Lamaesa is a versatile and original design sans serif typeface. Designed to be used primarily on medium and large point sizes. Designed so you do not get tired of reading it, but at the same time, so that you notice its particularity. Oriented for use in headlines and continuous text, with a solid appearance, but with a slight aroma of handwriting, which gives it an ambivalent and original character. It is perfect for magazines, company letters, websites, advertisements, restaurant menus, and any support and function where it is essential to attract attention in an elegant and non-abusive way. Basic Latin characters. It consists of 217 glyphs (ISO 8859-15): uppercase, lowercase, numbers, currency symbols, and special characters. It consists of six fonts: light, normal and bold as well as their oblique equivalents. Carlos Maeso González is the designer of the typeface “Lamaesa”.

Village Green JNL is based upon a font called “Giraffe Extended” from the 1892 edition of the MacKellar, Smiths & Jordan type specimen book, and is available in both regular and oblique versions. Its Art Nouveau styling can also fit well with 1960s counter-culture revival projects. According to Wikipedia “A village green is a common open area within a village or other settlement. Historically, a village green was common grassland with a pond for watering cattle and other stock, often at the edge of a rural settlement, used for gathering cattle to bring them later on to a common land for grazing. Later, planned greens were built into the centres of villages.”

Eina was designed as a corporate typeface for the design school “EINA, University Centre of Design and Art.” It’s not just a font to be used — Eina embodies an educational concept that transcends simple typographical use. Eina is a typeface to be explained and used to teach typography. The whole process of design and development is reflected in the publication “Four nuances of a typographical standard: A typeface for EINA.” Eina is a versatile and multipurpose sans-serif typeface, consisting of 32 original styles, organized into four categories: rational, humanist, geometric & industrial. Each category contains four weights with their corresponding italics. You can purchase the full family, each individual weights, or four packages with each categories.

MARIAMNE is an original design by Alex Kaczun. It is an elegant, modern and traditional interpretation based on and modeled after his successful "Contax Pro" and "New Age Gothic" typeface series. As such, it has generous proportions with clean, crisp lines—ideally suited for easy reading and long lines of copy. Alex felt that the skeleton for "Contax" was perfectly suited to transform the design into a modern version of 'old-style', somewhat reminiscent of German Black Letter. Numerous modifications where made to the body proportions, stems and shapes. True 'old-style' serifs and unusual 'cross-strokes' where added for a touch of distinction. The 'cross-strokes' where added at exactly visual mid-point on the overall heights. This gives the typeface a romantic, female-like quality to the overall design. Strong, yet delicate. Visually stimulating in appearance and function. The result is a truly unique transitional and modern design. Unlike other typefaces, MARIAMNE incorporates uniform stems throughout the capitals, lower case and figures. This gives the design a uniform appearance in overall color and strength. There is a perfect visual balance between inter-letter spacing, stem weights and proportions. The accents are equally large, bold and command attention. This font includes a large 'Pro' character set, which supports most Central European and many Eastern European languages. As a result, the design is ideally suited for display copy as well as text composition. In the near future, Alex plans to expand the typeface series to include a light and heavy weight, along with true italics.

You gotta love this extreme take on the "gothic" blackletter traditions! Roger Nelsson edited a few letters, drastically improved the spacing - and then gave it the usual large CheapProFonts character set. Fun! Kevin King says: "Kingthings Spike was made because Buffy has one, I made Willow... Xander is yet to come. Oh and because I hate Engravers Old English! Pugin, eat my shorts! Sorry!" Kingthings Spikeless is a toned down version of Kingthings Spike. Kevin King says: "Kingthings Spikeless was requested by those who actually want to read text... well I call that tedious, but if you must, here it is no flourishes, just my small homage to black-letter." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Cyan Neue is a substantial update variation to the original Cyan we launched in 2006. Most notably the contrast has decreased making it more contemporary. Many glyphs have been improved especially in the italics. The design of Cyan Neue was inspired by features found in classic Roman. It shows a preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. There are many subtle details in Cyan Neue that become more interesting in display sizes, for instance the subtle curves in the serifs and the overall smoothness. Cyan Neue is a robust font that will exceed your expectations. Cyan Neue is clearly ideal for headlines, inscriptions, publications, annual reports, corporate identities, packaging.

Lydian is Warren Chappell’s almost calligraphic sanserif, designed for ATF in 1938. Lydian Cursive, done by Chappell in 1940, is much freer and more calligraphic. Life is a journey.

CHECK OUT Sánchez Niu (new, nova, neue, next) Sánchez, designed by Daniel Hernández, is a serif typeface belonging to the classification slab serif, or Egyptian, that bears a strong resemblance to the iconic Rockwell, but with rounded edges— offering contrast and balance to the square structure. Sánchez & Sánchez Condensed comprises 12 variants, ranging from extra light to black, each of the same x-height. Regular and Italic variants are available for free. Download specimen pdf

Anvylon is a monospaced typeface for use in programming and tabular material with a remarkable retro look-and-feel of the early video terminals and line printers that makes activities such as 8-bit coding and console work much more appealing and comfortable. Designed for optimal grid fitting at small sizes, its main features are forced to a very restricted set of integer positions and dimensions, absolutely unhinted, and mostly free of overshoots.

Glastone is a modern serif typeface that seamlessly blends beauty and a feminine touch, infusing a sense of class and contemporary sophistication. Its graceful lines and modern aesthetic make it the perfect choice for projects seeking a balance of elegance and modernity. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Alberta Signature Script is ideal for branding projects, logos, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any other project that requires a handwritten touch. Alberta Signature Script (Regular, Caps, and Tails) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Alternates Multilingual Support for ä ö ü Ä Ö Ü … Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Mellyana Script is free-flowing, feminine, fashionable and friendly. Mellyana is perfect for fashion, e-commerce brands, trend blogs, or any business that wants to appear classy and chic. Mellyana Includes: Uppercase, lowercase, numeral, punctuation & Symbol multilingual support Stylistic alternates PUA Encoded Characters Fully accessible without additional design software. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

BAR SADY is a revival of a typeface based on famous lettering from "BAR SADY". The project was implemented as part of the Warsaw Participatory Budget 2023. Mateusz Machalski & Małgorzata Bartosik were responsible for the new digital version of the typeface. In the first phase, the original lettering was lifted, then extended to a full set of characters (A-Z). Finally, the bold style was created. The whole family is available under a free license.

Introducing Sazzle - Compressed Sans Serif: A sleek typeface that demands attention with its tightly compressed design and minimal white space. With its clean lines and modern appeal, Sazzle adds a touch of sophistication to your projects, making an unignorable, bold statement. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Nexus (2004) consists of 3 matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. There is also a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface with extensive OpenType features. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. Nexus was awarded the First Prize at the Creative Review Type Design Awards 2006.

Miss Demeanor has a tendency to create her own rules due to her free-spirited nature. She conforms to every day typographic expectations but she wouldn’t like you to think so. She has unusual yet casual and eye catching shapes and makes the best of any situation. I hope you enjoy her pretty style! My inspiration for Miss Demeanor came from a specimen sheet of an american type style from the early 1930’s.

Amstir is a timeless classic among serif typefaces, perfectly tailored for editorial use. With its elegant lines and refined presence, Amstir brings an air of sophistication to your content. Elevate your editorial projects with the grace and tradition of Amstir's distinguished design. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Fragola is a bold and groovy script family with plenty of OpenType features and extra swashes. Combine Swash, Stylistic or Titling Alternates or manually select from even more alternates in any OpenType savvy program to create groovy headlines and spice up your design with Fragola Extras. Fragola Demo is a free version of Fragola Printed with some extra ink drops spilled in the mix. For the absolutely best price purchase the whole family pack!

This is not Hollywood. You may be surprised but I am not inspired by the famous Hollywood sign for this type but a grid on a roof of Barcelona. I walked down the street observing the architecture of buildings in the area of the Marina when I saw a grid on a roof. One of the workers put a board on them and the magic happen. Hollywood 69 is now free with 99 !

Knightsbridge is a robust, bold italic, which Alan Meeks designed in 1975. This typeface appears to be a wholly new interpretation of the alphabet, free from specific typographical/historical references. This courageous assertiveness extends into the very design of the letterforms, making them feel secure and assured on the page. Knightsbridge is the perfect typeface for newsletter and magazine headlines, and it may be used for various advertising typesetting purposes as well.

A pair of scissors and a bunch of papers; that is the foundation of Paper Cuts. It’s available in two different styles, Paper Cuts and Paper Cuts Black. The black version was the first stage in the progress and Paper Cuts is the second one where the negative space appears. Also, you get Paper Cuts Ornaments for free. It dilates your possibilities further. Buy them separately or in a “Nice Price” family set.

A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

Gainsborough - a clean-cut display pack. Gainsborough is a display combo pack of three styles and extra swooshes. Gainsborough fonts are straightforward with characteristic clarity. All the three fonts are designed to play together. Gainsborough is very easy to use. Gainsborough Pen is a clear script inspired by handwriting with pigment pen but polished clean to be legible and inviting. It’s equipped with Contextual Alternates and Standard Ligatures for smooth flow and connections between letters. In addition there’s Stylistic and Swash Alternates for standard characters. Gainsborough Sans is a sturdy street-sans ready for action. It’s has zero contrast and angular geometric shapes. It’s great for bold headlines. Gainsborough Serif follows pretty much the same proportions but with the serifs and a little bit of contrast and round shapes. Try combining Gainsborough Swooshes with Gainsborough Pen - type one character with Swooshes in the end of a word typed with Pen and you’ll have an ending swash reaching below the word. There’s different shapes and length swooshes + a couple of center balanced ornaments.

Retro Signs JNL collects nearly 50 designs modeled from old water transfer sign decals once manufactured by the Duro Decal Company of Chicago, Illinois and adds in a generous amount of additional phrases newly-drawn in the same hand lettered style. These vintage sign panels are perfect for creating nostalgic signage to fit projects centered around the 1950s and early 1960s.

An old brass stencil of the word 'large' was spotted for sale in an online auction. What set it apart from many other vintage stencil items was the beautiful, hand-punched Western letters with a diamond-shape center. Those five letters served as the basis for Old Chisholm JNL, which retains the look and hand-made charm of the original metal stencil.

Merry Baubles is a set of fleurons in the form of traditional painted glass Christmas Tree ornaments. That's really all there is to say about this piece of typographic fun.