Cadabra is an incredibly unique and interesting display font. A little bit quirky, this font looks incredibly adept on a wide variety of Halloween contexts!

A light roundhand with mildly clubbed terminals on the capitals. It was expertly transferred from an engravers’ pattern plate to the Fotosetter Intertype about 1955.

Ornamental font, based on samples of Alphonse Mucha, who was an Art Nouveau painter and decorative artist. In this collection assembled typical wavy shape secession.

Stampede was created from a small sample of letters found on an old document dating back to 1902 from the Chicago, Indiana & Eastern Railway Co.

The Vtg Stencil fonts from astype are based on real world stencils from several countries. All styles offering an extended Latin character set. » pdf specimen «

This caps only hand lettering could have come from an architect. Speedy written on a 45 degree slope with a bold felt pen or brush.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Ricordi Allegria useful links: Specimen | Graphic presentation | Customization options TT Ricordi Allegria is a sleek and intelligent contemporary Florentine grotesque inspired by the half-erased lettering in Basilica di Santa Croce, Florence. TT Ricordi Allegria was drawn by Antonina Zhulkova and reflects in its graphics the transitional stage between the classic serif with varying proportions, gravitating towards the Roman capital type, and the Florentine sans serif. The font is characterized by variability in the proportions of characters, contrast between strokes, wedge-shaped triangular characters, and the absence of traditional serifs. The main visual feature of the typeface is its diversity and the ability, using different stylistic sets, to completely change the character and perception of the typeface. The drawing of the characters from the main set is strict, thanks to which the font looks stern, as if the inscription in the font was really carved out of stone. And with the help of another set, we can add roundness, or even smoothness, to the font. This is due to the fact that the letters (E R K Q J Y in Latin, and Л К Ж Э in Cyrillic) from the second set have either very noticeable "curls" or smooth, rounded "legs". In addition, the typeface includes a set of beautiful ligatures for use in display inscriptions, such as large headlines. An interesting moment when working on the typeface was the creation of the Cyrillic typeset, since the Cyrillic alphabet does not so easily fit into the concept of the Florentine grotesque and stressed semi-serif. The most difficult thing in working on the Cyrillic alphabet was to create a system of spacing for characters, as it was done in the Latin alphabet, and to make sure that when typing in Cyrillic, the drawing of the text remained beautiful. That is why the letters Д Л У Ы appearing in the font family are somewhat unusual to the eye, and the proportions of other characters in Cyrillic are not quite “classic” either. In general, the Cyrillic set looks more display than its Latin prototype, but at the same time it lacks the sense of historicity or legacy of the Soviet past, which often comes to the foreground when working on the design of the Cyrillic alphabet in this type of serifs. TT Ricordi Allegria consists of two weights (Regular and Bold) and one variable font. Each style includes over 750 characters, as well as 19 OpenType features. Interesting features of the typeface include three stylistic sets that greatly change the perception of the font, a set of bright display ligatures, a few neat icons that are suitable for breaking text and will emphasize the visual language of the font. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org FOLLOW US: Instagram | Facebook | Website

Grufy is an awesome bold and fun display font that will look stunning on any poster flyer or print. It will put a modern twist on any design project with its urban charm. Use this font for your designs and explore its endless possibilities.

Trocadero JNL was inspired by an early 1950s photo showing the signage for the Trocadero Restaurant located on Liberty Avenue and 23rd Street in Miami Beach. Highly stylized and classically Art Deco in design, it is best used in short one- or two-word titles.

This is a powerful graphic rough sans-serif typeface with four different styles. Two linear, one with an aged texture and one basic, for your experiments. It makes a bold impression, feels like a strong simple typeface. Looks great in short inscriptions, headlines, posters.

ITC Flatiron is a revival of an extended all cap headline font from the Photo-Lettering Collection. This hand-drawn sans serif face has uncharacteristic mono-weight letterforms. Deliberately expanded and almost absurdly wide, ITC Flatiron has an unusual style, one that is almost irreverent.""

Montas is an elegant display serif with high contrast. Designed to be fit on a vintage-themed design project or the modern one. Its bolder weights are suitable for a striking headline, while the lighter weights are suitable for a short paragraph as well.

"Baker’s Showcard Book" (1916) was an early 20th Century instructional book on sign lettering. One of the sample alphabets entitled “Decorative Roman” was a spurred serif, Art Nouveau design that has been recreated digitally as Elegant Showcard JNL in both regular and oblique versions.

Adapted from lettering found on a poster by an Italian artist with the unlikely name of Marcello Dudovich, this ultrabold Art Deco font, with its graceful curves, commands attention. Primarily an uppercase only font, there's a variant lowercase m with a strong design element.

Like the study of Kremlinology, this font is an interpretation of Soviet culture for Western audiences. Based on a vintage Russian poster but not in the original Cyrillic, it is an attempt to capture the feel of the era if not the actual characters.

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Frederic Goudy designed this blackletter face based on Gutenberg's 42-line Bible. The Lombardic Caps were designed as an accompaniment to Goudy Text and are offered paired with the lower case as an alternate option. The Goudy Text Shaded is an inline variant that was added later by Lanston Monotype. Both varieties of capitals, as well as an expanded Central European character set, are offered in the Opentype set versions.

ZebraSkin is an exciting, contemporary display font, incorporating the distinctive markings of one of Africa's most striking animals. One style is available: ZebraSkin Aarde, based on the Aarde Black font. It is best used in conjunction with Aarde Black or Aarde Outline. The popularity of the "animal skin" look in contmporary clothing and soft furnishing design make ZebraSkin a must for artists on the creative edge of contemporary design.

Teamhair Tower is a “rough” monowidth font based on the face used on the old Sears Tower Gaelic manual typewriter. Teamhair was first digitized in 2002 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Doire version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set.

Bienville is an elegant script font with some unusual features. It includes end-of-sentence flourishes which attach to most lower case characters, a flourish for attaching to the descenders of selected characters, and some stand-alone flourishes as well. The end result is quite decorative.

MommieBrush is a brush script headline typeface. It is based on the Spencerian Mommie that won the 2008 TDC award. But as a brush script it works in a different area. Like my other brush script typefaces it is made for food packaging and product branding.

Mono and Friends font is inspired by monoline style font. Mono and Friends consists of 6 unique and cool family packs. Especially if it is combined between several fonts. You get a cool font package for design projects that are non-formal, funny, kidy and so on.

The typeface was designed by Gennady Baryshnikov. Bold Italic is based on Flash typeface, 1939, by Edwin W. Sharr. Additional styles were developed at ParaType (ParaGraph) in 1992 by Vladimir Yefimov and Alexander Tarbeev. Inspired by non-joining brush calligraphy. For use in advertising and display typography.

Ignatius is the work of British type designer Freda Sack, a traditional roman typeface featuring an open, engraved effect. The stately capitals can be used alone or combined with the complementing lowercase and both should be set closely. Ignatius will give any work a classic look.

Relix, emulating the old videogame's screen fonts, that's a good font to non-formam small texts, names, logotypes, titles, headers, topics etc., developed from the original Reliant's Intellecta typeface. Big sizes of this font can be used for texts on posters, t-shirts and other surfaces.

Swedish designer Lennart Hansson began designing letterforms at the age of 20, and since then his exceptional calligraphic artwork has been on exhibit throughout the world. Hansson won the Nordic Typeface Competition in Copenhagen for his typeface Runa Serif, inspired by the forms of ancient Viking runes.

Mellow Sans is a soft and friendly rounded sans serif. Its bold styles are great for packages of something tasty, while light and regular ones work well in rather long texts, from a children's book to a reading app, or a family restaurant menu. The typeface was created by Natalya Vasilyeva, an expert in designing text and calligraphic typefaces. Mellow Sans’s forms are based on humanist sans serifs. The nobility and liveliness of Renaissance calligraphy reads beneath its curves and makes the typeface even friendlier, while helping the eye to move along the line. The typeface supports extended Latin, extended Cyrillic (all major languages of the Russia’s peoples) and Greek. It also has old style figures, arrows and non-alphabetic signs. With Mellow Sans as a heading typeface (in that case bold styles fit the best), calm open sans serifs, f.e. Vast or Fact, are its optimal text companions on the screen. Calm serifs, f. e., Octava, Scientia or Aelita, will work as its companions on paper. And to create expressive typography, for example, in packaging, you can match Mellow Sans with quirky rounded serifs — Cooper or Epice.

Awesome sport font with italic wide letters, modern letter cutout and dynamic slant. Ideal for sports headline of speed car race, logo and monogram of automotive game or other modern dynamic text Font "Turber" compares favorably with its readability and massiveness, creates the effect of power and speed.

Rumbler is a typeface inspired by old school car lettering, while trying to push it in a unique direction. Reflecting the limitations and constraints of shaped metal, the letter forms twist and contort to create a readable font that can evoke motion and speed, strength, and a retro feel.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface. It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted italics - alternate stylistic set for more technical and minimalistic projects - pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes - flatten letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Cadmium has a comprehensive latin character set and many Opentype features to enhance text, including small capitals, case-sensitive forms, superscript and subscript. Plenty of numeral variants include old-style figures, lining figures and fractions. Default numerals are proportionally spaced. Alternative styles for a handful of key characters provide some useful variations where stylistic sets can be implemented. The fonts are presented as four width-based sub-families: Expanded, Normal, Condensed and Compressed. Each width has a matching range of six weights and italics (obliques). Regular and Bold weights are style-linked, together with their respective oblique forms. Each width differs in its basic construction but all fonts share the same vertical metrics and may be used in combination with each other. Letter spacing is optimised for text sizes but is tolerant of significant tracking changes. Cadmium is good for signage, publicity and packaging, screen credits and titling, general print and publication, as well as web and screen applications.

This is the companion sans family to make the Librum serif families work as well as they do. By companion, I do mean stylistically compatible. But mainly, they have the same vertical metrics. So they work very well for run-in heads, inline character styles, and all the rest of the needs in large books with complex formatting. They are designed for use in InDesign, and they work very well in that environment. The fonts use the same OpenType feature files as the rest of the Librum families. The feature files for the italic and bold are more limited—as I have rarely used things like that [over the past 20+ years]. The character shapes are a bit whimsical. The original ancestor of this book design sans was a very playful font I released as Aerle. It’s been calmed down a lot but is still loose and friendly. For a great deal, see Librum Book Design Group , for a package containing all fifteen fonts!

Lucida Sans Typewriter adapts the humanized look of Lucida Sans to the fixed pitch of typewriter fonts, in which all letters have the same set width. The vertical proportions, strong stem weights, and crisp details of Lucida Sans are continued in the Lucida Sans Typewriter font family. The result is a strong, clear, fixed-pitch design that can be used wherever a functional, legible monospaced font is needed, in typewritten correspondence, memos, and telefaxes, in commercial forms, invoices, and packing lists, in programming and data processing applications, and in line printer emulations and terminal emulations. Lucida Sans Typewriter is economical in setting: at a 10 point size, it is equivalent to a 12 pitch typewriter font. For improved legibility in long lines of 80 characters or more, users can add extra line spacing, equivalent to 20% or more of the font size. When proportional fonts are needed for text to accompany Lucida Sans Typewriter, then Lucida Bright can be used.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.

Fluted pillars… As for the name of "Cyceon", it is a "juice-drink" that they made in ancient Greece...! In this font the straight lines are not vertical but inclined like something from the Doric columns!!! There are two versions of letters. In the first version, it is of a normal character, while in the second version I have mixed some capitals with lower case letters. I have given them the acronym Msc "miscellaneous". I tried in this way to give another version of the small capitals and I think they show a different view from the purely small capitals… And in this family, the “Strap”/“Strap Msc”/“StrapIt”/ and “Strap MscIt” with “Solid”/“Solid Msc”/“SolidIt”/ and “Solid MscIt” engage in the same way like… “Layered font families” as the previous series. This series is composed and includes twenty-four fonts with 642-658 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Core Sans D is a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics. Core Sans D features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text. Core Sans D is a part of the Core Sans Series such as Core Sans N SC, Core Sans N, Core Sans N NR, Core Sans M, Core Sans G and Core Sans A. Letterform in this type family is simple, clean and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans D supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

Reliant is a free interpretation of the classic design from fonts "BernhardSchoenschrift", originally designed by Lucien Bernhard and "Liberty", designed by W.T. Sniffin for ATF in 1927, following the original designs from Lucien Bernhard. This enhanced OpenType version has complete sets in Greek and Latin alphabet with Central European, Vietnamese, Baltic and Turkish complete resources with all diacritic signs and punctuation marks plus extra characters belonging this ranges. A Cyrillic alphabet completes the font, and we thanks to Dmitry Greshnev from Green Type. He help us to fix our original Cyrillic alphabet to the Cyrillic readers. We added a extensive set of ligatures (stylistic and contextual alternates plus discretionary ligatures) providing a lot of letterform variations that make your design really special, plus swashes and tails ornaments (to artistic increase any letter of this font) more fractions and number ligatures (a strange idea from Iza W). Over 800 glyphs which you have total access using software such as InDesign, Illustrator, QuarkXpress and others.

The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990. This superb trilogy consisting of the Corporate A (Antiqua), Corporate S (Sans Serif), and Corporate E (Egyptian) is a design program of classical quality, perfectly in tune with each other. Weidemann says: “My ASE trilogy, quite like triplets, is in perfect harmony and covers all needs of modern typography!” Initially exclusively designed for DaimlerChrysler as a corporate font, the ASE trilogy may be now licensed and used without restriction. URW++ digitized the ASE for DaimlerChrysler and Prof. Weidemann and is the exclusive licensing agent for this outstanding and extremely popular typeface program. Meanwhile, URW++ enhanced the Corporate ASE family in regular, bold, italic, and bold italic by Greek, Cyrillic, and all additional Latin characters to cover Eastern Europe including the Baltic Rim, Romania and Turkey. Corporate ASE in regular, bold, italic, and bold italic is now available in the WGL 4 character complement.