‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Peppercorn seems to have been thickly painted on a rough surface. Comes in regular and a spattered Black version. Based on the font Hubbub, which compliments it well.

From a few hand drawn letters seen on a poster from 1939 you may find this font familiar. Miss Scarlett resembles the Gone With The Wind poster lettering.

Printers Playtoys JNL is another set of vintage letterpress cuts and embellishments that have been carefully re-drawn and added to the growing collection at Jeff Levine Fonts.

Originally released free as Aunchanted, but completely redrawn with gentler curves to give a softer feel to the face. Aunchanted Elite has been expanded and updated in 2022

Cuantica font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is display typeface with a geometric look. Cuantica consists of 4 styles.

Abaddon has been one of our most popular fonts since it was first released in the mid-90s. It's based on lettering by Alphons Mucha with some modernization.

Mexican Relics is a collection of over 100 dingbats in font format based on images found on a variety of clay stamps primarily from pre-Columbian Mexico. This font brings ancient artwork featuring fantastic animals and geometric shapes into the computer age.

"Runegrim" Font is Base in Anchient Viking Rune Script . This font is best as Clothing , apharel and any handicraft. This font is Very useful for the the people that not familiar with Unicode format of anchient font. Thank You for use this font.

This font should be used with all three formats. It is recommended to use it in big font sizes due to the thin hairline of Fansy A. Have fun playing with the new modern and fancy display font designed by Jörg Schmitt.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Rigero is a retro inspired reverse contrast display font that's perfect for large format use. Whether you're creating branding materials, web headers or billboards, Rigero is up for the task. Rigero features a number of handy ligatures to help your work flow naturally.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Kame has a unique character and comes with 2 styles, allowing you to play with combinations to create a stunning display. This font is suitable for many design formats, such as posters, cover art, logos, magazines and anything with a futuristic theme.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Restrick is a strong display font. uses curved corners for flexible use on a variety of media displays. This font is very suitable for use as a headline in a newspaper, poster, or magazine. This font is available in regular and italic format.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

ST Titan is a retro futuristic display font with vintage vibes, inspirated by old sci-fi book's headers and posters. It's good for social media, headlines, large-format print, branding, posters, fashion designs and websites. Extended Latin and Cyrillic support. 30+ languages

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

The Wall Street Journal commissioned the original version of Escrow. Cyrus Highsmith designed forty-four styles in this new Scotch series, which sets the tone of the front page of the Journal, envy of the newspaper industry. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

Gubia font family has been designed for Graviton Font Foundry by Pablo Balcells. It is a geometric, sans serif typeface with a slightly condensed design. It has been conceived to be most suitable for all sized headlines, as well as short and middle length text blocks. The standard styles give texts a classic appearence while alternate styles give texts a playfull one. Gubia consists of 8 styles, 4 weights plus alternates, each containing small caps and glyph coverage for several languages.

JY Décennie has been designed for both the web and print. Essentially applying the principles of newspaper typefaces, attention has been paid to the Windows versions of the family to ensure clarity when used in web browsers. It was originally conceived with an Australian broadsheet newspaper in mind, and ultimately launched to commemorate JY&A’s 10th anniversary. The design itself is based on Australian and New Zealand wood type, which was used widely by European settlers during the nineteenth century.

Electrónica font family has been designed for Graviton Font Foundry by Pablo Balcells in 2019. It is a rounded, geometric sans serif typeface with display details and sharp, playful shapes for a fun and laid back usage. Electrónica has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Electrónica consists of 12 styles, 8 of which containing small caps and glyph coverage for several language and 4 of which are free.

Nebulosa font family has been designed for Graviton Font Foundry by Pablo Balcells in 2020. It is a futuristic, slightly extended sans serif typeface with semi rounded endings that provide a softened aesthetic without losing its solidity. Nebulosa has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Nebulosa consists of 10 styles, 8 of which containing small caps and glyph coverage for several language and 2 of which are free.

The Augsburger Family is a product of the Art Nouveau period in Germany and Austria, reflecting the darker, heavier Jugendstil approach typical of the Secession movement in these two countries. Originally released by H. Berthold AG of Berlin and Bauer & Co. of Stuttgart in 1902, Augsburger has been attributed to the designer Peter Schnorr. This current version represents a year-long revision of the Augsburger Family. All three fonts have been updated to eliminate duel encoding, harmonize metrics, and review all glyphs. In addition, the following features have been included in the individual fonts: Augsburger Schrift: a total of 249 glyphs have been added, for a total of 467 and an increase of 114%. New are Tabular Numbers, Small Caps, a variety of Ligatures and the refinement of all accents. Augsburger Initials: complete redesign of upper case, inclusion of upper case from Schrift instead of lower case, plus inclusion of small caps and a selection of appropriate ligature. Augsburger Ornamente: includes some additional glyphs. Augsburger may be purchased as a complete family or as individual fonts. Each font package includes both TTF and OTF versions to allow you to select what is most useful to you.

Poligon is a large family of geometric sans serif fonts. It is inspired by classic typefaces from the geometric-sans genre, like Futura and Avant Garde Gothic, whose shapes were constructed from circles and straight lines. Every character has been crafted to give it a distinct and individual feel. The family is an excellent choice for both corporate design and editorial design projects because of its range of weights, as well as its legibility in text. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s eight static OpenType font files instead. Those weights run from Thin to Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over the stroke width in their upright and italic texts. The weight axes in Poligon’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Despite their rigid geometry, the fonts have a playful air to them. That playfulness and uniqueness can be dialed up by applying stylistic alternates via the fonts’ four Stylistic Sets. The first of these replaces “G”, “M”, and “&” with alternate, more outgoing shapes. Stylistic Set 2 has an alternate “ß”; Stylistic Set 3 has a “Q” with a longer tail and another “G”. Stylistic Set 3 has alternates for “A”, “K“, “Q”, “R”, “S”, “Y”, and “Z”.

Welcome King Hoshun, a display font with a superhero style ready to take your projects to a higher level. If you need a strong, bold, and action-packed theme like those in movies, games, or bold designs, King Hoshun is the right choice. With King Hoshun in attendance, your designs will be in the spotlight. Each letter is filled with strength and heroism that will make an unforgettable impact on the audience. The impressive and bold look of this font will make your message feel even more powerful and compelling. Not only does it look impressive, but King Hoshun also offers special features that enrich your creativity. With the available ligatures and alternative characters, you can explore unique and interesting typography combinations. Plus, this font supports multiple languages, so you can present a strong and inspiring message to a global audience. Join the power of King Hoshun and let your projects light up the world. With its bold superhero style and superior features, this font will give your designs an unforgettable impression. Don’t miss the chance to own King Hoshun and create amazing works that amaze and inspire. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

A condensed and bold obround sans inspired by 60s condensed inserat faces, with a more pronounced thick/thin stress as seen on the titles of the Avengers TV show.

For many centuries, Chinese cut paper designs have been in common use. Floral Ornaments was inspired by these floral cut paper designs and contains a selection of 114 ornaments.

Solida font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is display typeface with a geometric angular look. Solida consists of 10 styles.