Agenor is an all caps display typeface family. It comes in five weights and is suitable for headlines, headings, branding, posters, packaging, titles and logos.

Rabsy is a unique cartoon font with a doodles concept. The included dingbat doodles pattern makes it easy for you to make unique patterns, and make fun display tittle. A mixed-case font (Rabsy and Rabsy Pattern) with lots of combination possibilities, makes for great fun! It is good for logotype, stickers, fun kids signs, and other lettering projects. This fun is perfect combination uppercase and lowercase. Rabsy File Downloaded: - UPPERCASE and lowercase - Lots of doodles Rabsy Pattern 1-9, A-Z and a-z (more fun with lots of combination possibilities) - Punctuation and numeral - Extended Latin characters for language support. Please let me know in the comments what you think or if you have any issues or queries, If you have any questions about licensing, need help with a typeface, or would like to request a new feature, drop me a message. Thank you, D&K Project

Tokoloshe is a name in African mythology for a mischievous leprechaun-like figure that loves practical jokes and tricking people. There are many books of such African stories, for example Tales of the Tokoloshe by Pieter Scholtz. The letter shapes that I used in the Tokoloshe font have inspiration from two sources: -- the spiky character of the font was derived from the wonderfully imaginative, wooden carvings of the Makonde people of beings called "shetani". The word "tokoloshe" is used by other tribes, but from his behaviour, he is certainly a type of shetani. -- some of the letter shapes were informed by Art Deco styles of fonts, for example: Kunjani, Black Tie SF, Selznick Normal, Zaire SF, Binner Gothic and ITC Anna. But the Tokoloshe font, like its namesake, is much more freespirited. Use this font whenever you want to suggest the rich artistic, cultural and spiritual heritage of Africa. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Semarang is a stylish, all caps Art Deco font. It is not a recreation of a particular typeface; merely my salute to a bygone era and to the birthplace of my father in law, who recently passed away. Semarang comes with all diacritics.

Friedhof family is inspired by a tombstone lettering dated from about 1900. Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles. Note: Very complex, shadowed fonts may not work on slow machines!

Hicksons is a new calligraphic vintage script. It has a classic authentic look in two variations with clean and aged textured characters. This font has lots of OpenType features, like ligatures, swashes and stylistic alternates. Thank you and have a nice day!

What can be better than releasing a hot summer font in winter time! Honestly - all the images are ice blue or white. Christmas stuff is everywhere and 'Jingle Bells' torment your ears! But here it comes to catch you: Bold and orange! www.typethis.studio

Flabioga may look like your every day stencil font - but it's not. It contains two sets of letters, one for uppercase and one for lowercase + ligatures for double letters and numbers! You will need to use OpenType supporting applications to use the autoligatures.

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

Slightly erratic straight up brush tip handwriting script that was written with an ‘intoxicated’ hand, with a lot of very unique characters as a result. The overall font looks wild yet very readable. It includes all eastern European, Baltic, Scandinavian and Turkish characters.

Ever wanted to be embraced by garlic? Probably not! But this font could surely embrace your designs that need an authentic brush look! Comes with 7 contextual alternates that automatically cycles as you type! Also, Garlic Embrace is FULL of accented letters! :)

Kato is a handwritten mostly-joining script with long, but not overly long ascenders and descenders, that make it a very elegant font. Scanned and finished carefully by hand on screen, with that little bit of extra effort to keep the "rough" touch.

Whitbury is a modern calligraphy script font with thin upstrokes and super heavy downstrokes. It has lots of fun ligatures! It's fun to use for quotes and headlines, and logos and branding projects. It's casual, playful, and full of eye grabbing attitude.

A reasonably accurate rendering of an old favorite font from Victorian times. Quite readable in lowercase, and very eye-catching in all-caps. We got the proof for this in London many years ago, but neglected to learn the name. Zorro sounds good.

Designed in 2011 by Olivier Gourvat, this font family has generous proportions with a range of weights make it a versatile family for print, text, signage, branding and web design work. Kyrial Sans Pro offers lots of OpenType goodness and broad language support.

Antique Vignette is a quirky vintage script font. I call this font quirky font because the concept of this font uses a very visible difference in the thickness of the font. Because of its thickness, it makes this font look more unique and has a more vintage feel. The perfect combination of vintage/groovy style with classic lettering. So this font is suitable for your projects with vintage/retro/groovy themes. In addition, this font is also suitable for logos, branding, lettering, badges / emblems, quotes, posters, svg, book titles, packaging, t-shirts / apparel and others. Come with Opentype feature with a lot of alternates, its help you to make great lettering. This font is also support multi language.

Flicker - Vintage Calligraphy Font We're Introducing the "Flicker" Font we created in 2022. To talk more about the character of this font, please see a preview of how each Glyph in the font will look when applied to a design. This font has a vintage touch and a modern look to each letter, slightly rounded and neat shapes in each curve, plus a Stylistic feature at the end of the letters. We design this font in such a way that it is suitable when used for design projects so that it looks very attractive. And you can also use this font for logos, branding, brochures, names on product packaging and so on. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash

Guitarist, a symbol of freedom and self-confidence. A good font must be enduring and of high quality. This font is simple in shape, and at the same time pays attention to changes in thickness, and strives to be classic and timeless. This font is great for music, fashion, magazines and is very eye-catching. GUITARIST can be matched with various fonts, and the visual effect is very strong. This font is modern and elegant with high-quality details. Designers like listening to jazz very much, looking for freedom, passion, independence, and change in jazz, and integrating these spirits into this font. I hope this font will help your brand be more visible.

Brilliant - Lettering Script Font We're Introducing the "Brilliant" Font we created in 2023. To talk more about the character of this font, please see a preview of how each Glyph in the font will look when applied to a design. This font has a vintage touch and a modern look to each letter, slightly rounded and neat shapes in each curve, plus a Stylistic feature at the end of the letters. We design this font in such a way that it is suitable when used for design projects so that it looks very attractive. And you can also use this font for logos, branding, brochures, names on product packaging and so on. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Winner™ and Winner Sans™—Classic athletic aesthetics, finally as a versatile contemporary super family. Just when you thought there was nothing left to add to the classic sports design, we lifted it to a whole new level. Whatever you want to set in whatever space, with seven weights in seven widths both with or without serifs, you’ll definitely find the right proportions for it! Winner supports not only most Latin-based languages but also Greek. Its extensive character set also contains currency signs, arrows, as well as a wide range of numerals from small figures to Roman numerals. Furthermore, its sophisticated OpenType layout features give you access to alternative letter shapes, fractions, tabular figures, and contextual alternates. With more than 24,000 glyphs in 49 fonts, Winner leaves nothing to be desired. Grab Condensed Regular for free and give it a spin!

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Here's a posh serif typeface and its matching italic. Glowing with elegance, Cosmetiqa can go head to head with classic evergreens like Bodoni, Didot, or Century. And just like those go-to favorites, Cosmetiqa really shines at the huge, layout-dominating sizes which have been a staple of top-shelf fashion branding and magazine design since at least the mid-1980s. You'll also find this font to be a great workhorse at much smaller sizes and in extended text passages, as the hairline serifs don't disappear in the smaller size ranges. As its title suggests, Cosmetiqa's unique look works perfectly in cosmetics and fashion branding, but also try it with 1990s-style message forward ad headline applications if you're after a retro look with a hint of a modern twist. The semi-condensed proportions and tall x-height make it great for pull quotes, page banners, and logo design.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Imagine a font that embodies the cozy warmth of a holiday sweater. The Xmas Knitted Font is a whimsical creation that brings to life the spirit of the season with each letter. Crafted meticulously, it mimics the intricate weave of yarn, evoking the charm of hand-knitted patterns. Each character is adorned with festive elements like snowflakes, holly leaves, or reindeer motifs, creating a delightful tapestry of holiday cheer. The font exudes a nostalgic, homemade feel, reminiscent of cherished moments by the fireplace, sipping cocoa, and sharing stories during the festive season. Its playful yet comforting design makes it perfect for adding a touch of seasonal magic to invitations, greeting cards, or any project seeking a dash of Christmas spirit.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Linotype Startec, from Jan Tomás, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This is another fun font from Tomás, who also designed Alphabat, and the two share some characteristics. Linotype Startec is an outline font whose unique forms are reminiscent of futuristic dreams and space adventures. It should be used in point sizes of at least 18, but the phrase 'the bigger the better' fits this font well. The careful details and figures of the alphabet turn into UFOs and space ships from another world when set in very large point sizes. Linotype Startc is best for very short texts and headlines.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Dear friends, we are so excited to share with you our brand new font! Just check out this new typeface called the Upstairs Font. Cool looking and unique typeface that gives your work an awesome look. This font is great for books, magazines, logos, branding, photography, quotes, blog header, poster, advertisements, etc. the Upstairs is a display typeface that comes in two styles: Regular and Wide. This typeface gives your work a cool-looking and unique style also this typeface is great for awesome headlines. So take a dive into “The Upstairs”, it’ll be awesome! Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

Ledare is a dynamic sans-serif typeface. Created by Mans Greback between years 2019-2021, this expressive font leads the way of your message with confidence and determination. It has a soft, easy-going outlook, yet is formal and rigid. The Ledare family consists of 14 fonts: Thin, ExtraLight, Light, Medium, Bold, ExtraBold and Black, with each weight as italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Small Heath - Slab Serif Font. Small Heath is a slab serif inspired by vintage american poster but made flexible enough for everyday use. Small Heath is unique font because the difference "slab" of each character. This serif is very beauty, so it makes Small Heath look amazing great. Small Heath best uses for title, invitation, heading, cover, poster, logos, quotes, product packaging, merchandise, social media & greeting cards and many more The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Harjita is a Retro Groovy Font inspired by the retro pop style of the 80s-90s by combining a thick serif style and rounded corners so it looks friendly and easy to read. This font is perfect for brand identity needs or other graphic media. This font is also PUA encoded, which means you can easily access all glyphs and opentype features easily. 376 Glyphs 4 Opentype features 9 Ligatures set Support Multilingual for 89 languages We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Thanks for your support of our product and using it in your project.