Designed with high contrast. The stems are not completely straight, slightly narrow in the middle, combining rounded and right angle at the terminals and serif ends. Gibralt consists of 8 styles from Extra light to Black, each matching with italics version. Suitable for Headlines, paragraph, text, printing and more.

Amsi has been designed to equipped with three different widths; Normal, Narrow and Condensed, addition to expanding weights to support various usabilities ranging from Thin, XLight, Light, Regular, SemiBold, Bold, Black and Heavy. Which makes Amsi along with a numerous features support the creativities of the designer from the Font Menu.

Amsi has been designed to equipped with three different widths; Normal, Narrow and Condensed, addition to expanding weights to support various usabilities ranging from Thin, XLight, Light, Regular, SemiBold, Bold, Black and Heavy. Which makes Amsi along with a numerous features support the creativities of the designer from the Font Menu.

Fun Play is A Fun and Playful display typeface family with 5 wights variant; from Light to Bold. Comes with many features; Multilingual Support, Ligatures, Stylistic Alternate and more. Each character represents a child's joy. ‘Fun Play’ can be used for branding, packaging, headline and all styles of children-related design.

Take Charge JNL is based on the opening title card for the 1936 film "The Charge of the Light Brigade" starring Errol Flynn and Olivia de Havilland, Donald Crisp and David Niven. The typeface is a simple, bold titling font with the slight feel of Art Deco influence in its design.

Font Makenn01 is inspired by Asen Petrov’s Perfograma font , based on in the IBM Harvard Mark 1 machines the first electromagnetic computer presented by Howard Aiken this november 84 years ago ,in fact this basic technology received its instructions and data trough punched tapes . It is therefore an interpretation in wich circumferences have been used instead of circles linked with a line , and the name used also refers to Mark 1 calling it Makenn 01 , giving a touch of identity since this name resembles , Carmen my name , the 01, is like a restart of 0 , with the 1 of the Mark 1. It has Greek and Cyrillic characters.

HU mobydick is a body font with square modules and a wide space composition. Sharp right-angled joints and strong endings. And thin strokes are combined to complete a harmonious typeface for body text. The gray level of the body text is set low, so it can be used for light work.

Montecatini takes its cues from the elegant Stile Liberty travel posters of Italy in the early 1900s. In its successful first release by Louise Fili Ltd in 2017, the typeface introduced distinctive ligatures typical of the time when Art Nouveau emerged as a worldwide phenomenon. Now Montecatini has been expanded into 24 alluring styles, spanning 6 weights and 4 widths. With the addition of these new styles, Montecatini has a dynamic capacity for comprehensive use and pairing. Everything looks better in Montecatini, from book jackets to monograms to packaging and logos—and the wide selection of ligatures, weights, and widths makes copyfitting a delight. Montecatini Pro’s ligatures are setup as contextual alternates. If you would like to try out Montecatini Pro’s ligatures or learn more about the font, please visit: https://www.louisefili.com/montecatini-pro

Signal1885 is the abbreviated name for "(Sig)nature Jour(nal)" a font that harkens back to an era, when fine handwriting filled journals with observations of science and adventure. Intimate and reflective of an individual entering his thoughts in his personal journal or a ship’s captain documenting his voyage on a daily basis. Signal1885 is penmanship that reflects hand forms from by-gone days. Its a minimal glyph set which can be used at various sizes as small as 18 points. It includes a selection of ink drips and smudges, that are the “mark” of a hand done entry. These can be placed in strategic places on the type to indicate a hand dragging through or dripping fresh ink on to the paper. Set sail- and keep a diary of your voyage.

Decoral Soft depicts the character of Art Deco period typography and reinterprets it into modern approaches. This typeface is a friendly and flexible family that is fun to use. It comes with a set of 670 characters per weight, supporting over 50 different languages using the Latin alphabet. Decoral Soft also comes with special stylistic sets and swash characters that allow the user to be creative and playful with the type, helps enhance many different possibilities that certainly will spice up your design. Decoral Soft will satisfy all your typographic needs, from book jackets to monograms to packaging, logos, and even wedding invitations—timelessly elegant, with a distinctive flair that exudes Art Deco typography in a fresh, modern way. The wide selection of titling alternates and ligatures make copyfitting a delight.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Ulysses was created by English designer Timothy Donaldson in 1991, an impulsive, dynamic alphabet in handwritten style. The sketchy strokes, the clear slant to the right and the light stroke contrast lend the font its flow and energy. Ulysses suggests randomness and individuality and is therefore perfect for invitations, greeting cards and other personal correspondence.

After a few months my new typeface "Bankal" is here! To create it, I always tried to keep a 90 degree angle. In French when you say that something is "bancal" it means that it's not right. This is why I choose this as a name because despite the name she is right. And for the K it's just for the style here. Bankal is a sans-serif font with 3 variations (bold, regular, light) Check more on my website : https://www.hugokuder.com/ or my instagram : hugokuderdesign

From the fluid brushstrokes of Teri Kahan's lettering comes a tropical treasure: ITC Puamana, graceful as a palm tree in the ocean breeze. “Puamana” is a Hawaiian word with several meanings; among them are “the blossoming of miraculous power” and “sea breeze.” ITC Puamana captures the essence of the tropics, suggesting the sway of palm trees in the ocean air. With its ragged edges and italic slant, this brush-written alphabet has a unique visual texture that graces the page with spirited movement. Sketched on the beach in Maui by west coast designer Teri Kahan, ITC Puamana first saw life as apparel art for a Hawaiian clothing company. Now this versatile typeface is a complete alphabet that's useful for both text and titles. ITC Puamana can be put to use in everything from book jackets to in-store signage.

Nerone is a quasi-unicase display type family in four weights, from light to black. In its lighter versions, it's reminiscent of dignified flared serifs like Albertus. In its black version, it's comparable to display faces like Serif Gothic, with a hint of Mostra-like despotism... Inspired by ancient Roman capitals, Nerone takes a whimsical look at how they might turn into a black fatface, and how a matching lowercase might give the whole affair a whimsical feel — specifically when applied to fun branding and marketing uses. Part of The Ampersand Forest's Sondheim Series.

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

Pony Tale Pro is a handwritten unconnected script face in eight styles: Light, Regular, Bold and Outline with Italics and Small-Caps. Very suitable for Packaging, Greeting cards, Magazines, Posters and Advertising Ads. A space after any lower-case glyph will produce the word terminal, invoking the OpenType/CONTEXTUAL ALTERNATIVE variant. (Opentype variants may only be accessible via Opentype-Aware applications.)

Nouvelle is an elegant sans serif family of six fonts (light, regular, semibold and italics). This modular typeface works just as well as display typeface as it does in body text. Because of the high x-hight it stays readable in very small sizes. It has 1884 characters: oldstyle numerals, ligatures and extra characters that support almost all European languages.

MIX SONIC is a font pair inspired by the night sky. You get a round, bouncy and plump decorative san serif in MIX SONIC MOON and an all-uppercase and moon and stars dingbat hybrid in MIX SONIC STAR. The shapes of these glyphs capture the various phases of the moon, and how it lights up eerily lights up the night sky at each phase. MIX SONIC MOON and MIX SONIC STAR are great additions to your font collection. Make it a go-to font for all your projects of the mystic, astrology, magic, zodiac, elemental, witchcraft or divine variety. Use together, or separately, both font sets are sure to delight! MIX SONIC MOON comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥♥✿•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_… ©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇÓÒÔÖÕŌŐ ØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñňóòôöõōő øœŕřśŝšşșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþß MIX SONIC STAR comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstu-vwxyz 0123456789 !@#$%^&*()`~+= []<>:;’”,.\|/?{}“”‘’-_‹›₱¢€£¥ Fellow witches, enjoy!

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Introducing Night Crow . A display deathmetal font. This font is inspired by underground and metal music band logostyle. There are alternate directions of the thorns (right and left), alternate is in lowercase. I purposely made the spines a little so that the font can still be read. Night Crow is suitable for death metal music, underground, hardcore music, blackletter, death metal logo design, clothing, logos, music covers, posters or other designs with the theme deathmetal.

Like traditional athletic block typefaces, VTF Charisma is built with chiseled cornersand a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like "a", "c", and "s" demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the "A", "v", and "y" are cropped in a way that further reinforces this motif. These stylistic cues are employed throughout the family’s 7 weights, ranging from Thin to Black with an accompanying Oblique variant for each. VTF Charisma is equipped with a hefty 970 glyphs that support Small Caps, fractions, extensive Latin characters, stylistic alternates and more. Paired with its dynamic charm and strong visual appearance, the family’s horizon of capabilities broadens.

Prolific illustrator and veteran typographer Tracy Sabin draws on more than 40 years of multi-disciplinary design experience to bring us Muschamp Pro, a loopy, bouncy, free-form alphabet adaptable for many uses. It embodies the spirit of the massive art nouveau wave that broke out in the late 1950s and ingrained itself in popular culture for about three decades on both sides of the pond. Carefree, playful, rhythmic and versatile, this font evokes plenty of album jackets, children book covers, and cartoon titling from the times that really defined those design expressions and enshrined them as essential pop art. Muschamp Pro comes with plenty of alternates, ligatures of both standard and discretionary varieties, and extended Latin language support, all contained in a glyphset of more than 500 characters. Use this font if you want your design to transmit a message of crafty and joyful activity.

Belda Didone: the elegant strokes of Belda, now with higher contrast. A sleek Didone fusing graceful motion with an elegant typeface, this family offers new versatility. Belda Didone is a refined gem of a font that provides an unmatched level of luxury. Belda Didone is the child of Belda, offering new opportunities for a brave new world. The high contrast strokes reference the delicate shapes, curves, and sharp serifs of the original. The design of Belda Didone represents a unique balance of harmony and elegance. The architecture is robust and elegant. Belda’s forms have an intense luster and sparkle that captivates the reader’s eye. Belda Didone has plenty of OpenType alternates, including small capitals, titling, and a wealth of weights and widths. This font has the potential to serve as both text and titling. It’s an excellent choice for book jackets, advertising, packaging, and other luxury applications.

Viktorie might easily be mistaken for the handwriting of a note-taker in a hurry: it looks swiftly jotted down. These energetic characters pay little heed to such arbitrary contraints as baseline or x-height -- taken together, they give the effect of casual penmanship that's both curiously legible and inspiringly unleashed. Viktorie has a single, medium-light weight and comes, of course, with a full character set.

Pulchra is a stylish Brutalist font. The font displays a playfulness personality, vitality, with a strong and elegant appearance. The typeface has the right visual consistency for branding communications. It comes with unique lower and uppercase plus numbers, punctuation & multilingual letters. Its thick curves give the 60s & 70s groovy vibe. What you get: - Letters, numbers, punctuation, multilingual support, alternate and ligature - Light, Regular, Medium, and Bold version.

Meet Salmond, a geometric and modern sans serif font designed with a tight letterspace, exuding a unique, minimalist charm. Consists with six weights, ranging from Light, Regular, News, Medium, Semibold, and Bold, matching with Oblique styles and multilingual support. This font family offers versatility for various design needs, designed especially for display such as titles, branding, logos, books, UI/UX, and impactful editorial work.

Elemental is a font created in 1997 and launched in 2001. It is a Sans Serif of humanist type and its principal characteristic is a hybrid between different form of calligraphic outlines. In 2010 it was redesigned for Chile’s bicentenary in Opentype version and an improved italic. It is offered in eight weights: Light, Regular, Bold and Extrabold and small capitals for each one of them.

A vintage hand-punched brass stencil for the Pasadena Playhouse spotted online was the basis for Theatrical Stencil JNL. Slight variations in the letter forms from other similar designs might not quickly be noticed, but there is always a charm in the hand-made look of any stenciled lettering.