Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

Phoenica Std Mono expands the already large family of my very successful Phoenica. The motivation to develop a new mono-Phoenica family was that I was not satisfied with monospaced fonts in programming code, or simply in e-mail correspondence. The Mono Phoenica solves the problem of a typical monospaced font, a rigid, fixed width. The design gradations from Condensed monospaced to monospaced from 390em to 600em-square incurred a total of 21 fonts. Packages contain the fonts in CFF-OpenType and TrueType format, so you can use these beautiful fonts on all operating systems.

Style and elegance in 14 styles PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context. The Pierre Simon Fournier heritage Pierre Simon Fournier (1712—1768) was a leading innovative type designer of the mid-18th century. Early in his career, the young Pierre Simon developed a strong aesthetic that he cultivated throughout his life. His art is representative of the pre-revolutionary “Age of Enlightenment” (Siècle des Lumières). Precursor of the Modern style, Fournier’s body of work deeply influenced his times, and created the fertile ground from which the Didot family and Giambattista Bodoni developed their own styles. During the historical period of the 18th century, Fournier exemplified the intellectual pursuits of the times with his own research on type, documenting in detail the typefounding process. He also offered a unique vision: he is the first to clearly comprehend the concept of “type family,” sorting a set of similarly styled alphabets by sizes, width, and by x-heights. In addition, Fournier is one of the earliest advocates of the point system to organize the practice of typography, the point system that contemporary typographers continue to use to this day. The refined and discreet elegance of PS Fournier With a close look at the family, one finds you’ll find that the difference between the optical sizes (Petit, standard and Grand) is more than a contrast variation between the thin and the thick; the eye can also denote a palette of distinct tones: More streamlined and robust in the smaller sizes (Petit), more refined and detailed in the larger sizes (Grand). The PS Fournier standard family is designed to adapt to any situation with its intermediate optical size, from body copy to headlines. With a bit of tracking, PS Fournier Petit will make the smallest captions perfectly readable. However, Petit family is not limited to body and captions — its “slabby robustness” will make a relevant headline choice as well. PS Fournier Grand presents a higher contrast adapted to large text sizes, displays or banners. Its refined elegance makes it a perfect choice for Design, Fashion or Luxury publications. As a “modern” type PS Fournier Grand features a larger x-height than the preexistent old style typefaces such as Garamond or Jenson. These proportions provide any basic text set in PS Fournier Grand a strong typographic texture. As a result, the PS Fournier global family is a versatile alternative to the Modern typefaces commonly used in the publishing industry. The optical sizes, the large range of weights, and the design variations make this family adaptable to captions, paragraphs, and pages, as well as to large texts and displays. A leading-edge typography in the 18th century In the spirit of modernity, Pierre Simon Fournier did not find any use for the conventional swashes still produced by peers such as Caslon or Baskerville. Nevertheless the French designer created many inventive elements to decorate the page and set delightful variations in the text itself. To this regard PS Fournier includes a large set of glyphs variations, ligatures and more than one hundred glyphs for borders, rules and ornaments or — as called in French — “vignettes.” PS Fournier: A tribute to the French modern typography era by Stéphane Elbaz

Beautiful font, good for posters and small books and folders. This is a complete font with all diacritic marks (Nikud and Taamim) and also shevana, kamatz katan, dagesh hazak and holam chaser.

中国で古くから使用されていた伝統的な隷書を源流にする「イワタ隷書体」と、 新しい感覚の「イワタ新隷書体」の2種類があります。

フトコロが広くシンプルなエレメントで構成され、可読性に優れたオーソドックスな明朝体です。本文から見出しまで、様々な用途に使用できる書体です。

Bored by ancient Western typefaces? Try Secca Saloon. If you like the ornaments in the back, have a look at the Accolades from Astype.

Three condensed styles which are part of the well-known Kabel font family.

Suit Sans ​STD is a typeface designed for multi-purposes with ​4 weights plus matching​ italics. The set of ​554 glyphs embraces a​ll European languages​, ​and it's perfect for branding, interfaces and everything else you could create on large and small sizes​. ​But if Suit Sans STD is not enough for you, take a look at Suit Sans Pro with extended weight range, character set and more cool features.

Beautiful and elegant typeface, excelent using in wedding invitations, arts, posters and small texts.

Cortada is the name we gave to this display font that replaces Cortada Classic. After long discussions, Laura Meseguer gave birth to this brand new form. Cortada comes now in OpenType format in order to allow a wider range of characters, including Central European character set.

This is a classic font. You can use to any kind of book or text.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used from Posters to books. The readability of this font is amazing. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

A playfull fancy sanserif typeface in 16 fonts Parisine Plus was designed in 1999 as an informal version of Parisine. A reaction to the subjective functionalism of Parisine. In fact, when Parisine try to express neutrality (a typeface is never neutral), Parisine Plus has fun with contrasts and not-so-obvious additions for a sans family. Parisine Plus is a precursor in the way it offers many ligatures and strange forms we generally find more in serif typefaces families that express historical connotations. The various Parisine Plus typeface subfamilies Parisine Plus is organised in various weight subsets, from the original family Parisine Plus (4 compatible fonts), Parisine Plus Gris featuring lighter versions of the usual Regular and Bold (4 compatible fonts), Parisine Plus Claire featuring extra light weights (4 compatible fonts), to Parisine Plus Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord (4 compatible fonts). About Parisine Parisine helps Parisians catch the right bus Parisine Plus and its fancy type effects Observateur du design star of 2007

This is a modern, wonderful, and beautiful font. This font is super readable and can be used from Posters to a Hebrew Bible. The readability of this font is amazing. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser. Designers: Sami Artur Mandelbaum Publisher: Samtype MyFonts debut: Jan 17, 2022

Slab Serif version of the Bulldog family. Hunter family lends itself to on-screen use for web design - the letterforms being legible and robust at small sizes.

The Astronef Super borrows from the charm of retro-futuristic universes. Without concessions, and even radical, the Astronef Super, declined in three styles, pushes the weight limits as far as possible systematically while preserving a unique design. Using the Astronef Super in large size is a real pleasure, it is a very identifiable typeface family, recognizable immediately. Undeniably, choosing the Astronef Super in your designs is not insignificant. This typeface used in large sizes will strengthen your graphic identities. Background The Astronef Super could be considered as the “Spin-off” of the Astronef currently being designed, that will offer an important variation of styles. Of course the Astronef, is wiser in his drawing, it places himself in the tradition of the Univers more than the Helvetica. Genesis and the creative process The idea for an Astronef Super comes from an excerpt from a 60s TV show which shows a logo in the background with a very bold S and this super thin in the middle. The Astronef is already modular in its design. The brief then becomes simple for the Super: accentuate the strongest weights of the Astronef by minimizing the counterform that will remain constant for the three styles. It is the mass effect that maintains the overall cohesion of the Astronef Super family.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used for Posters to books. The readability of this font is amazing. This font has modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

Secca Art recovers some of the expressive forms of early art nouveau and art deco grotesques — not copying it, but carefully adapting it for today. Secca Art is based on the Secca typeface family and is full interchangeable. Both are equal in weights, widths and word spacing, so you can decide to give your layout a more expressive or serious look. If you need Italic styles just use the Italics from Secca .

This is a modern font inspired in Avant Garde Gothic Latin font. There are 8 ligatures and You can type the Nekudot in them This font is for logos, covers and small texts This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

Oksana Text is the demure version of Oksana, with shorted serifs, higher contrast, more slender proportions. In six weights from Thin to Black and with the real italic, this typeface is suitable for longer text with rich typography.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used for Posters to books. The readability of this font is amazing. This font has modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser.

A sanserif with human touch in 6 fonts Angie Sans is a low contrast incised sans serif sharing some similarities with Optima by Hermann Zapf and Pascal by José Mendoza, both created at the end of the 50’s. The later, feature an italic not published by the initial foundry who launched Pascal. Angie Sans follow same path with its italic based on Chancery forms from the Renaissance, narrower than the roman shapes. With its capitals based on Roman proportions, lowercases featuring open counters, strong horizontals, Angie Sans is a legible typeface. The manual gesture is present in Angie Sans, which offer the plastic qualities such as warmth, craftmanship and humanity. Angie Sans is an Incised Garalde who works well for display as text settings. Available in 6 series, with matching italics, Angie Sans will work well in design projects where delicate and human touch is required. Angie Sans Morisawa Awards 1990

楷書と草書の中間的な筆法の書体です。 字体を崩しすぎず、読みやすくなるようデザインしています。

This is The Classic font of the XX century.

Beautiful font, good for posters, books, and folders. This is a complete font with all Nikud and also Shevana, Kamatz Katan, Dagesh Chazak, and Holam chaser.

Curly, cute teen girl handwriting.

Hollywood Stars (Volume 1) is a unique collection of signatures of 92 famous Hollywood stars in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of the arts, history, movie buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Hollywood celebrities. This font includes signatures from the following Hollywood personalities: Michael Jackson, Farrah Fawcett, Elvis Presley, Marilyn Monroe, Ben Stiller, Kate Beckinsale, Steve Buscemi, Mel Gibson, Helen Hunt, Paul Reiser, Angelina Jolie, George Kennedy, Larry King, Edward Norton, Mira Sorvino, Steven Spielberg, Kate Winslet, Daniel Day Lewis, Laura San Giacomo, Holly Hunter, Jane Fonda, Alan Alda, Robbin, Williams, Alan Rickman, Al Pacino, Drew Barrymore, Bob Newhart, Brooke Shields, Burt Reynolds, Keira Knightley, Cheryl Ladd, Basil Rathbone, Minnie Driver, Debra Messing, David Schwimmer, Clint Eastwood, David Hyde Pierce, Burgess Meredith, Donald Trump, Linda Evans, Tony Danza, Gene Wilder, Cameron Diaz, Judi Dench, George Clooney, Nicolas Cage, Timothy Hutton, Jennifer Garner, Jay Leno, Tony Curtis, Suzanne Somers, Connie Selleca, Donald Sutherland, Jack Klugman, Tony Randall, Matthew Perry, Jenna Elfman, Morgan Fairchild, Jack Nicholson, Chazz Palminteri, Dustin Hoffman, Anthony Hopkins, Walter Matthau, Larry Hagman, Lisa Kudrow, Bill Cosby, John Mahoney, Ray Liotta, Jon Voight, Christian Slater, Chris Cooper, Dwayne "The Rock" Johnson, Drew Carey, Eli Wallach, Douglas Fairbanks Jr., Amanda Seyfried, Danny DeVito, Gary Sinise, Mary Tyler Moore, Edward Asner, Will Rogers, Cuba Gooding Jr., Bela Lugosi, Charles Grodin, Victoria Principal, Winona Ryder, Tea Leoni, Matt Damon, Loni Anderson, Emma Thompson, Ed O'Neill, Karl Malden. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

"Star Candy" is a display font with cute and thin characters. Fonts like this are often used in designs that aim to convey a charming and adorable feel. The thin and cute letterforms give a cheerful and enchanting appearance, making it suitable for a variety of design projects that want to emphasize a sense of cuteness, such as children's designs, greeting cards, decorations, or products that want to attract attention with their adorable appeal. If you have further questions about using this font or need assistance in a specific design context, please feel free to ask!

A 1926 travel brochure for a steamship line provided the basis for this darkly sparkly spritely font. Smooth curves and an off-center inline treatment gives this typeface a strong architectural feel.

Here’s a jaunty little Art Deco sans serif type design inspired by the headline of a feature article on Carole Lombard found in the August, 1937 issue of Hollywood magazine. This served as the inspirational model for Movie Star Deco JNL, and is available in both regular and oblique versions.