Rum Sans is designed inside out based on modular counters. Rum Sans is a text & display family suitable for any purpose, any media, any size. A humanistic modular sans serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2001-2014 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Singo Sans is a valiant font family and extraordinary sans serif. Singo itself literally means Lion in Indonesia, which is the the strong and gallant animal just like this typeface. It has proportion of hard lines and smooth curves. Singo works great in any branding, logos, magazines, films, posters, websites, etc. Singo features: A full set of uppercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters 2360 Total glyphs

Lindau is a new take on the Jensonian Roman typeface genre. The idea was to combine the Venetian proportions with a conical shaping of the vertical parts. Lindau may be considered an alternative to fonts like Jenson, Centaur, Trump Medieval or Deepdene. Suitable for ads, stationary, branding and label design, headlines and short to medium-length text bodies. Lindau is layed out with comprehensive character support for every Euro-Latin language.

Surimi is a condensed display typeface available in six styles. Designed to stand out with its low crossbars and its unicase alternates, this cool little family will be great for titling and logotypes. The fonts include diacritics for western European langages, tabular and proportional figures, and 4 stylistic sets : ss01 : unicase alternates (A,E,W,Y) ss02 : alternate lowercase g ss03 : alternate lowercase l ss04 : alternate W and w

WORKSHOP Marker is a handwritten font with a casual and modern look. You can use the alternates and ligatures to give your design a realistic, hand painted look. If you find a single repeating glyph, you can change that by toggling between Stylistic Alternates. There are Cyrillic glyphs and more then 100 playful Dingbats in the same style. WORKSHOP Marker is the perfect choice for all imaginative, playful and beautiful things.

Benz Grotesk can be used to style text that requires attention in a sentence but still has subtlety. We try to keep every corner well proportioned. With more than 400 characters, we hope that Benz Grotesk can support a fairly complete language. Has a fairly high detail with inktrap on some corners of the body. This font will help you when designing posters, headlines, product branding, logotypes, minimalist typography and more.

Sebino family is a neutral sans-serif type family with 9 weights, from thin to black, with corresponding italics. Sebino has a large x-height with open apertures which make texts more legible at small sizes. Each font includes opentype features such as Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions. Sebino will make your artworks better with its clean & clear shapes.

British type designer Neville Brody created this display FontFont in 1994. The font is ideally suited for music and nightlife and poster and billboards. FF Dirty Six provides advanced typographical support with features such as ligatures. It comes with proportional lining figures. This FontFont is a member of the FF Dirty super family, which also includes FF Dirty Four, FF Dirty One, FF Dirty Seven, and FF Dirty Three.

Rum Serif is designed inside out based on modular counters. Rum Serif is a text & display family suitable for any purpose, any media, any size. A humanistic modular Serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2011-2014 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Moniak Sans is a linear, humanist sans with a vertical stress axis. Distinctive for its open strokes, Moniak features generally broader typeface proportions to offer excellent readability even at small sizes. This property also supports lowercase stroke endings. The designer emphasised elegant, pure curves in the skeleton of the font, making it optically friendly and inviting in magazine headline and poster applications. Most languages using Latin script are supported.

Serca is a structured geometric sans serif font family with normal and condensed proportions. It is professional and precise, open and legible. The modern, clean design lends itself to being a workhorse for a variety of applications—branding, advertising, websites, mobile apps, logos, magazines, etc.—able to be used in both small body text and large headlines alike. The vast range of weights gives plenty of options to choose from.

Sultan Nahia, designed by Sultan Maktari in 2005, is a modern Kufi and a winner in Linotype’s first Arabic Typeface Design Competition. The design is very geometric and bold. This makes it suitable for large display sizes, especially in the area of advertising. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Reno Rough is a distressed display typeface family with an eroded rustic look, yet a distinct geometric spirit. It is an all caps font family with variations in the roughness in upper and corresponding lower case glyphs to eliminate identical distress pattern in repeated adjacent letters. Reno Rough works well for smaller as well as larger point sizes, but is especially suited for headlines, titles, headers, posters, packaging and branding.

Bhilligod is inspired by the flow of fine art, which seeks to present beautiful and fantastical paintings that are romantic in nature, such as history and tragedy. This style was popular worldwide in the 18th and 19th centuries and became an important part of European and Western culture. Therefore, we are very enthusiastic to show our best work in romantic artwork, which we apply in blackletter-style font work.

British type designer Neville Brody created this display FontFont in 1994. The font is ideally suited for music and nightlife and poster and billboards. FF Dirty Three provides advanced typographical support with features such as ligatures. It comes with proportional lining figures. This FontFont is a member of the FF Dirty super family, which also includes FF Dirty Four, FF Dirty One, FF Dirty Seven, and FF Dirty Six.

Carina is based on the Modern serifs from the 18th and 19th centuries. With high contrast and proportions, the font has a pronounced feminine nature tailored by its stylish details and ornamental swashes and ligatures. The round letter shapes evoke the impression of pointed pen calligraphy. Carina s most striking feature is the Cyrillic glyph set (together with swashes and ligatures) that is created by a native Russian designer.

Museo Sans is based on the well-known Museo . It is a sturdy, low contrast, geometric, highly legible sans serif typeface very well suited for any display and text use. This OpenType font family offers also support for CE languages and even Esperanto. Besides ligatures, automatic fractions, proportional/tabular lining and old-style figures, numerators, denominators, superiors, and inferiors, Museo Sans also has a ‘case’ feature for case sensitive forms.

Introducing VeraCruz BT, a fanciful display typeface by Ray Cruz. A tasteful, flair serif design, VeraCruz BT is available as an OpenType font. By selecting the Contextual Alternates feature in OT savvy applications, many of the cap and lowercase characters will change automatically as you type to give the text an informal, animated look. There are also tabular and proportional figure sets, and the extended glyph set supports Central Europe.

An ad spotted in a 1964 issue of Billboard magazine with the words “STAND BACK…” introduced the first record album from then-new stand-up comedian Bill Cosby. The lettering of those two words was in a stencil sans serif design that was a perfect candidate for developing into a digital font. The end result is Advertising Stencil JNL, which is available in both regular and oblique versions.

The Bitstream version of Melior, a twentieth century modern face commissioned by Stempel and designed by Hermann Zapf in 1952. It is based on Zapf’s thoughts about the squared-off circle known as a super-ellipse. The type was originally intended as a newspaper text face by Linotype. Hermann Zapf’s Melior exhibits a robust character through classic and objective forms. Versatile and extremely legible, it can be used for a variety of texts and point sizes. Cyrillic version was developed by Natalya Vasilyeva and licensed by ParaType in 2002.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van der Leck originates from the lettering that Bart Van der Leck created for ‘Flax’ magazine in 1941. The letterforms‘ restricted shapes and abstract, stencil-like forms reflect the strong geometric language of De Stijl and show influence from his abstract paintings.

Decalcomania JNL is based on examples of gold and black water-applied initial decals made by the Transfer Monogram Company of Chicago circa the 1940s. It is presumed the patterns for the letters were hand cut, possibly explaining the variations in line widths and character shapes. These eccentricities were left intact and followed through to the other characters in order to represent a more "authentic" digital version of these vintage decals. Decalcomania JNL is available in both the regular (outline) version, and a solid black version, as well as obliques of both styles.

Graphite was designed by David Siegel, who began thinking about the typeface in 1982, looking for an architect's handwriting with a chiselled pencil" look. The handwriting of San Francisco architect Anthony Celis LaRosa became Siegel's choice. With the assistance of David Berlow and Tom Rickner, Graphite was designed and released as a multiple master typeface with weight and width axes that allow for its use in a dynamic range from light condensed to black extended. Graphite is an upright script with simple lines, and is usable in a large variety of informal copysetting situations."

The extravagant Odin was designed by Bob Newman in 1972. Its figures display constructed basic forms and when set into words, the typeface builds closely set lines. The strong serifs catch the reader's eye and draws it horizontally across the page. The forms of the capital letters are particularly distinctive. In the upper third, the stroke beginnings seem to form a roof over the body of the letter, fragmented by a fine white line that lends them independence and dominance. Odin is best used for headlines in display point sizes.

A rather narrow and compact design, Monotype Clearface combines both old style and antique characteristics. The lowercase letters are tall, the ascenders and descenders quite short. The intention was to produce a typeface that was easy to read in small sizes, hence the name. Monotype Clearface Bold was first cut for mechanical composition in 1922, and was based on the Clearface Gothic design created by Morris Fuller Benton for ATF in 1910. Although designed as a text face, Monotype Clearface is now more commonly used in advertising and display work.

Metalet Modern JNL was based on the letters found within the Metalet Movie Titling Set manufactured by the Modern Display Advertising Company of Hollywood, California circa the 1940s. Each stamped metal letter would be affixed to the background surface via the use of miniature magnets. Once in place, titles for home movies or slides could be photographed, the letters then returned to their storage area in their box. The character shapes show unusual stroke movement, which means the original models used for these letters were most likely hand-drawn.

Goudy Sans Bold was originally designed by Fredric Goudy in 1922 as a less formal "gothic" and finished in 1929. The light was designed in 1930 and the Light Italic in 1931. Alternate letterforms are included in these three Goudy designs which are digitized true to their original design. In 2006, designer Colin Kahn drew "LTC Goudy Sans Regular" which is a medium weight version intended for text purposes. Kahn has also designed an experimental "LTC Goudy Sans Hairline" which has a skeletal almost mono-width stroke and results in a surprisingly elegant display face.

Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman Humanist typefaces of the Renaissance. With the archaic features of some characters the face is well recognized because of unique shapes. It is one of the best original typefaces of the Soviet typography. The typeface is useful in text and display composition, in fiction and art books. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.

In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman (see Engravers #2). American Type Founders, Inc. (ATF) released a heavier variant in 1902, Engravers Bold, designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Today, Linotype's Engravers brings turn-of-the-century elegance directly to your keyboard. Use the Engravers typeface on any formal piece -- from table cards, to menus, invitations, or advertising work. Engravers is similar to Copperplate Gothic, Sackers Gothic and Nicolas Cochin.

Portsmouth Second Fleet is the rag tag, wild bunch companion to Portsmouth. It is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier. Two different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.

The evocative and original Retrofit is based on typefaces of the 1940s and 50s, which extolled the virtues of American products in glossy magazines for the new suburban consumer. Oversized terminal bulbs and occasional slab serifs lend a rhythm and a bouncing baseline provides just the "zing" to spice up that bland typographic treatise. Retrofit's easy familiarity can be seen on children's books, games, food packaging, and other places where a kid friendly note is needed. Retrofit has been adapted by Quickutz for their punched letter cutting tool, and re-named "Maggie".

The Teapot Dome scandal was a 1920s bribery scandal involving Secretary of the Interior Albert Bacon Fall. Fall leased Navy petroleum reserves at Teapot Dome in Wyoming [along with some California reserves] at low rates with no competitive bidding. The San Francisco Examiner for Feb. 20, 1924 ran the two line headline “U.S. Senator Named as Oil Stock Speculator; Whitney to Face Quiz Today on Slush Fund”. The headline was set in a condensed, slightly squared sans serif typeface. This is now available as Special Edition JNL in both regular and oblique versions.

The French publication “La Lettre Dans le Decor et La Publicite Modernes” (“The Letter in the Modern Décor and Advertising”) was a 24-page booklet showcasing the then-current trends of the time (circa late 1930s-early 1940s). On one page was found a squared, extra bold sans serif alphabet set with strong Art Nouveau influences, yet it was ahead of its time by taking on the look and feel of 1980s techno typography. They say “everything old is new again”, and Nouveau Techno JNL is now available digitally in both regular and oblique versions.

An interesting hand lettered example of Art Deco lettering (minus the letter ‘L’) was spotted on Pinterest and served as the inspiration for Deco Sketch JNL. Because there was no attribution as to the age or source of the alphabet, it can only be surmised that it was a scan from a 1930s or 1940s source. The original showed many of the irregularities of pen lettering, and had rounded terminals. The digital version has been redrawn more uniformly with flat terminals. Deco Sketch JNL is available in both regular and oblique versions.

Rainbowie is a font that's ideally used for festivals, artists and logos. It has 3 different widths to make it ideal to use in small and wide spaces. The font has a stencil style that can be used in suprising ways for an unique touch in your design. It also provides several special characters with a star, sun, cloud, trees, guitar, lightning bold and heart.

Fundevogel is a Brothers Grimm fairytale about a boy who was found in a tree. The story, of course, has all the obligatory characters in it: a fair maiden, a wicked cook, an old forester and lots and lots of shapeshifting. And, yes, a happy end! Fundevogel font is a handmade fairytale font. It comes with extensive language support and all the cuteness you could wish for.

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

Corsa Grotesk is our very own tribute to two typographic giants: the Futura and Avenir typefaces. It is Designed with geometric simplicity in mind with well balanced strokes and modern touch. Generous proportions and x-height with more contemporary details - the single story ‘a’ and the horizontally barred ‘k’ being just two of many examples makes it shine in every jobs it takes. Corsa Grotesk blends the classic geometric aesthetics into a well-balanced font with generous proportions and minimal contrast. It features 10 weights ranging from Hairline to Black plus matching italics, as well as Cyrillic support for Bulgarian and Russian localizations. Filled with all the essential OpenType features like tabular figures, fractions, ligatures etc, it is a great choice for branding, advertising, user interfaces or any text that needs a bit of polish and a slick, present-day look that still feels familiar. With its 2.0 version we managed to polish the font even more. We revisited every path and fixed all the inaccuracies throughout. Corsa Grotesk now comes with way better and consistent spacing and kerning, just the right amount of contrast and balance. Live Tester | Download Demo Fonts | Subscribe

BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BaBa Rounded’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Nazanin, originally named Haghighi, is a modern Arabic text face first produced by Linotype in 1978. Its popular design was converted into OpenType format in 2005, taking full advantage of digital technology to allow accurate positioning of diacriticals and kerning refinements. The counters and inter-character proportions of Nazanin are characteristic of Persian display lettering and typography. This is particularly true of Nazanin bold, which gives a strong image when used for display purposes. Nazanin possesses fuller, deeper characters than is normally exhibited in Arabic typography: its angled counters contributing to fluid, well-balanced, yet vibrant, letterforms. Originally designed for Farsi typesetting, Nazanin has now become popular for Arabic typesetting as well. Nazanin is available in two OpenType weights: Nazanin Light and Nazanin Bold. Both of the fonts include Latin glyphs (from Palatino Roman and Palatino Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Nazanin incorporate the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.