Provan is a contemporary humanist sans serif with roots in calligraphy and incised letters. These timeless inspirations result in a typeface family that transcends fashion and adds a strong sense of authenticity to brands. The regular version of Provan has angled stem endings and oblique stress in curved shapes which add to its friendly and legible warmth. Provan Formal straightens these stroke endings to bring a more refined alignment of letters. The typefaces include swash capitals, small capitals, old style figures and special Celtic capital variants. The Inline version of Provan is useful for drop capitals, book covers and posters. Provan bucks the ubiquitous neutrality of geometric typefaces and exudes a sense of humanity, craftsmanship and warmth.

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.

Broadways Beautiful is an enchanting handwritten font that captures the essence of elegance and grace. With its meticulously crafted letterforms, each stroke in Broadways flows seamlessly, exuding a timeless and sophisticated beauty. The gentle curves and delicate details of this font give it a handcrafted and personalized touch, making it a perfect choice for projects that demand a sense of refinement and charm. Broadways adds a touch of allure to wedding invitations, luxury branding, and artistic displays. Its versatility is evident in its ability to seamlessly adapt to various design contexts, infusing each project with a captivating and beautiful handwritten aesthetic. With Broadways, every character is a work of art, enhancing the visual appeal of any creative endeavor.

Arista Pro is the definitive version of the successful Arista typeface, designed by Francesco Canovaro, first released in 2007 as Arista Z and then reissued as Arista 2.0 in 2010. The pro version of Arista features the geometric and soft approach of the original typeface but comes in a full range of weights and two alternate versions (Arista Pro Regular and Arista Pro alternate version). The typeface has been expanded with the inclusion of Greek and Cyrillic alphabets as well as an extended range of latin characters. A companion icon typeface, Arista Pro Icon, has been developed, allowing for variable-width monoline icons that can be used to faultlessly match the typeface line width, up to semibold weight.

Novecento Carved is a layered font family. It is designed to be paired with the 2013 version of Novecento Sans , used as base layer. Each glyph of each style of Novecento Carved (around 18.000) was manually reviewed and adjusted to overcome the limitations of an automatic interpolation algorithm. The minimalism of its construction makes it super easy to achieve a bas-relief or engraving effect just switching luminosity values among the two layers (carved and sans). Novecento Carved was selected and displaying on Typodarium 2018, the 18th of June. Webfont usage: to make Novecento Sans and Carved to align properly, please apply these settings when generating your webfonts: Hinting = native; Line Height Adjustments = native.

The name of the font Titla emphasizes it heading and display functionality. At the same time low contrast, narrow proportions, wide variety of weights and clear glyph constructions make it possible to use it for long texts as well. Combination of modern serifs with flexing stems (see n, p,…) brings to the font fresh, informal and noticeable appearance. The character set includes alternative variations and specific 'vertical ligatures' for paired letters that are built with the help of diacritical forms of letters placed above basic ones. This feature also was reflected in the name of the font as Greek 'titlos' means diacritical mark. The font was designed by Oleg Karpinsky and released by ParaType in 2009.

A “latin” alphabet modelled on the ethiopian Ge'ez script - an experiment that works. Amhara was created by transferring the typical forms of the Ethiopian Amharic script to the west European alphabet. Because Amharic is traditionally written with an expanded pen tip, it shows the typical ductus also characteristic of the uncial scripts of late antiquity and the early Middle Ages. So this font »Amhara« has a somewhat sacramental effect. And, although the individual forms look foreign, the overall picture is strangely familiar. The two styles of »Amhara« include a number of ligatures which dispose of many non-attractive letter combinations. Stylistic alternates are available for some letters, too. Read more about this font at ingoFonts...

The design concept of M Gentle is inspired by the aesthetics of ribbon gymnastics and the tenderness of orchids. The beauty of the two are combined in one typeface. Keeping the characters in right proportion and standard structure, its horizontal and vertical strokes (橫、豎) are generally straight. The linkage among dots (點), downstrokes and the ticks (剔) to the right represent a sense of movement and fill the typeface with liveliness and humanity. While M Gentle Light shows purity and softness, Medium and Bold fonts have their own personalities. They are all legible and suitable for a wide range of purposes, make the family a popular choice in the advertising industry.

Fizgiger is a chance to kick back and take break from designing some of insigne's more serious typefaces, like the sans serif Aberlyth. It is an extension of the ideas of Blue Goblet, but includes more frills and a more pronounced vertical stress. The name Fizgiger is derived from the English word Fizgig, which is defined as a flirty girl. Fizgiger is a fun and uplifting script that works for whenever you need a playful and exciting script. As always, Fizgiger comes with a wide range of OpenType features, including small caps, a full complement of artistic alternates (it's like getting another font free!) and old style figures to add a touch of class.

Camila is a delicate and smooth Didone typeface designed by Paula Nazal. The family is inspired by concepts such as elegance, simplicity, femininity, and primarily based on Coco Chanel. A remarkable feature of this font is that it lacks teardrop terminals, characteristic of Didone typefaces. This font of thin serifs and soft finishes also includes italics, strengthening the concept of its design. A great variety of shapes makes Camila an ideal font for both display and small sizes. Camila is the perfect choice for branding and publishing projects.. This font family comes in 7 weights, ranging from Thin to Black, each with matching italics and includes a set of 426 characters that support 206 different languages.

ITC Orbon font is the work of New York designer James Montalbano, inspired in part by a demo of black letter calligraphy in which letters were created out of only four or five basic strokes. I combined that idea with the notion of taking historical forms like German gothic blackletter and progressively paring them down to achieve a futuristic version, as if this old form naturally evolved over several hundred years to arrive at its post-modern incarnation." Text should be set in point sizes of 20 and higher for optimal legibility. ITC Orbon is a highly condensed font with unique, oblong shapes which are ideal for a number of display applications."

Sztos (2018-2022) is a remix of one of the most famous grotesques used in Poland – Baccarat (published by Jan Idźkowski i S-ka in 1922). My version loosely refers to the original. On the one hand, I wanted to modernize the drawing and proportions, on the other hand, I did’t want to lose the historical flavour and details in which you can still feel traditional printing. In addition to the fairly wide version of the normal style, there is also a narrow version. Thanks to this contrast, Sztos gives the possibility of expressive combinations of different styles. The whole family consists of 10 weights, two widths and an additional slant version. Design Support: Małgorzata Bartosik, Karol Mularczyk

Potent, clean and classy. Meguro serif has a modern-styled boxy shape with small glyphic serifs emphasizing the edge of its vertical and horizontal strokes. Inspired by iconic fonts of the 1900s, Meguro serif incorporates the sophistication of the digital age to strike its own unique character. Its mono-line oriented, pointy serifs and very high X-height ensure that it is extremely legible and creates a strong impression. The Meguro serif font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Infamy is a display typeface inspired by graffiti and street art, featuring the ‘bubble letter’ style of writing which was very popular among subway and suburban graffiti artists in the early days of American graffiti. This font recovers graffiti horizontal alignment, tight tracking and colourful lettering. The OpenType version includes many different ligatures which provide multiple options when composing a text. Multiple layers make Infamy a bright, shaded and colourful font, allowing you to dress up your writing. This font incorporates a pictorial rendering of character faces (instead of small caps), capturing the essence of the graffiti: the ‘childish’ and the ‘irresponsible’, which is present in the experimental side of the typeface.

Mithic, a captivating handwritten script font, effortlessly combines fluidity and grace, breathing life into every stroke. Its meticulous cursive detailing reflects a perfect balance between elegance and informality, making it an ideal choice for projects seeking a touch of personalized charm. The individuality of each character in Mithic resonates with authenticity, conveying a sense of warmth and human touch. Whether used in invitations, branding, or creative displays, Mithic captures the essence of handwritten beauty, bringing a timeless and personal element to the world of typography. With its versatile nature and organic flow, Mithic stands as a testament to the artistry of hand-scripted fonts, offering a unique and enchanting presence to any design endeavor.

The inspiration for this typeface family came from my childhood experiences at West Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters. These stylized incised typefaces give a depth to the letterforms that can be exploited in your typography - evoking the carved monumental inscriptions of the Roman era.

Ambigane is a modern and elegant serif font that seamlessly blends sophistication with contemporary design. Its refined, timeless aesthetic is characterized by the subtle curves and clean lines of its letterforms, exuding a sense of luxury and professionalism. Ambigane strikes a harmonious balance between traditional serif elements and a fresh, modern twist, making it versatile for a range of design applications. With its well-crafted serifs and balanced proportions, Ambigane communicates a sense of refinement and style, making it an ideal choice for projects that require a touch of sophistication and a contemporary edge. Whether used in print or digital media, Ambigane conveys a sense of timeless elegance that elevates any visual composition.

Lucky Lady was inspired by the old, classic art and craft of brush script lettering usually applied in ads of the WWII era and 1940s. The name of the font family refers to one of the most emblematic combat units of the US air force in WWII that were decisive in the victory of the allied forces. Lucky Lady can be mainly used in titles and display texts. It supports East Europe languages. It's highly recommend to use the combined shadow styles under the main regular basic style layer. Lucky Lady includes standard and discretionary ligatures, alternative style for uppercase, fractions, numerators and denominators, end and/or terminal forms and other OpenType features.

Senko Hanabi (線香花火 - Japanese: incense-stick fireworks) is a type of Japanese sparkler. These traditional sparklers are said to evoke “mono no aware” - “an empathy toward things”; the flash of sadness when reminded of the fleeting nature of life. I am always a bit melancholic this time of the year, so when I created this font, I wanted to give it a suitable name. Senko Hanabi was made using a brush and Chinese ink. It is a beautiful font, which comes with stylistic alternates, discretionary ligatures and a sparkling amount of diacritics. Remains for me to wish you all a very happy new year. Let’s do our best to make it one worth remembering!

Named after the steadfast doctor from Albert Camus’ The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them. Rieux is available in 5 weights and is ideal for uncatalogued, magazines, short publications and company collateral. In addition to supporting Western, Central and Eastern European languages, Rieux includes an array of OpenType features to provide a range of typographic options.

Based on Burghal Design's popular typeface BabyDoll, Fauntleroy is a graceful, childish figure of a font, full of innocence and good-fellowship.

Alquitran Rust is a dirty version of Alquitran Pro thought of extreme sports, magazines, covers etc .. Alquitran Rust contains alternatives and Cyrillic.

This typeface is inspired by the lettering of Archibald Knox (1864 – 1933), a designer for Liberty & Co. from the Isle of Man.

Designed from actual images of wood type, this font brings the look and charm of hand-set typography to the digital desktop.

Romb is the display font based on feeling of the retro typefaces of the early 20th century. Good for posters, magazines, packaging.

Looking for a royally fun font? A dash of elegance with a dose of quirkiness – not unlike our modern day royal types.

Based on the blobby lettering printed on the sheets of plasterboard (drywall) used in a garage conversion during the summer of 2004.

Feathery is a collection of 45 cute and fantastical bird illustrations. All illustrations are drawn by hand and of the highest quality.

Balzac is one Script typeface, heavy, rough with alternate set of numbers and accompanied a set of ornaments, designed by Alejandro Leiva.

Afterglow JNL is another variation of Jeff Levine's wood type font Twelve Oaks JNL; this time with an array of sparkling stars.

Woof! A font full of the best-loved dogs plus one mutt. Distinct lines convey the character and heart of each breed.

CurlyJoe is a fast, informal handwritten font. A bit in the line of the dearJoe series, with a different style of caps.

This font was actually designed by trying to teach my helper-monkey, Philip, to cut Helvetica out of a piece of cardboard.

Diamondwood JNL is based on examples of vintage wood type with condensed, elongated diamond shapes containing the various letters of the alphabet.

This is a classic design from the beginning of the 20th century. This font can be used in many kinds of books

An unconventional Gothic typeface with decorative caps and a whiff of fire and brimstone! Comes with a devilish compliment of European characters.

TT Severs useful links: Specimen | Graphic presentation | Customization options TT Severs is a geometric grotesque with emphasized elements of internal brackets. A distinctive feature of TT Severs is the unusual form of internal ovals, which refers us to the style of traditional Arabic writing. TT Severs has a strong character and is great for use in high tech (IT), the web, in robotics, computer games, and sports. TT Severs is a 2-in-1 font family. In a large body size, it works great as a display font, creating a distinctive character for logos and headings. At the same time, when TT Severs is used in a small body size or in large text arrays, the font’s peculiarities of bracket construction fade, and it perfectly functions as a text font, thanks to both the low contrast between vertical and horizontal strokes and the detailed logic of interaction of black and white letter elements. The font family TT Severs includes 18 fonts, each of which consists of 558 glyphs. The family has standard and discrete ligatures, which include experimental ligatures for the Cyrillic alphabet. In addition, TT Severs can be made a little more humanist—it is enough to turn on stylistic alternates, and due to them the font takes the form of a humanist grotesque, which refers us to traditional broad nib writing. As part of the font family, you will also find old-style figures and a large number of OT features such as case, ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac.

TE Nastaaliq Font It is one of the Persian calligraphy or ta'liq line that appeared in Persia in the seventh century AH (thirteenth century AD), as it was extracted from the lines of naskh, patch and thuluth. It is a beautiful font whose letters are distinguished by precision and extension. It is also characterized by its ease, clarity and lack of complexity. It does not tolerate diacritics, despite its difference with the line of the patch, as it is one of the best fonts in the world and the best without a competitor and admires many Arab calligraphers, and no cultural or literary exhibition is devoid of a painting written in Persian script. It is one of the most beautiful lines that has a special character that distinguishes it from others, as it is characterized by gracefulness in its letters, so it appears as if it descends in one direction, and its beauty is increased by the soft and rounded lines in it, because it is more flexible in drawing and more flexible, especially if it is drawn with precision, elegance and good distribution, and the calligrapher may baptize In his use of decoration to reach strength in expression by taking advantage of arches and circles, in addition to the grace of painting, the artist may link the letters of one word and the two words to reach the composition of a frame or curved and wrapped lines in which he shows his genius in imagination and creativity.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "