Hyang soo type face is a collection of fonts with the theme of love and affection, this font is made like handwriting in everyday life, which makes this font close to our lives.

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

Cotorra is a birdie font with a full character set ideal to write feathered messages. Part of the official selection of Tipos Latinos 2016, Latin American Biennale of type design. Published by Letter INC.

When a type design job needs a bit of snap, yet needs to remain unconventional, think of Quirkley JNL. Its name speaks volumes - a bold, quirky sans serif - great for headlines and display work.

Introducing Almety by Tlatous Type. Almety is a Modern Handwritten Script Font. This font is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.

Take a classic Western wood type where the horizontals are thicker than the verticals and remove the slab serifs… The result is Western Sans JNL, which is available in both regular and oblique versions.

Grunge at its best, Mosketa looks real good typing any word, and adds a beautiful chaos without losing the balance. Try alternating uppercase with lowercase according the words to get the best of it.

Pro sotan is a rounded sans serif font family that comes with 9 weights and matching italics. This font is ideal for typing in documents, headlines, packaging, logos, advertisements, corporate identities and much more.

ALL CAPS font with an organic crunchy look. Very good for posters and stuff that needs a organic look. Multilingual support and 6 different versions of each letter - these cycles automatically AS you type!

CRR NTN regular and outline, is a futuristic font family. It works well as an identity logo type and 3D work. Together using the outline and the regular font, you can create endless combinations.

Trail Boss JNL emulates vintage wood type and was inspired by a few visual examples found online. The erratic widths of the letters are part of the intrinsic charm of this kind of lettering.

The namesake for this type design was the dust jacket for the 1926 book “Revelry”. A classic Art Deco thick-and-thin design, Revelry Deco JNL is available in both regular and oblique versions.

Coldfield JNL is the revival of an old wood type font from Jeff Levine. Clean and easily readable at different point sizes, it is an excellent companion to Twelve Oaks JNL and Ingomar JNL.

This squarish type is designed to create strong and clean layouts. Gamba combines futuristic shapes with high legibility, utilitarian design and personality. The quality of spacing and kerning is ensured by Igino Marini (www.ikern.com).

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

Wood Factory is a western styled typeface created by Kustomtype. Wood Factory is an old Wood Type favorite. It was designed specifically for display, headlines and titles where a wanted poster look is desired.

Atol is a contemporary take on classic didone types. High contrast and modern proportions, combined with subtle details, makes it ideal for characteristic, bold, tightly-set headlines in magazines, branding, animated typography and more.

Ardy Mass is a hand drawn and scanned type face available in italic, italic outline, regular & regular outline. Ardy Mass was drawn at a small scale with a fine nibbed black permanent marked pen.

A pastiche lovingly imitates its object and celebrates a distinct style. The expressive blackletter font GOTHIC TANTRUM celebrates the undying beauty of simple gothic type while adding to it a modern and edgy design.

Franklin Gothic SG is part of the Scangraphic Collection and designed 1902 by Morris Fuller Benton. Franklin Gothic is a trademark or registered trademark of Kingsley/ATF American Type Founders or its legal successors.

Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.

Bucanera Antiqued is the black ship of Bucanera's family, sure you will use it in any dark or dirty project. Try the Open Type version to reach its numerous swashes, flourished and alternate characters.

Ora Sepira is a retro bold serif font. This font is specially designed for a charming, elegant and retro appearance. It is suitable for various types of designs to add luxury to your project.

Our penchant for banner types lives on. This one is our take on an 1880s font called Mezzotint. Banner fonts give the appearance of art work, without having to do any. We like that.

The typeface Stempel Sans Print Neo is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on a original set of 29 old rubber stamps (6 cm height). Digitized via hand-stamped, a scanner and Glyphs app. 3 font-styles (Rough, Misprint, Black) with 321 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎or #SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (6 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Stempel Sans Print Neo ■ Font Styles: 3 font styles (Rough, Misprint, Black) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Glyph Set: 321 glyphs (incl. decorative extras) ■ Lan­guage Sup­port (36 languages): Asu Bemba Bena Chiga Cornish English German Gusii Indonesian Kalenjin Kinyarwanda Luo Luyia Machame Makhuwa-Meetto Makonde Morisyen North Ndebele Nyankole Oromo Rombo Rundi Rwa Samburu Sangu Shambala Shona Soga Somali Swahili Swiss German Taita Teso Uzbek (Latin) Vunjo Zulu ■ OpenType features (16): aalt calt case ccmp dlig liga lnum onum ss01 ss02 ss03 ss04 ss05 ss06 mark mkmk ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

The typeface Raw Street Wall is designed for the Typo Graphic Design font foundry from 2011–2017 by Manuel Viergutz. A playful display type for headlines with a street-art graffiti-style by hand. Rough-look plus state-of-the-art automatic generated OpenType-features (like contextual alternates (calt)). 567 glyphs with extras like emoticons/icons, arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Multilingual support with 27 languages. Have fun with this font & try the DEMO-FONT (with reduced glyph-set) FOR FREE! Example of use It’s your turn … for example ever­y­where where it makes sense. Maybe for use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Tech­ni­cal Specifications ■ Font Name: Raw Street Wall ■ Font Weights: Regu­lar + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 567 gly­phs ■ Lan­guage Sup­port: 27: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu ■ Spe­cials: Extras like emoticons/icons, arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters plus OpenType-Features. ■ Design Date: 2011–2017 ■ Type Desi­gner: Manuel Vier­gutz ■ License: Desk­top license, Web license, App license, eBook license, Ser­ver license

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979. I don't know if he designed for Fahrner exclusively, but every example I found was produced by that firm. I assume it was also the same M.J, who edited a book, Authentic Art Nouveau Stained Glass which was reissued by Dover and is still available. For an artist as accomplished as Gradl was, he is very tough to research. There just does not seem to have been much written about him. The jeweler is visible in most of his typeface designs. They exhibit a sculptural quality as if they were modeled in clay (or gold) rather than drawn on paper. His monograms, especially, reflect that quality. Those shown in plates 112 through 116 in Petzendorfer actually appear to have been designed specifically for fabricating in the form of gold or silver pendents. Of the initial letters that came out of Germany during this period, these by Gradl seem unusually open and lyrical. They seem to be dancing on the page, rather than sitting. Please note that Gradl designed only the decorated initials. All other characters supplied were extrapolated by HiH, including the accented initials. Orn.1 (unicode E004) is based on a jeweled gold clasp designed by Gradl (please check out Gallery Image on Myfonts.com). Also included are an art nouveau girl’s face, a swan and the face from Munch’s “Scream”, from scans of old printer’s ornaments. Gradl Initialen M represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 341 glyphs. Both upper & lower case provided with appropriate accents. 2. 558 Kerning Pairs. 3. Added OpenType GSUB layout features: salt, dlig, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines. 6. Alternative characters: 16 upper case letters (with gaps in surrounding decorations for accents above letter). 8. Four Ornaments: face1, face2, swan and orn1 (silhouette of Gradl clasp) The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

Extraordinary impact and visual conspicuousness. Poipoi is a super 3D sans family for posters, logos and all display. The basic idea is not a brand new. The Stacking type system has been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each color. Poipoi uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layer. Poipoi "Standard" style is the base of this font family. You can add effects by stacking Highlight and shadow layers. Stacked layers in different color make the text in 3D. Instruction 1. Type your text as you like. 2. Set font-name "Poipoi" and font-style "Standard" 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer twice (One for Highlight, one for Shadow). 4'. The layer order should be Highlight, Standard, and Shadow from top to bottom. 5. Set font-style and color of "Highlight" and "Shadow" layers. 6. Adjust tracking if you need. (Please use same tracking value for all 3 layers.) For further detail, https://www.dropbox.com/s/xymis7dh5hwxn9q/Poipoi.pdf Poipoi Standard, Highlighted, and shadowed style can be used solely. Rounded terminals add soft, cute, and casual impressions to your design. Spec: Over 400 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Pakenham is a typeface that truly exemplifies the transformative power of typography. Inspired by the timeless elegance of Steile Futura, a work of art by the legendary Paul Renner, Pakenham has taken the world of typography by storm with its innovative and captivating design. At its core, Pakenham is a sans-serif typeface that exudes an aura of modernity and sophistication. Its gently curved corners and generously scaled loops give it an effortlessly chic and trendy look, while its clean and sharp lines keep it rooted in the world of minimalist design. But Pakenham is not just a pretty face. It is a typeface that is brimming with oddities and anomalies that will add a unique and personal touch to your creations. Its superelliptical design is unlike anything you’ve seen before, making it perfect for designers who are looking to break free from the shackles of conventionality and embrace their creative freedom. With four different weights, two widths, italics, and special effect styles, Pakenham is a typeface that offers an unprecedented level of versatility. It is a true workhorse, capable of adapting to a wide range of design projects and styles. Overall, Pakenham is a typeface that is a must-have for any serious designer. Its combination of elegance, modernity, and versatility make it a true gem in the world of typography. So if you’re looking to take your design game to the next level, look no further than Pakenham. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The typeface Drunken Pixel is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The font system (sans-serif, slab serif, small caps & unicase) of the display typeface is inspired in the past and present. 20 font-styles (Bottle, BottleCorkBottle, BottleCork, Crown Cork × Sans Serif, Small Caps, Slab Serif, Unicase) + 4 icon-styles with 903 glyphs (Adobe Latin 3) incl. 300+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (6 stylistic sets). PROST! For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE!