ITC Farmhaus is the work of British designer Tim Donaldson and is, in his own words, Neil Young meets Paul Renner." Donaldson borrowed the perfect circles and clean lines of Renner's drawings for Futura and gave them jagged edges and uneven, thick strokes. Farmhaus contains one set of capitals and two sets of lower case letters."

Ridley Grotesk is a modern sans-serif. It comes in nine weights with matching italics, designed with powerful opentype features in mind. Each weight includes true small capitals, alternate characters, extended language support, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design.

The font was intended primarily to have a stronger body. It has a simple geometrical surface. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks. "Finalist Round Slab" is carefully crafted and a unique slab serif. Use for websites, print, motion graphics, logo design, packaging design, t-shirts and more. The designation “Finalist Round Slab Regular” forms the central point. The first figure of the number describes the stroke thickness: Thin to Black. "Finalist Round Slab" comes 7 weights and italics total 14 types. The family contains a set of 450+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can enjoy using it. UPDATES: - 30 December 2015 Opentype Feature (fractions) and some kerning. - 11 June 2018 Solving some UNICODE problems on the internet. - 12 March 2019 Some error has been fixed. - 19 November 2019 Some error has been fixed. - 16 August 2021 New Version - 2.0 Some error has been fixed.

DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. In fact, this set of fonts contains the most complete and powerful array of arabic features commercially available. It supports all variations of the Arabic script such as Persian, Urdu and Pashto. It is also enhanced with 30 advanced opentype features and kerning for all languages. The four major scripts Latin, Arabic, Cyrillic and Greek are now matched across the design of the whole family, respecting at the same time each one's modern cultural identity. With its vast array of weights, the extended support for numerous languages, its careful and detailed design, it will prove to be extremely valuable for many complex corporate projects and corporations which operate internationally.

Bluset Monospaced enlarges the re-worked and expanded text- and headline typeface family Bluest Now with 6 new cuts. The concept for Bluest Now was based, in its original form, on a corporate design typeface by Elsner+Flake in 2004, ordered by the Landor Agency for a large German energy corporation. Regularly re-worked and brought up to modern standards, the typeface is still used to this day. Because of its large x-height and its well-balanced appearance, Bluset Now Mono is also excellent for use in small typesizes. The three Roman cuts, Regular, Medium and Bold, and the corresponding obliques, allow a clear differentiation of base- and display applications for every typesize. The character complement has been created for 72 Latin-based language areas and thus allows a neutral text exchange across language borders. Translation Inga Wennik

Helixa is a neo-grotesque typeface with a clean & modern design and an enduring appearance. This is a perfect choice for creating logotypes, branding, headlines, corporate identities, and marketing materials for web, digital & print alike. The typeface will be a great option for branding, logo/logotype design projects, marketing graphics, banners, posters, signage, corporate identities and editorial design. Adding extra letter spacing will make this font the perfect choice for minimal headlines and logotypes, as shown in the promo designs attached. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support with Western European, Central European and South Eastern European sets. A total of 300 glyphs are available. Helixa typeface includes 12 fonts in total, with seven upright weights (Thin / Light / Book / Regular / Bold / Heavy) and Italic equivalents of all six weights.

Step into the beauty of Belda’s elegant form and discover the richness flowing from both its historic influence and its strong elements. At its heart, Belda's graceful style embodies the classical calligraphy of the Roman capital, best known from such Roman monuments as Trajan's Column. To lessen the possibility for error, the builders of these defining structures brushed their templates onto the marble before taking their first cuts from the expensive stone. These simple strokes now mark a simple but wonderful path full of life and mystery. Beyond a copy of the past, Belda has grown from its roots to offer a brave, new world of potential through its still-simple structure. The new design strongly contrasts thickness and stroke. Its delicate shape, curves and sharp serifs provide a unique style of harmony and beauty. The resulting balance? The lighter weight design remains subtle and elegant, while the combination in its bolder counterparts provides an intense luster and sparkle, pulling the reader’s eye to the font’s captivating features. A quick look beyond its surface of standard forms also reveals Belda has more layers to discover with OpenType small capitals, titling capitals and more. With a wealth of weights and many widths beside, the font is capable of serving as both text and titling. While especially strong as a movie title or poster font, it’s also great for book jackets, advertising, and packaging. So start your journey with Belda. The possibilities to explore on this path are practically endless. Production assistance from Lucas Azevedo and ikern.

Garetra Serif s a sophisticated serif with many weight you can choose. It has 4 weight styles which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Remember those plastic Popsicle sticks that clicked together and you could make things from them with your sticky little fingers? Things like... camp crafts. Well, no� Of course you don't. You were too young. That�s why there is Campcraft. This is a fun loving dot-matrix font, or it would be a fun loving dot-matrix if the vertical and horizontal grid lines didn't pile up at the intersections. Then again, it wouldn't be any fun if they didn't pile up at the intersections, would it? Strictly a display type... Campcraft is excellent for what the name suggests. I goes well with Christmas sweaters, beaded jackets and purses and that time when we were all happy children with sticky little fingers.

Cassandra Plus is my revised version of Cassandra, it can now be used all over Europe except Greece and Russia. I changed the weights a bit to make them more distinct. The Font has two widths of letters, wide Capitals on the (shift) uppercase-keys and narrow ones on the (no shift) lowercase-keys. You can match them as you like, but you should avoid having the same letter in one word in two different widths. But if yoyu are really daring you can use one narrow S and a wide one, it might still look good. It will almost always look good! Cassandra is my “bow” to Adolphe Mouron Cassandre. Yours sincerely mixing things up for you again Gert Wiescher

This 1538 Schwabacher was based on a font used by Georg Rhau in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus. The original font has a relatively complete set of characters including “long s”, but also the special german types like k, fl or ‰, ˆ, ¸.... A few omissions were remedied, and accented letters were added. A render sheet, enclosed with font files, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.

Font designed from this who was used by an unknown printer in Lyon (France) to print the “Conte de Griseldis ” (Griseldis' tale), from Petrarque, inspired by Boccace, in 1495. The original font has a relatively small number of special characters and ligature, for the time. This font includes “long s”, naturally, as typicaly medieval but numerous letters - as accented ones - were added for this version. A render sheet, enclosed with the file, helps to identify them on keyboard. It is used variously in web-site titles, posters and fliers design, editing ancient texts or greeting cards as a very decorative and fine font... This font works at a small size like 9, remaining clear and easy to read on screen, but always better when printed.

I, uh, don't know quite what to say. I'd toiled so long over Pumpkinseed back in '96 that I guess I needed a good, wild ride to shake out the head cramps, or something. Whatever grabbed me, it forced me to sit down and design a typeface real fast directly in Fontographer (had never done that before). Took less than two hours to finish the regular character set. No way to explain it, but the exercise actually paid off -- I think. And now that there was Speed Bump, there simply had to be a companion dingbat set. (Beats the heck out of me.) So check out Speed Bump's wacky character(s) and, if you're really bored, the 200-some-odd little pictures in Speed Bump Pi.

Banister looks both contemporary and vintage. It contains a total of 12 styles including two main styles (Normal and Loaded), and for each style it comes with two widths (Semi-condensed and Semi-Expanded) and three weights (Light, Regular and Bold). The 40’s inspired style is subtle in banister, so it comes across more contemporary. Also, slightly curved strokes can be found on some letters, which gives a more organic feeling overall. To gain full advantage of banister, you can toggle “Fill” and “Stroke” on any editable applications to experiment the style, also layering normal and loaded styles let you discover something unexpected. Banister is versatile, simple and organic looking typeface, and good for headlines, logos, tiles and any large texts.

Bold mutant typography. Retro-futuristic. Sixties meets 1990’s comic book inspired, superfast for your superhero? The pencil tissue was dragged out from the very back of the file cabinet, stuck in the metal rail, it was lost then found- to bring a unique look to your project. A companion font to astroluxtype’s Spacepod, both fine ways to mark and identify your spacecraft. Note the lowercase letterforms that make connectors such as g, j, y, b, d and g. See the posters at myfonts.com for examples of how to you might use this feature. Redrail Superfast is a minimal glyph set which can be used at various sizes, we consider it a headline/display font and best applied larger than 36 points in size.

Gyst is a neo-humanist sans-serif typeface that artfully blends the principles of Grotesque and Antiqua. With its classic uprights and the serifs in its true italics, Gyst spans the arc from a modern humanistic sans serif to a captivating calligraphic serif. Contrasting strokes and luscious, on the other hand razor-edged terminals reflect a sense of grace, thriving at the intersection of geometric precision and flourishing sophistication. Made for body text as well a s display use. In any situation, you will find the autonomous cursive posture to be a perfect playmate for the upright. Gyst Variable is a TTF Variable Font with a weight axis and a whole lot Alternates and Ligatures. Gyst is also available in four static upright and italic weights.

Chaparral is the work of type designer Carol Twombly and combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th century roman book lettering. The result is a versatile, hybrid slab-serif design. Unlike ""geometric"" slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold. And because it is a multiple master typeface with an optical axis (ranging from 7 to 72 points), Chaparral is clear and legible in smaller text settings while remaining subtle and lively at display sizes. Chaparral�s highly functional design is surprisingly beautiful, the perfect choice for correspondence, as well as book, poster and newsletter design.

The Coast is a Sans Serif type family inspired by enamel signs from the 1920s. The Coast has a large x-height which gives the font a friendly look and guarantees great performance in very small sizes. The Coast family also works great in huge sizes since it has some very special and highly elaborated characters like the small “e” and “g” which distinguishes it from an ordinary Sans Serif. The family includes real small caps, small capital figures, medieval and monospaced lining figures for information in tables. Coast and Coast Wide both come with a variety of special characters, alternates, mathematical symbols and the unusual ligature “rt”. Also on board: the german capital letter “sharp s” = ẞ. That’s about it.

Boxed, the best seller of the Tipo Pèpel foundry has been expanded with variable font technology to multiply its creative possibilities, from now on and with a single file, it is possible to control its appearance thanks to three axes with which to modify the weight, the rounding and the the width of the characters. Offering more options to customize the appearance of the text and personalize the headlines. Boxed typography is brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. It offers an extensive set of Latin characters, even the Cyrillic.

Alfarn is based on capital letters that Bauhaus student Alfred Arndt (1898?1976) drew for a poster in 1923, designed to advertise a bakery in Jena, Thuringia. The poster is an example for what we call today ?Bauhaus features?: yellow circle, red square, black bars and an indication of geometric lettering that became so popular in the following years. C�line Hurka carefully analysed Arndt?s lettering and derived two weights in different widths: wide and condensed. She took on the characteristic bars and transformed them into an underlined weight of its own. Hurka also drew perfectly balanced small caps, which make up for a missing lower case. Alfarn captures the spirit of 1920s Bauhaus-influenced posters ? a timeless style quite suitable for contemporary designs.

Art Deco turned mundane objects into graceful, sensual works of art, with a nod towards the opulent and extreme. Art Deco sought to build upon the elements of Modern Art movements by focusing on the principal object and removing the extraneous elements found in the Victorian era and in Art Nouveau. The concept of "form following function" and the technological advances of the early 20th century played a very important role in defining the direction of Art Deco. Popular images included stylized people, svelte animals, tall buildings, sleek vehicles and exotic scenes. Art Deco typographic designers were also inspired by these diverse themes. P22's Art Deco font set shows the influence of a cross section of some of the various European and American Art Deco styles.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art déco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. Watch the FF Bauer Grotesk introduction video on Vimeo

Garetra Serif s a sophisticated variable serif font with with many weight you can choose. It has 12 weight styles which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : variable font with 6 weight style regular and slant uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Rodeo Clown is a revival of an old classic font that you may have known under the name of Carnival. The Rodeo Clown family includes Fill fonts that you may layer behind the letters to add color or set to white so any background image doesn't show through the letters. The half fill should be layered on top to change the color of the top inlay design. The fill font for Rodeo Clown may also work as a stand alone black weight. In our sales images you'll see a sample of the fill font being used, we've intentionally offset the fill font to give it a misaligned printed look which was common to see with fill fonts in the 1800's

An Unusual Hero Script Mervale Script Pro is based on inspiration from the 1940's Fawcett Publications “Mary Marvel” comic. This unusual brush lettered script blends script and serif capitals with a mix of unusual brush strokes to create a lively font that draws attention. Clean letterforms with an eclectic offbeat flavor in letter stances lends Mervale Script Pro to a unique variety of uses from casual to lightly sophisticated. The stylistic alternates feature adds swash capitals to the mix to offer even more diversity. See the 5th graphic for a comprehensive character map preview. OpenType features include: A collection of ligatures. Full set of Inferiors and Superiors for limitless fractions. Tabular, Proportional, and Oldstyle figure sets. Stylistic Alternates for Caps to Swash Caps conversion.

TBS GARTEK CONDENSED is a latin based condensed type of font that has a different characters from the previous TBS GARTEK BLACK font, TBS GARTEK CONDENSED has a strong yet sharp looks character, with a post modernism and semi 90's nostalgic, supported by more than 60± accent languages ranging from West, South East, Central Europe and a bit of Vietnamese. TBS GARTEK CONDENSED is able to complete your current needs who are designing something great. the single DemiBold weight is stunning in Magazine, Posters, Social Media Content, headlines, clothing, large print formats and wherever you want to see it. Inspired by the design styles of post modernism and popular style's nowadays, let's get your project elevate works with TBS GARTEK CONDENSED.

A mix of Renaissance & tropical atmosphere Basco is an exploration of the Renaissance style, a period in which letterforms were informed primarily by hand writing. It is clearly a contemporary interpretation of calligraphic shapes forms. The serifs are subtly asymmetrical. Slightly curved arches on the n, m and u are noticeable, creating an interesting tension in the text. Bruno Mello’s distinctive style is most obvious in his mastery of super fluid curves. It is a result of his extensive exploration of calligraphic forms, their tensions and dynamics, mixing angularities with curves. The roman weights include alternate swashes, as well as initial and terminal glyphs. The italics, based on chancellery script, feature simple stroke endings, most visible on the s and c. ➼ Basco minisite

Portmeirion No.6 started life as an experiment by our designer, who was exploring the possibilities of a completely 'over-the-top' display Roman face, bringing in elements of Tuscan and 'Circus' design, along with anything else he felt like. He's instilled a little more discipline in the finished result...but just ever so little. We have Fred Stevens, a regular reader of our website to thank for the name. He's comment on seeing a preview of the design was 'Over the top, Italianesque decorative and intriguing. add some 60's TV and voila Portmeirion.' Why No.6-well you'd need to know a bit about 1960s television to understand that, but we'll give you a hint..."Where am I?"..."In the village".

Steelplate Gothic Pro is a sans serif font family with traditional and drop shadow weights. It shares letterform similarities to conventional Copperplate Gothic families, but has no spur serif endings. Most of the original designs came from the Western Type Foundry when BB&S acquired it in 1918; all were cut by Robert Wiebking. It was recast in 1954 by American Type Founders (ATF). Steve Jackaman (ITF) designed and produced a digital version of the original single weight in 1997. In 2017, Jackaman completely redrew and expanded the family, adding entirely new condensed variants and true small caps. Steelplate Gothic Pro has a masculine, industrial feel, and works effortlessly at display and subhead sizes. It shares letterforms with its sans serif sister family, Barnsley Gothic.

Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says. It’s fun and casual, yet it has a flair for fashion and elegance. It also has an art nouveau look which lends itself to greeting cards as well as the branding of perfume, clothing, retailing, dining, and other luxury/high-end uses. This font includes alternate characters for the upper R, S, and T, the lower g and z, plus ligatures that include a double lower t and double lower l (L). As the song might say, I apologize to anyone who can truly say that they have found a better font! Digitized by John Bomparte.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Garnet is a rare TT typewriter face, made digital from analog samples gathered with great care by Coniglio Type. A time and place; type and life. Garnet Euro Typewriter is the first new release by designer Joseph V Coniglio in over 5 years. It is contemporary designer type, made from the struck steel hammers of an art deco san serif face transferred from a mechanical 1926 Royal Portable typewriter. It has an obsessively complete commercial roman character set ––for the pre-opentype environment of the late 1990's. Yes, it has that great “Monopoly Game” question mark -- and all on a period-piece typewriter! You should have no trouble grafting that sorely needed Euro symbol.” –And he very well did!

Illuminated Initials font family has Regular and Colored styles and inspired by medieval initials. It's all you need to precisely imitate dark-ages style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/fbt3wpu2j3t0ymv/IlluminatedInitials-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Analogia is a digital interpretation of types used in the mid-18th century in books printed at Leuven by Martin van Overbeke. It is intended primarily for use in running text. The roman is businesslike, yet with a distinct personality; it has a generous x-height and is slightly condensed, though without appearing cramped. It is complemented by a more lively italic, which retains some irregularities in the angle of slant that are characteristic of the original. Analogia provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Zona Pro is a geometric sans-serif type family of 8 styles plus matching italics, designed by Kostas Bartsokas in 2013/14. It draws inspiration from 1920’s geometric style faces, having clean and highly readable shapes, and mixes it up in the heavier weights with a slight variance in the stroke widths, lending it a grotesque-ish unique and distinctive look. Zona Pro is multifunctional and versatile. With its modern yet elegant form it performs amazingly in display sizes and headlines. At the same time its really tall x-height makes Zona Pro equally suited for editorials and shorter lines of text in smaller sizes (magazines, newspapers). Zona Pro supports Greek, Western, Central and Eastern European languages, ligatures and special characters.

Medieval Knots font family has Regular and Colored styles. It inspired by Celtic knots initials and lines. It's all you need to precisely imitate medieval style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/w6n0zmga231xng1/MedievalKnots-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

Home Alone is the horror display typeface with high contrast all caps style looks and feel nice balanced. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more, related Halloween. Font Features : Character set A-Z in All Caps Style Ligatures Numerals & Punctuation Accented Characters Multiple Languages Supported Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please click fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please click fi symbol If you have questions, just send me a message and I’m glad to help. Have a great day, Absonstype