Axion RX-14 is an original design by Alex Kaczun. It is but one of several alternate designs based on his original Axion family of fonts. Alternate design elements, specifically on capitals like 'A' , 'V' and terminals of 'C' and 'G', along with contrasting sharp and rounded corners, create a tension within this modern grotesque and add a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion RX-14 is a futuristic, techno-looking and expressive typeface with an apperance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Before ink jet and laser printers; before copy machines, the main way to make multiples of anything not provided by printing press was by a mimeograph machine or spirit duplicator. The mimeograph utilized a porous drum which inked the backside of a waxed stencil sheet. Unlike traditional stencils which have cut out areas that are directly inked or painted, a mimeo stencil has the area to be printed scratched away by removing the wax coating with a stylus. The resulting image allows the ink from the drum to seep through the sheet and transfer to the blank paper. Based on a plastic lettering guide once manufactured by the A.B. Dick Company of Chicago, Mimeograph Template JNL is available in regular and oblique versions. Albert Blake Dick, the company’s founder, coined the term ‘mimeography’. The font’s character shapes follow the routed letters of the template, complete with rounded terminals. An earlier font release [designed with flat terminals and some alternate characters] is available as Interoffice Memo JNL.

Axion STN is an original design by Alex Kaczun and is a stencil interpretation of his Axion RX-14 font. It is but one of several alternate designs based on his original Axion family of fonts. The wide gap within this stencil treatment works well with and compliments the spacing in the font, creating a tension within this modern grotesque and adding a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion STN is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Artificial Intelligence is a computer generated typeface, in a brush handwriting style. As the world's first public and commercially available AI typeface, Artifical Intelligence celebrates the interaction between humanity and technology, in an attempt to blur the lines between hard data and interpretation. Based on 400 of Mans Greback's typefaces, this machine learning is bold and expressive, with a touch of retro while keeping it hip. It is provided in an all-caps uppercase style, Artificial Intelligence Caps, as well as the Regular style with lowercase lettering. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Esm is a font that tries to convey the reinterpreted aesthetics of German and Swiss typography along with a new trend of unusual shapes. The font has a different approach to the internal elements of letters-ovals that have a straight line on one side, drawing the glyph "a" example. I wanted to diversify the font with different styles to avoid the effect of triviality of machine text. The font has a large language support and contains 626 characters. And a large number of special characters. The font family is universal. It is suitable for large text, magazines, posters, logos, and headlines. Thanks to 6 different font styles and customized kerning, the font will look just fine. The thin print is incredibly elegant. The regular is great for a large amount of text. And bold for posters and headlines. Named by the French feminine name Esm. The name itself has a meaning: dear and beloved. I hope my font will convey these feelings.

Alfina Notte is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina Notte is the bold version of Alfina, a type with soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.

Donald DBXL Beekman lives on a ship in Amsterdam’s waters (well, the Amstel river, actually). Living on the water inspired him to design this ‘cruise ship’ typeface VLNL Decks. Available in several variations, it’s a fabulous cocktail of freshly caught fish typography. Decks is recommended for seafood restaurants, speed boats as well as slick city boys wearing overly expensive sunglasses or Ibiza sunset parties. Decks is the tiger prawn amidst sea foods. VLNL Decks has a distinct modern techno look but the rounded corners give it a warm and human feel. It is available in 3 monolinear weights (Light, Medium, Bold) and 3 weights with contrast between horizontals and verticals (Different Light, Different Medium, Different Bold).

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.Today Rotis ia also available with pan european caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

This fun font has a lightning bolt on many of the uppercase letters. It's magical!

Paperly is the perfect way to add a friendly, hand-written touch to any project! It's simple and minimalist design conveys a calm and friendly feel. It was designed by Rachel Kick based on original hand-drawn letters. Each character was initially drawn on paper before being transformed into a simple typeface. It has 4 styles that can be combined or used individually to fit the needs of any project.

Rockstage Calligraphy Font is an incredibly distinct, delicate and timeless handwritten font. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

This typeface is patterned after the lettering produced by the Marsh Stencil Making Machine, which was an indispensable part of industrial shipping departments in the mid-twentieth century. The font is unicase, but includes a “this side up” pointing hand at the section mark position, and a recycle symbol at the German double-s position. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Mivron is a stand-out type of sans-serif block text especially suited for headlines and display work. There's a wide range of accented characters making this font appropriate for a wide variety of languages. The zip contains OTF and TTF versions - only install one version of a font on the same machine, either the OTF or TTF, but not both as that could cause various conflicts and erratic behaviour.

Sheet music for the song "Beyond the Blue Horizon" from the motion picture "Monte Carlo" had the movie title in hand-lettering reminiscent of the Futura Black style, but with an inline stripe through each character. These few letter examples were the basis for Gambling Resort JNL and conjure up the Nouveau Riche spending their nights in Monte Carlo packing the roulette wheels, blackjack tables and slot machines.

Zafrada features classic wedge serifs that can be sharp like a machete or round like molasses. Inspired in the sugar cane, this typeface brings great display legibility with versatile expressions. While the edgy version reminds us of classical rustic grotesk typefaces, the round version brightness the tone considerably. Be it display, branding, campaigns or content creation, this font has a sure space in many projects for it's reliable and versatile nature.

Initially an experiment in vertical calligraphy, Mama Script was developed by drawing on multiple sources of inspiration. These range from simple swashy handwriting, lettering and signage, to the works of renowned calligraphers. This script likes to stand out everywhere it appears. Mama Script comes with a full set of alternates, as well as many ligatures for precise display use and a simulated balance between the hand and the machine.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.