Eloquence has a modern aesthetic with a strong classical influence – this is the “Renaissance Remixed”. While being inspired by the first printed texts of the Renaissance period, this typeface has contemporary features such as a high x-height, open bowls and counters, along with razor-sharp serifs and terminals. It has been designed specifically for creating a pleasant reading experience. With a comprehensive character set, Eloquence can comfortably handle printed documents such as novels, magazines, annual reports, along with their equivalent online/digital formats. This 14-font family also has a few tricks up its sleeve by means of some neat, complementing discretionary ligatures and alternates that will prove to be useful embellishments to your typography. Small Caps are included too, along with corresponding diacritics meeting the Latin Extended specification. You can view more details, design examples, and a specimen PDF at eloquence-font.com Key Features: • 14 font family – 7 weights in Roman and Italic • Small Caps, Alternates, Ligatures, with Proportional, Old Style, Small Cap, Fractions, Numerators, Denominators, Superior, and Inferior Figures • Full European character set (Latin Extended) • 900+ glyphs per font.

Nudista is a monolinear, geometric sans-serif based on the proportions of the Purista typeface, released in 2007. The forms are not based strictly on square shape, but rather on a pleasant oval, round shape. The letter outlines are smooth, even technicist, the geometric precision is however compensated in places where it would get in the way of legibility and compromise the desired visual impact. Nudista was originally conceived as a display type, but it is sufficiently legible even in text sizes. Thus, it suits short texts in corporate prints. Carefully chiselled letter curves are sturdy and well suited for the harsh conditions of low-resolution printing devices, they work well on computer screens and mobile phone displays. However, Nudista works best in corporate systems, navigation and orientation systems, where it may be, also thanks to the sufficient range of weights, a good alternative to the well-known and thus a little overused DIN. Naked typeface with no needless decorations humbly serves in all places where too expressive types could be disturbing.

A new happy handwritten sans serif font has arrived! Little Boxes has been designed with felt pen on smooth paper to create the illusion of human craft and then digitalized. Three different fonts Regular, slanted and dance. Optimized shapes to obtain the best readability without loosing the analogical feeling of the original designing tool, makes this font perfect both for printing and digital environments and it allows the use of the font on any project with different media supports. This fresh font family is ready for text, but check your opentype features window while using the font and discover a beautiful set of alternate letters. Create catchy words and add more fun to any layout, which makes it a perfect match for titles and display too. A friendly typeface to give a whimsical touch to your projects. We highly recommend using Little Boxes for App, web, ePub, digital Ads, Video games, and a great fitting for printing; headlines, posters, DIY hand-lettered artwork, books, holiday cards, invitations, T-shirts, labels, packaging, artisanal goods, etc.

Entendre is a stately, commanding and handsome sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre pairs well with our rounded sans serif family Elpy, sharing similar proportions and spacing.

-OC Format Sans is the third incarnation of this geometric grotesk sans serif which fuses the style of Futura with the rhythm and proportions of Akzidenz. It comes in two styles, standard and a new Print family where crisp sharp edges have been made blunt in reference to the ink spread that occurs when printing on uncoated paper stock. It can give digital media a softer more approachable analog aesthetic. Typical of both grotesk and geometric styles the design has an even weight with minimal stroke contrast and the slanted form is an oblique rather than a true italic. The default double-story �a� and �g� give an academic touch, the single story versions of Set 1 are more friendly and approachable while Set 2 changes the look into something more scientific. Made with tireless attention to detail and kerning it's perfect for logotypes and extensive text, supports multiple languages and comes with a plethora of OpenType features including standard and discretionary ligatures, social icons, symbols, and multiple figure styles including roman numerals.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It's something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and Capitals) was inspired by a line of lettering seen on a late 19th Century enamel advertisement made by Chromo of Wolverhampton (hence the family name). The family grew, topsy-like, from a recreation of these initial fifteen capital letterforms to the three complete typefaces offered here. The three typefaces are ideal for advertising and poster work with a Victorian, Edwardian, or 'Steam-punk' theme. They would also be eminently suitable for signage inspired by the same eras or (as we've seen a number of our other typeface families prove very popular) for book covers of period related novels and historical works. Finally, these slender elegant display faces are just plain fun!

Proudly present Microphone Check - Marker Type, created by ikiiko Microphone Check is inspired by the bold and expressive signature strokes of the 90s street hip hop movement. In that era, freestyle marking was a method of self-expression that was closely associated with the underground graffiti scene. This typeface perfectly encapsulates the vitality, attitude and resilience of life on the streets. Sharp lines with bold, bold bodies characterize this type of marker, allowing for substantial fills and bright colors to stand out on any surface. It gave them the opportunity to express their originality and creativity while leaving their mark on the urban environment. This type is very suitable for making a street wear brand, book cover, movie title, magazine layout, poster, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates & Ligature Multilingual Support Works on PC & Mac

Proudly present Smokey Brown - Funky Type, created by ikiiko. Smokey Brown is inspired by the 70's funk & soul vibes. Is a distinctive and vibrant style of typography that emerged during the 1970s, primarily in the context of soul, funk, and disco. One feature that makes this font style distinctive is the use of bold letters with thin lines to form letters. Typography itself is fun and enjoyable. The letters can be played with by being stretched, bent, or distorted in various ways, giving the font a sense of movement and energy. This type is very suitable while used in retro-themed designs or for projects that want to evoke a sense of nostalgia and retro vibes. Like a poster design, magazine layout, movie title, brand logo, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Eirinn was designed by Norbert Reiners for Linotype in 1994. Its forms are based on those of Irish scripts of the 7th and 8th centuries, an example of which can be found in the Book of Kells in Dublin. Characteristic of this style are for example the lower case f with its short cross stroke on the base line and long cross stroke above, the unusual form of the g, and the t, whose form is almost like that of a c. This style consisted of a mixture of lower case and capital letters at the time of its conception, but Eirinn has a full set of both lower case and capital alphabets. At first glance the viewer is reminded of ancient and indecipherable writings of the Celts before the forms of our contemporary letters and words become evident. Eirinn will lend a touch of mysticism and secrecy to any text.

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.

Qualion Round™ is a soft geometric sans serif with lots of swashes and ligatures, a sibling of successful Qualion™ and Qualion Text™ families. The rounded family is designed by carefully adjusting letter shapes, tapering and ink traps to in order to achieve optimal legibility as well as strong personality. The family is intended to serve in display situations like branding and advertising as well as in paragraph text and user interfaces. Its versatility can be even strengthened by pairing it with Qualion™ or Qualion Text™ families. Qualion Round™ family consists of 10 weights with corresponding oblique styles. It has extended language support, as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Hebden is a ‘Northern’ font. Inspired by the town Hebden Bridge in Yorkshire, the family is a mix of a grotesque and an incised serif. The grot is based on Victorian train station signage and the serif is style that can be spotted in and around the Yorkshire Dales region. Hebden has a nostalgic twist and is ideal for labelling, signage and memorable messages. The grotesque face with its robust angles and warm circular curves recalls the style of traditional English sans-serifs like Caslon’s 2-Line Egyptian. The incised face has strong but sophisticated and natural forms and is based on a wood carved style popular in the early 20th century. The weight of the two faces are are drawn to complement each other creating an evenly balanced combination. Both faces come with caps, lower caps across letters and numerals, and have Western, Central and Eastern European language support.

Say hello to new serif font, George! George is a classic serif typeface. Create bold, gorgeous headlines and elegant designs with a vintage flair. George's contrasting lines and curved terminals give a sleek, elegant look to logos, holiday cards, wedding invitations, quotes, advertisements, and more. George has full set of classic uppercase and lowercase letters, numerals, punctuation, also multilingual symbols. It includes opentype features like ligature, alternate and many others. Here's what you get: - All Multilingual symbol - Opentype features ( ligature, alternate ) - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work. Thank you!

The Metalista font was created as a sign of undying admiration for the persistence of heavy metal culture. The angled font of almost fixed width proportions combines capitals with small letters for more variety and better definition of individual letters. Stressing the horizontal strokes subdued the historical Gothic character and emphasized a more modern signature, which is far different from the majority of current attempts at a modern adaptation of Fraktur fonts. We offer Metalista in three styles, or rather widths to be exact: Speed is inspired by the whiplash pace of 70s and 80s speed metal, and can tell and perform a lot even in a very small space; uncompromising Death balances on the fine line between expression and readability; and Metalista Black is the universal go-to, whether as megalomaniacal titles sprawled across the entire LP cover or as tiny texts for glam rock CD booklets.

Get ready to rock your designs with the brand new Chunky Groovy Font, GLADOLIA! 🎉 Gladolia is a chunky typeface with a unique retro style that is sure to make your designs stand out. With 2 different style fonts, regular and oblique, plus an extra Extruded Font version for each style, you can easily create eye-catching designs without any extra effort. This font is perfect for a retro 80s theme and can be used for cover magazines, brochures, logos, headlines or quotes, stand-alone displays, and short paragraphs or content. Each font in the family is dynamic and authoritative on its own, making it perfect for any display project. So what are you waiting for? Elevate your designs with the cool and groovy vibes of Gladolia! 🤘 Similar Item: Sugar Peachy : LINK HERE Gyoza : LINK HERE Gunydrops : LINK HERE Swipe: LINK HERE Replay : LINK HERE Bright : LINK HERE Margin : LINK HERE Nighty : LINK HERE What you get? Gladolia Regular Gladolia Italic Gladolia Shadow Regular Gladolia Shadow Italic Features : Alternates and Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Give your design projects that fun, playful edge with GLADOLIA! Thank you, Dharmas Studio

Agatized Formal is a chunky stencil typeface with slightly condensed letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. It exudes authority without taking itself seriously, like a plump jolly uncle in charge of a brass band. Agatized Formal is a big, bold typeface with a charismatic presence that commands attention – in a friendly way, of course. But what really makes this typeface come alive is its arsenal of alternative characters and ligatures. There is a saying: Use sparingly. Whoa! Not here, no, no, no. Make your Glyphs palette earn its money. Flex your OpenType muscles: get stylized, contextualized, indulge in some ligaddiction. This typeface is a peacock that likes to put on a show, spread its plumage and strut around in all its blazing glory. Agatized, according to Wiktionary, means: A living thing converted into the form of agate; fossilized. I felt the name suited the solid, almost rock-like letterforms, but most of all I just wanted a typeface name that began with the letter A. Although Agatized Formal is a single-weight typeface it has a sibling, Agatized Informal, an older, more casual brother, rougher round the edges with craggy good looks and an altogether more jaunty style.

We cannot imagine anyone not liking beer. Especially on a warm summer night there is simply little that can top an ice cold brewski. And with the current wave of home-brewed ales and lagers, Vette Letters decided to not stay behind and brew its own brand. Just so we can design our own beer bottle label using our own font. VLNL Thueringer comes from the drawing board of Jacques Le Bailly (a.k.a. Baron von Fonthausen), the German-French specialist in the fields of both beer and type design. One day Jacques got inspired by Albrecht Dürers 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. Although the historic context is clearly visible, Thueringer definitely stands its own ground. It's a modern techno-style blackletter with a (beer)truckload of interesting design details. Thueringer contains a number of ligatures and an alternate set of numbers. Apart from the regular uses like logos, posters, flyers and headlines we definitely would like to see our Thueringer used on beer bottle labels and crates, but also cafés and hipster bars would do well with this modern-day blackletter. Hell, even wine or liquor labels, football team jerseys, Oktoberfest flyers, it's just too much to mention. As long as it is accompanied by a cold beer.

Party like a boogie monster.

Just like movie poster credits.

SF Animatron is a complete transformation of one of our older designs, SF TransRobotics, which was inspired by those futuristic robots who like to pretend they're cars, trucks, planes, and things like that.

The great enigma There are hidden depths to FS Silas Sans. First impressions are of a functional, multi-purpose typeface with a cool, edgy, angular character. Gaze into its eyes a little longer, though, and you'll detect a more nuanced, colourful personality, with full, open, satisfyingly squarish forms balancing the abruptness of the sharply-angled terminals and ascenders. Authoritative, official and stern on the outside; amiable and welcoming on the inside. You’re so Dane The designers, led by Phil Garnham, were trying to capture something straight-talking, authentic, and a little... Scandinavian. ‘We were thinking about some of the characters in Danish dramas that were on in the early stages of the font’s development, like The Killing and The Bridge,’ says Phil. ‘The police officers, that is, not the psychopathic killers. Smart and a bit cool, but with a warm heart.’ For a good Danish name, we settled on Silas. It was that or Hans-Christian. The finer points Silas Sans rewards close inspection. Study, if you will, its amply squarish forms, the roomy ‘o’ and ‘e’, in particular. Observe the angular ascenders and terminals of, for example, the ‘L’, ‘I’, ‘d’ and ‘i’, inferring the movement and lift of a pen. Consider the cuts to the ‘A’ and ‘v’ that create harmony with adjacent letters. And scrutinise the subtle ink traps set within the ‘A’ and ‘Y’ for reproduction at small sizes. A fine subject, we think you’ll agree, and available in a versatile range of weights to make (with FS Silas Slab) a typographic system with a comprehensive hierarchy.

Geodeco font family brings to you the recovery of the typographic forms from the beginning of the 20th century, with a strong ArtDecó flavour but from a new point of view: modernity and geometry. Modernity in the visual contrast between lowercase and capital letters, where rounded shapes are opposed to the breaks and graphic tensions of the strokes of the capital letters. which gives it an enormous originality. Generous doses of internal whites, assure a powerful legibility even with the spite of its short ascending and descending strokes. What we get is a coherent and martial look where fluidity and homogeneity is the main note. Soft and rounded minuscule, with large internal whites for super legibility, bombproof, especially on screens, where Geodeco lives with an astonishing naturalness. The capital letters, used alone as display, or as companions of the minuscule characters, give the family a touch of originality and exotic flavor. Like the spices in the food; a brief but intense note. Breaking the rectangular shapes so that the appearance of the letter comes out benefits from enlarging the internal whites and making them consistent with the white of the lower case. GeoDeco works very well in plain text with the obvious limitation that it is not a type for small bodies, but exceptionality weldon for plain text and signage. Maximum visibility, total beauty on screens. A family of this new century with the flavour of that epoch of experimentation that were the years 20. Extensive multilanguage support and almost all Opentype functionalities. Try it and it will convince you - for sure!

Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker . In 1932, Becker began designing a series of alphabets to be published in Signs of the Times magazine at the rate of one alphabet per month. Nine years later, 100 of those alphabets were compiled in one book that became an enormous success among sign painters. In the late 1990s and early 2000s, many Alf Becker alphabets were digitized with blurbs that falsely credit an “Alf Becker typeface”. Alf Becker was not really a typeface kind of guy. He was more of a calligrapher and sign painter. His alphabets were either incomplete or full of variations on different letters, and didn't become typefaces until the digital era. This particular Becker alphabet was quite incomplete. In fact, it wasn't a showing of an alphabet, but words on a poster. Alejandro Paul took the challenge of drawing, digitizing, restructuring, and finally building a complete usable typeface from that partial alphabet. He then extended his pleasure by once again playing with the wonderful possibilities of OpenType. Whomp comes with more than 100 alternates, tons of swashy endings and ligatures, all built into the font and accessible through OpenType palettes in programs that support such features. This is the in-your-face kind of font that stands among other Becker-based alphabets as paying most homage to the vision of this great American artist who saw letters as live ever-changing beings. Whomp is right at home when used on packaging, signage, posters, and entertainment related products.

A modern font with a Typeface display style, very attractive, coupled with several lowercase ligatures. This font is available in 3 thickness styles such as regular, Bold, and Out line . This font has uppercase, lowercase, numbers, punctuation, and language support.

Can't decide whether you're feeling archaic or modern today? Try Fidelma. Fidelma is drawn entirely with straight lines, no curves, giving it a rough but still readable look.Includes four fonts: Regular, Bold, ExtraBold, and a nifty set of Drop Caps.

Puffball is a fat face with cartoonish features. It also wouldn't look out of place in an ancient Celtic engraving. What makes Puffball so intriguing to look at is that it seems to walk a thin line of buffoonery and ornamentation.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually. This font includes fewer line fillers, and more "ferns and fans" than our previous swirlies.

Italian type designer Fabrizio Schiavi created this display FontFont in 1994. The font is ideally suited for music and nightlife and poster and billboards. FF TradeOne provides advanced typographical support with features such as ligatures. It comes with proportional lining figures.

A heavy block sans in chrome and solid variants. The high lower-case x-height and short ascenders and descenders permit tight line spacing for an impactful, punchy effect. The chrome variant works well at larger sizes and in shorter settings.

Juicy toon is the perfect font to add a sense of fun and happiness to your project! Round, bouncy characters are with varying line weight are designed to find the perfect balance between hand-drawn charm and a polished, professional finish.

Hurley 1967 is a bold script, with clean lines and smooth curve combined with beautiful features! Simply amazing fonts, comes with 7 styles. Hurley 1967 has a bunch of styles as a families to designed lettering style logotype using the fonts.

You can pack a lot of letters into a single line with this face, originally released as Clarendon XX Condensed in 1859. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Vintage sheet music for a song from the Broadway Musical “Kiss Me Kate” is the inspiration for Katydid JNL. The play’s name was written in a ball-and-line type of lettering which somewhat resembles either 'Tinker Toys' or celestial mapping.

A bit grungy, a bit stern, 21 Emmerson is a tribute to my birthplace and was designed with punky headline posters in mind. The simple lines of this font are angular and sharp - great for party posters, invitations, labels, etc.