Posterman is a cool sans-serif typeface. With tall letterforms in a grotesque appearance, this legible typography is a lettering for neo-classic headline or clean logotype. The Posterman font family consists of Regular, Bold and Black, and each weight as Italic, totalling in six styles. 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.

TG Frekuent Mono a new modern geometric sans serif with monospaced style. This typeface is made with precise calculations so that it displays a beautiful and modern appearance. Besides this new typeface is also equipped with six different styles, ranging from ultra light to extra bold plus variable font. This typeface also has various alternative characters that can be used according to the needs in the design. Alternative characters that exist in this type of font have a touch of script typeface so that it makes the alternative character of this type of letter a little quirky and different but still fits well with the combination of modern main characters. And supports approximately 100 languages.

Mancunium is a sans serif family with a contemporary monolinear character, though designed with the iconic proportions of Roman capitals in mind. In addition to reliable romans, the typeface includes proper, optically corrected italics. Also, uniquely, a set of ‘vertalics’ that contain the more script-like glyphs of the italics with angled stem terminals, but which are unslanted and upright in aspect, and without the slight narrowing of the italics. Each font includes a full complement of Latin Extended-A characters and additional oldstyle numerals. Mancunium is sold in two collections – a Regular/Bold package and a Light/Medium package. Each package contains six fonts - two romans, two italics, and two vertalics.

Kamerik 105 is inspired by the classic, geometric sans-serifs such as Futura and Avant Garde, but has shallower ascenders and descenders for a more compact look. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular and accented characters for Central European languages. The Kamerik 105 family comprises of six weights, and is closely related to Kamerik 205. The most notable differences between the two variations, are the single-storey lower case a and g in Kamerik 105, where they are two-storey in Kamerik 205.

Coleface was created by the British typographer Roy Cole, completed shortly before his death in 2012. It comprises six fonts: Coleface 30, 60, 90 and the italics 33, 66, 99. As with his earlier typeface families - Lina, Zeta and Colophon - Coleface is a highly-readable sans serif typeface that offers significant flexibility in terms of its potential uses. Roy Cole studied typographic design under the tutelage of Emil Ruder at the Gewerbeschule in Basel, at a time when typographic history was being made through the creation of a style that epitomized modernity. Consequently the principles of order, simplicity and legibility, fused with experimentation, became a hallmark of his practice, as exemplified in his last font Coleface.

The Sica Family was designed in order to address issues related to technology, while maintaining humanistic forms. Thus, a font with square shapes emerged, but with smooth curves and slightly rounded terminals making it friendly. The family has three widths – condensed, normal and expanded – each of them with six weights and their respective italics, resulting in 36 fonts. With particular details and open shapes that increase legibility, it can be used for both text compositions as well for display sizes. It has 774 glyphs, covering more than 50 languages, as well as ligatures, lining, oldstyle, tabular and proportional figures, fractions, superiors, inferiors, and small caps, all of them accessible through OpenType features.

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!

Bimbo is a monoline script font family created in 2018 by Francesco Canovaro for Zetafonts as an extension & redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi. Bimbo expands the original design with six new weights and over 300 new characters to cover over 70 languages using the latin, greek and cyrillic alphabets, while keeping the handmade aesthetic that made successful the original font. Bimbo is essentially a display font, born for minimal lettering and logos, with a handwritten sensibility enhanced by the built-in letter swapping open type feature that makes sure double letters are always different one from another. Open counters and a monoline design allow for great readability at small sizes, making Bimbo the ideal font for creating fake handwritten notes and meta-textual jokes.

Christmas Chances - Christmas Font is a captivating display typeface designed to evoke the festive spirit of Christmas. With its elegant serif letterforms, this font adds a touch of sophistication to your holiday-themed designs. It comes with ligatures and six unique alternative decorations, including Santa hats, Christmas trees, Santa Claus, festive ornaments, Christmas cakes, and more. These decorative elements allow you to infuse the holiday spirit into your projects, making it perfect for various Christmas-themed designs. This font is specifically crafted for Christmas-themed projects, making it a versatile choice for a wide range of applications, including t-shirt designs, invitation cards, greeting cards, mugs, gift designs, Christmas ornaments, and much more. Christmas Chances - Christmas Font is your go-to choice for spreading holiday cheer and warmth in your creative endeavors.

In the 1990s Adobe’s MultipleMaster technology introduced interpolation into font editing programs. Though the obvious use of interpolation was to create an unlimited number of weights for a font, interpolation could also be used to crossbreed two completely different typefaces. IngrianEuroikaH is a hybrid resulting from such crossbreeding of two very different parents. Euroika is a decorative font with high contrast and thin, square serifs while Ingriana is a relaxed, informal typeface. IngrianEuroikaH was constructed in 1995-6; updates in 2012 and 2020 cleaned up many of the remaining oddities that resulted when parts of the parent fonts clashed. The family retains some peculiarities from the method of its construction but is highly readable as text. The IngrianEuroikaH family has six styles: regular, semibold, bold, italic, semibold italic and bold italic.

The Irongate Font Family has a retro personality. The common denominators, in all the glyphs, is a blunt center serif. The main top & bottom of each Cap & lower case glyphs have 'fan serifs', yep serifs that fan out. This font's influence is based on a monogram I designed for my daughter's wedding where she described her image of the event being 'Classic with a Vintage Flair'. Irongate can be pictured on many things dated from 1918 - 2018. The font is available in 4 basic weights Light, Regular, Bold & Extra Bold. An additional pdf is included that gives the code for an additional 14 Dingbats, with each weight. Irongate works extremely well with Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, etc.

Celdum, a modern geometric type family, constructed from a rectangular grid. Smooth, precise curves meet horizontal and vertical lines to create a monoline design with no apparent contrast. Each letter shape has unique subtleties creating a purposeful type family suited to text and branding scenarios within mobile applications, video games and other interactive software. Details include six weights with italics, 460 characters, five variations of numerals, manually edited kerning and Opentype features.

First designed for Chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while conservative enough for newspaper setting. The complete Acta Type System contains Acta and Acta Display, both with six weights with matching italics, Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines, and Acta Poster, a heavyweight version, elegant and eye-catching in three styles with plenty of ligatures and alternates.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while enough conservative for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

Mestiza is a type family with a living past, which combines its ancient roots with the handmade and the contemporary in a spirited mix that evokes elegance and strength. Thanks to its sharp terminals and high contrast, Mestiza acquires a unique personality. It is ideal for headlines and branding projects. Mestiza has 12 variants, six Roman plus Italics including Small Caps, Old-Style numbers, Superiors, Inferiors, Contextual and Discretionary ligatures, Symbols, and some Alternates.

Erato follows the structure of french and dutch 17th century types. But instead of being historical, it uses modern formal elements. The simplification of similar formal elements creates a homogeneous and contemporary impression. Erato comes in six weights and in OpenType format. All weights contain standard and discretional ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while conservative enough for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

First designed for chilean newspaper La Tercera in 2010, Acta family is a clean and fresh type system, while enough conservative for newspaper setting. The complete Acta Type System contains Acta and Acta Display both with six weights with matching italics; Acta Symbols with an amazing collection of symbols specially designed for newspapers and magazines and Acta Poster, a heavyweight version, elegant and eye catching in three styles with plenty of ligatures and alternates.

FunCity is a family of typefaces designed for multi-layered use. There are six levels of letter thickness from thin to extremely bold and all styles of the family represent basically a different variations of the same letterforms. As the same letters in every typeface in this family use the same amount of space, it creates a possibility of overlaying and using more than one style simultaneously, which lead to almost endless variations.

The cover on the sheet music for the 1922 song "If She Comes from Dixie" had the title hand-lettered in an Art Nouveau style with a semi-stencil effect. It's now available as Nouveau Semi Stencil JNL in both regular and oblique versions. The typeface is not considered a "pure" stencil because many of the letters were made solid; lacking the classic stencil "breaks" at key points found in more traditional stencil designs.

DIN 2014 Stencil is a stencil version of DIN 2014 typeface inspired by signage, data plates and stencilled building inscriptions. The typeface has a pronounced industrial spirit and can be used in the most rigorous conditions. DIN 2014 Stencil family consists of 18 styles which include six weights (corresponding to DIN 2014) with three grades of 'stencilness' for each weight. The typeface was designed by Vasily Biryukov and released by Paratype in 2017.

Modula was the first high resolution headline face that Zuzana Licko designed with the Macintosh computer. In 1985, the computer was very crude as far as being able to produce subtle curves, but it was outstanding at producing perfect geometric elements. As a guide, she used the proportions of her earlier Emperor Fifteen bitmap design and applied the precision of the computer's geometric elements. See also Modula Round and Ribbed. Greek version by Dimitris Arvanitis.

A typeface of grace, power and exceptional versatility, the Slate collection is a truly beautiful design that achieves stellar levels of readability, both in print and on screen. Created by the award winning type designer Rod McDonald, this six-weight sans serif family is a rare example of sublime aesthetics meeting world-class functionality. The typeface’s legible letterforms embody an amalgam of the best traits of both humanistic and grotesque letterforms. “I didn’t want a face with an ‘engineered’ look, or with any noticeable design gimmicks or devices,” admits designer McDonald. “I wanted a pure design. I confess that I was ruthless with any character that wanted to stand out from the rest.” The Slate collection is available in six weights with complementary italics, with slight changes in structure from the light to the black weights. Its light weight is reminiscent of early American sans. Whether for use in display work or in longer-form settings, few typefaces possess the beauty and power of this design, leaving the Slate family an excellent addition to any designer’s typographic quiver.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

Are you looking for a new casual and organic script font? Please take a look at Junius! The Junius font is the perfect combination of sleek and casual that is best used in OpenType compatible software. This font contain 797 glyphs, equipped with plenty of OpenType features. Upper case letters can alternate between at least two different forms. Lowercase letters have at least six more options to avoid repetition. These effects include initial and final forms of lowercase letters.  In addition, there is a set of 65 ornaments designed to support the font (accessing the ornaments through the Glyph palette). Some of these ornaments were specially designed to be combined with the letters for a "more calligraphic" effect. Junius font can be the option used to create titles, logos and posters for brand and packaging purposes. I hope you enjoy it.

Nebora is a typeface that makes a big statement with clean, basic lines and an emphasis on negative space. This geometric style font is excellent for magazine headlines, product packaging, posters, and more, and is inspired by the magnificent beauty and fresh air of the Arctic. In lowercase, Nebora is charming and charismatic; in capital letters, she is sophisticated and authoritative. The humanist feel adds warmth, while hard lines and sharp edges flow into the smooth rounded curve of the letters. To develop a typography-focused design that really jumps out, try it in 16 weights, including obliques. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

ITC Typados is the joint effort of Roselyne and Michel Besnard and is composed of characters in two different senses of the word. First, it is of course made of letters and symbols, clean and legible with generous widths and x-heights. There is a hint of Art Nouveau style in the tapering, brush-like strokes. But the figures of ITC Typados are also made of characters in the theatrical sense: little tear-drop heads on tapering bodies that bend themselves into the shapes of an alphabet while maintaining a life of their own. The typeface is based on a recurring character in Michel's sculpture and painting, Ado. Ado is the first character who sings and repeats itself in all my creations," says Michel. "This adventure brings new forms for my painting and my sculpture: coiffed heads, bodies in the form of a cone, arms in the form of spread wings, etc." "Type" plus a number of "Ados" equals ITC Typados."

Cloveron Media unveils its first serif font that goes beyond the formal nature of typography. It celebrates the artistic expressions of graphic designers within themselves. The Name Mary Anne Remulla is the Master Designer behind the Enchanter Font. She aims to make graphic designers filled with delight and enjoy typography with its extensively artistic alternates and multilingual characters. The Font Style The serif style, known for its formal touch to typographic design, infuses the font with its professionalism as its regular. Using its middle alternate adds a hint of unique touch without losing the serif style's essence. The Enchanter font's start and end alternates are the designer's illustrations of design balance, which elevates its charm and enticing nature that adds to its overall artistic power. "I am fascinated by art and so by design. A font with alternates was my great revelation that I can do typography artistically, enthusiastically, and with freedom. I later found myself fascinated and lost in paper space, which then ended up that I completed my first font creation with extensive alternates for each letter." - Mary Anne Remulla

Ginsburg it's a modern display all-caps font-family based on geometric forms and abstract wavy lines with an old school constructivism look. Inspired by Moses Ginsburg architecture projects. Playful, modern, suitable for many typography projects as headers, logos, block texts, etc. You may be more strict in your typography or you may be more groovy or playful with alternates characters. Use this family in vintage spirit for TV series, Podcasts titles, exhibition posters or design a modern extreme sport brochure, . Flexible, Catchy and Brazen — it's all about Ginsburg! Six widths: Thin / Light / Normal / Medium / Semi Bold / Bold. Opentype Features as Stylistic alternates, Oldstyle figures / Fractions. Multilingual

Dramaturg is a handwritten, brush, fully connected script with ligatures and contextual alternates to help with flow and readability. Dramaturg is the most complete style, it contains over 600 glyphs, 7 stylistic sets, contextual alternates and ligatures. Every lowercase letter has six variations (uppercase letter has four). When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect. Dramaturg A and Dramaturg B have less glyphs than the Regular one (no stylistic sets), they only contain some selected alternates and ligatures. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Although the early 1900s through the 1920s seemed to be the "Golden Age" of ridiculously long novelty song titles, it appears that even the decade of the 1940s had its fair share as well. Song Merchant JNL was modeled from the hand lettered [but exhausting] title of the sheet music for "Princess Poo-Poo-Ly Has Plenty Pa-Pa-Ya (and she Loves to Give it Away)". Despite the obvious double-entendre inferences of the title, the square block letters with rounded corners make for a useful headline font (even if the source material it was drawn from is quite forgettable). Available in regular and oblique versions.

Eckhardt Bold JNL continues a series of sign painter-inspired type designs and is named in honor of the late Al Eckhardt, a talented sign man who was a good friend of Jeff Levine for about 18 years until his passing. The font is available in both regular and oblique versions and was inspired by an example found in the 1928 edition of E.C. Mattthews' "How to Paint Signs and Sho' Cards". Both squat and wide for maximum use in wall and window applications, the original name for the design is "Heavy Plug". Plug was the sign painter's term at the time for describing this type of letter form.

Creating a combination between serif and sans serif typefaces, Jotia utilises the best of both worlds, resulting in a unique and modern neo-humanist font family. Taking its inspiration from lapidary inscriptions rather than pen drawn text, Jotia uses triangular serif shape details to create a strong uniformed personality with clear legibility. This original quality enables characters to be expressive in headlines, as well as in printed and onscreen text situations. Jotia also works beautifully alongside both serif and sans serif typefaces giving complex editorial work a more powerful and visually stimulating dynamic. Details include six weights, manual kerning and spacing, ligatures and alternatives.

Big Sur is a six-width slab serif font family with a unique look. At first glance, it is clearly in the tradition of old west style alphabets, with its chunky top and bottom strokes and serifs. But it also features a whimsical vibe in the curvy and pointed flourishes, the wavy baseline, and the swash terminals on many of the glyphs. It's a true standout with unique identifiers, and is bound to grab the eye as something new and different; yet it's traditional enough to establish a solid Western or vintage Americana style. Great for rodeo, county or state fairs, saloons, pubs & taverns, cowboy gear, and even vintage psychedelic posters.

Work on Scene began some time after designer Sebastian Lester joined Monotype Imaging in 2000. Clean, calm, and highly legible — thus the design brief Lester set for himself. With Scene, he wanted to provide graphic designers and creative directors with a suite of fonts that would serve as a strong foundation for identity projects, incorporating what he had learned about on-screen and print legibility. Scene was developed during two years of after-hours and weekend work. The family comes in six weights with matching italics, there is a set of “semi-sans” characters to introduce more expressive word rhythms into headlines and blocks of copy.

The Artimas family is the new book design font family developed out of Aramus. These new serif typefaces are readable and graceful — part of my development of a series of book families. Aramus was very popular for a single font release of a text font. This new book font family retains the looseness of the original with radically different font metrics and many shape “corrections”. In fact, Artimas continues a genuine new path for this foundry This new font family for book design continues a turn toward more “traditional” x-heights of around a third of the point size.The Artimas print production font family is six new OpenType Pro fonts with Caps, lowercase, small caps, & figures to go with each of those character sets. There are many ligatures, a few swashes, fractions, numerators, denominators, and ordinals to infinity. This family of fonts is a joy to read and easy to use for text or display.

Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading. It's a sort of in-between font, for situations where a boring old upright typeface is too formal and staid but where the italic version is too slanted and obvious. There are six weights, giving adequate representation for most jobs, from large bodies of text to headlines. The zip package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Jester Jumble - Fun Clown Font is a whimsical and playful typeface designed with a clown and circus theme in mind. Its quirky characters add an element of chaos and fun to your designs, making it perfect for projects that require a playful touch. This font includes six adorable clown-themed decorative variations, featuring circus hats, masks, laughing mouths, and more. Perfect for clown-themed designs, such as invitation cards, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Jester Jumble adds a delightful and entertaining dimension to your creative projects. With its charming and playful style, this font captures the essence of circus merriment and clownish fun, making it an ideal choice for any project that aims to bring a smile to people's faces.

Haven font family is based on the compositionality of constructive elements that create the final shape of individual letters. Mechanical connecting was continuously adjusted by a type designer’s feeling. In this way Haven differs from similar typefaces of the 1960s and 1990s. Six fonts of different stroke intensity create a rich family of typefaces for a variety of uses in typography for special occasions. Although the typeface was drawn for headings, it is suitable for typesetting of long texts in a book. Even in extreme reduction it retains its technical basis, negating classic book alphabets, and it adds an experimental look to the text. Both extreme fonts Thin and Black create strong contrast and their magnification brings attention to their interconnection of all details. Serif version Haven Serif is also being prepared.

The origin of this font was a frieze in the RAF Chapel in Westminster Abbey which Michael Harvey was commissioned to design and create. It was comprised of the names of the top brass in wartime Bomber Command, namely Dowding, Harris, Newall, Tedder, Portal and Douglas. The Brief was to cut the letters in bronze and gild them. Instead, they were cut in perspex and gilded. To sit comfortably within the long and narrow vertical space available beneath the chapel’s stained glass window, extended letterforms were used with many vertical serifs omitted and with lengthened horizontal serifs. Some twenty years later, the missing upper-case letters were drawn together with the lowercase letters and Frieze, the font, was born. Subsequently, additional weights and styles were added to create a font family of six styles.