Somes Island in Wellington, New Zealand. Its distinctive feature is a combination of wavy curves with slab serifs that makes it ideal for titling, headlines, subheads, spotlighting a short few-paragraph text that needs detachment. Best at Display sizes. Complete classification: Wavy Squircle Slab-Serif Small Caps Extra-Light Display.

YES! Seemingly insoluble lettering challenges can now be resolved by Comicraft’s uneFXpected and eFXceptional new font, FXMACHINA! Generate Enormous Threatening Sound Effects or Sinister Spikey Logos and Titanic Title Lettering with this Nefarious Machination designed by John Roshell. Crossover Events between Parallel Universes will instantly become Darker and more Secretive with the application of this Apocalyptic Omega/Alphabet. It’s like a Celestial Intervention! FXMachina features upper and lowercase characters, Western & Central European accents, and “Spike Mode” in Opentype Stylistic Alternates.

Albemarle is a distinctive text font based on hand lettered text from the turn of the century. It's designed to work well at text sizes, but to have some of the flair and personality of a calligraphic font. The result is both attractive and readable and doesn't look much like any other text font. We've been working on expanding the Albemarle family so that it now includes not just Albemarle, but also three swash variations and a new italic version of the font.

A very glitzy Blitz! I always wanted to design a typeface that was top heavy, but I never knew how not to make it look like Antique Olive, until recently -- I had an idea. My new family is very readable despite it beeing top heavy, thin on the low end and thick on the upper end. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

An ultra modern typeface which combined with the proper text font can revive any dull-looking document. The wide simple forms combined with the selective application of a few distinct characteristics has resulted a stylish typeface which shines in the top 10 of our most wanted list. The powerful new “Pro” version comes complete with Greek and Cyrillic and includes a number of stylistic alternates as well as 2 groups of stylistic alternate sets, the last group being unicase characters.

Introducing. Dassie - Expanded Display Fonts Cool display fonts are ready to create new ideas for your design projects. It is good to be applied to various types of designs for young people today and goes back to the past. Now you can team up with this font to create t-shirt designs, book covers, posters, logos, landing pages, promotional designs, social media posts etc. See some of the previews above for reference. Features: • All Caps • Numeral • Punctuation • Multilingual • PUA Encoded Thanks.

Abendschroth is a wonderful dreamy and whimsical typeface for novel titlings and other fiction headline settings. Also a sophisticated choice for lullabies, girl’s literatur, murder poems, fairy tales, short stories and christmas gift books. New! There is now two alternative fonts: Abendschroth Scriptive and Abendschroth Slim. Even more jolly, whimsical and – wonderfully odd! – Enhance your means of typographic expression with this brandnew romantic fonts. Abendschroth supports every Euro-Latin language. For the choice of a similar font go to Albyona.

Red Top is the UK name for the tabloid press, the scandal sheets of journalism, scourge of royalty, errant politicians and public figures, and celebrants of sex, celebrity and astrology: all human life is there as they used to say in the now defunct News of the World. For the budding media moguls amongst you – or for designers who want to make their headlines shout a little louder – here at last is Red Top the font. Splash it all over!

Alice in Wonderland. Innocent, emotional, almost childish, looks like it just came out of a fairy tale. The long stems, quirky serifs and loose characters, as well its youthful energy, establish an emotional attachment to this typeface. So perfect for children's books. Designer Dimitris Foussekis completed this font with a matching series of 62 pictograms the so-called ‘Wonderbats’. Now, the brand new ‘Pro’ version has been expanded to include all European languages by supporting simultaneously Latin, Greek and Cyrillic scripts.

On the very northern edge of South Tucson lies an Old Pueblo institution, Le Caves Bakery, Home of the Vegetable Donut. That’s what they were called when Le Caves opened; now you’d say Vegan Donut, or No Animal Products Used. Radical concept in the Brave New World of 1935. I started with the letters from their sign and extrapolated the rest of the font from those. Deco Donut Fat is extrapolated from Deco Donut. If you want a donut, type a 0 (zero).

Mirfak™ is a new take on a work from Adrian Frutiger made in 1964. In the first place, it was a specific alphabet made for only one book. Only lowercases, capitals, numbers and a few mathematical signs where created. Covering only English language, used only once and unknown by most, we considered this Slab Serif as an hidden gem that needed a modernization. Mirfak™ is a result of a project whose goal was to take a beautifully designed Slab Serif and update it so that its technical standards surpass the status quo, leaving us with a truly superior slab serif family. Entirely coded from scratch with Metafont™, this family is not only an update but an expansion of the original concept, covering now most used languages on earth. Modernized and unique, Mirfak’s 3 weights, light to bold, can give a full range of expression for interfaces and corporate design; in print, on screen and in multiple languages.

ORIGRAM PRO is the full version of ORIGRAM Free Font, a font with over 100k downloads, and counting! This font was already featured in dozens of websites and Design Blogs. I decided to remake this font, smoothing out a few rough edges - so to speak - and adding value to the end result, with several different interesting tweaks and updates. Inspired in the Origami and Tangram tradition, the basic shape is an octagon. Geometrical and regular, resulting in a neat and captivating display font. Not particularly conceived to be used in common text, this stylized font will add value to any large scale image within the realm of logos & branding, outdoors, packaging, titles, magazines, posters, signs, shirts, scrap-booking... Your imagination is the limit. This display font comes now with Uppercases, updated Lowercases, Numbers, and a slew of new Diacritic Marks and Punctuation Marks. A large number of special characters was included in the package, enriching the font’s versatility and usability.

It's important to realize that each of us is unique. I wish Ring Stag will emphasize it. Single but ready for anything. The new Ring Stag is bolder, more dynamic and masculine. New addition to the big family called Ring!

Churchward Ta Tiki is a new font release by BluHead Studio, LLC from the exciting and unique typefaces of New Zealand designer Joseph Churchward. We will be releasing fonts from his extensive library in OpenType format on a regular basis.

The Art Nouveau styles of the late 19th century exhibited a bold approach to organic lines and lavish decoration. This new style was spread throughout the world and helped usher in a new era that led to modern art and design.

Spinner Rack Pro BB is a new and improved version of the classic Blambot typeface, Spinner Rack BB! New spacing, kerning, manga characters, barred-I correction, additional accented characters, autoligatures, contextual alternates, and a plain bold weight for the first time!

Marstain a new font that is brushed is very attractive with a natural, detailed and perfect texture, also has an additional Marstain Underlines. Perfect for brand projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm etc.

Decima Round – one more addition to the Decima fonts family. It is a new version of recently released Decima Pro fonts with new content and styles. The main difference in the new version is a visual softer impressions of letter shapes made by the rounding of all glyphs’ corners and terminals. Decima Round is released in OpenType format with some OpenType features and support of most Latin languages as well as Cyrillic.

Yuge, apparently, is how New Yorkers pronounce huge. I have never been to New York, so I can’t tell if this is a fact. But I often hear a certain New Yorker pronounce it that way, so I guess it’s sort of true. Yuge is a handwritten font - made with a Sharpie pen. Believe me, it is a good font. It is fantastic. It is the best font ever. It is YUGE! ;-)

It’s the end, but the moment has been prepared for... the Time War is over and things are wearing a bit thin, time for a new face, a new body, a new companion for our Timelord font... a REGENERATION! Features: 138 automatic connecting ligatures Language support for Western & Central Europe and Vietnamese Solid Variable Font for complete control of weight and italic Levels Variable font can access any point between Inline, Midline & Outline

Dearest is a distinct flowing script based on handwritten characters found in a 19th Century German book chronicling a history of the Middle Ages. Originally released in 2001 as a set containing two styles, Script and Swash, Dearest is now expanded in 2014 as a pro font with several hundred new characters including support for Central European, Cyrillic and Greek languages. Other Opentype features include ligatures, fractions and figures, Roman numerals, alternate letterforms and more swashes to expand the possibilities of this designer-friendly font. In addition to the Dearest Pro font, a new companion font has been added- P22 Dearest Alternates. The characters contained in this font are part of the pro font, but are also designed to be used with Dearest Script and Dearest Swash and is intended for those who have applications that do not support Opentype features.

The recent tragedies in America have resulted in a tremendous need for donations. This new font was created to benefit the victims in New York. This font is a great opportunity for artists, designers and computer users to show their support. The font needs to be big, 36 points or higher is recommended. It can be used at smaller point sizes, but there is little detail at smaller sizes. I felt a need to do something, ever since I saw those two beautiful buildings collapse in New York. You see, I went to school in New York, and I learned so much there. I truly love New York, and this is a way for me to show my support to the Big Apple. A $20.00 donation to the Twin Towers Fund is requested for those who download this font. Please send the donation to: Twin Towers Fund General Post Office P.O. Box 26999 New York, NY 10087-6999 Special thanks to those who reviewed my font and offered advice on what needed to be done to complete the font.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.