The roundness of fresh Dewey leaves, the bending branches of canopy trees and the curvy luscious greens of dense forests; are all the things that inspire this clean display font. Its effortless and natural aesthetic makes it perfect for organic and luxurious brands. The strokes have a great contrast to give it a beautiful end to a long journey. The easy and elegant flow of the font brings one back right into the comforting arms of nature.

The 'Alzheimer' font has a shape in which parts of the font have been erased as if memories are being erased. The remaining letters, which are minimal enough to be distinguished from other letters, create a different feeling, like an alien language. It is useful for creating titles or logos rather than expressing text. It was produced thinking of all of us adults whose memories are slowly disappearing. May they be full of health and love.

Inspired by a former Hermann Zapf design, Hanse Textura was completely redrawn and redesigned as an English-style blackletter font with a calligraphic touch. It comes also with the historical long s which can be reached either by typing [alt] + b or by using the OT feature historical forms. I strongly recommend to activate both OT features, standard and discretionary, to access all ligatures built in the font. The keys pi and product are occupied with beautiful border elements.

Inerta is a neutral, but not flavourless, cross between a geometric sans and a neo-grotesk. It is designed to work perfectly in UI/UX applications, and to remain readable in smallest font sizes. With over 950 glyphs, the font family offers extensive language support and many typesetting options to choose from. The typeface can be customised with several sets of alternate glyphs and OpenType features. The Cyrillic part contains alternates for Bulgarian as well as alternative Ukrainian forms.

Clone Rounded is a retrofuturist typeface by Lasko Džurovski from Macedonia, fusing the vintage look of CRT monospaced forms with the organic mutability of a multi-weight, proportional family fit for reading. This lovechild of cyber-culture and genetic font modification takes inspiration from coding, technology, and architecture. Its quasi-monospaced design gives a nod to the quirkiness of engineered fonts but bends enough to never sacrifice a natural reading experience. Biomechanical morphology augmenting a laboratory-built frame.

Le Gusto is perfect for your unique projects as it looks modern and fun. This font is 100% handwritten by my self and I put much love in each characters. Le Gusto is Mùltïlingûål Šüppórt. And, oh, it's also came with mini vector bonus. YAY. I really hope your projects will be cool with this font, and please don't hesitate to drop me a message if you have any questions or you wanna share some jokes! :) Thank You, Ari

The designer's father, Philip Grecian drew a logo for his business, Grecian Creative Services and asked Alex Grecian to expand on the logo. Alex extrapolated from the existing letters, creating a font to compliment his father's logo. Naming it was the easy part. Grecian Empire has since become one of the most popular fonts offered by Elemeno. The Strikes Back and Engraved styles have limited character sets and are far less versatile than the regular version.

Victualia - casual, hand drawn (Wacom, illustrator) brush font. "Ligatures" have been created for some double letters to enhance the illusion of handwritten text. (TT, tt, ff, oo, OO, mm, MM, ll & LL - open type version of the font and open type compatible layout application required). Victualia was initially created in 2005 as part of a course that I attended to At Berghs , but has now been given a face lift as well as a full set of special characters.

Andrila is a brush font that I made using a pen and I bolded it in several parts, making it a beautiful calligraphy styled font, also very sweet and cute. It can be used for various purposes such as titles, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges, and more. Andrila is built with OpenType features and includes swashes, ligatures and everything to add touches to your design, as well as support for other languages.

Linotype Read My Hand is part of the Take Type Library, selected from contestants in Linotype’s International Digital Type Design Contests of 1994 and 1997. It is the digitalized handwriting of its Dutch designer, Leon Hulst. As is common of handwriting fonts, the forms of the letters seem spontaneous and individual. Read My Hand is a dynamic font suitable for texts with point sizes larger than 12 and particularly good for documents which should have a personal touch.

Flourish breaks the mold of traditional typography. Part italic, part roman, this iconoclastic font is all style. William Millstein casts the contours of formal pen strokes in a taut upright framework to create a typeface that nods back to its origins while looking defiantly forward. The neat and light semi-serif flaunts crisp geometric touches without conceding warmth or personality. A sophisticated design solution that isn’t stuck up, Millstein Flourish makes invitations, identities, and editorial settings thrive. Originally offered by Photo-Lettering in the early 1940s, Millstein Flourish was digitally updated by Jeremy Mickel in 2011. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

An offbeat alternate caps typestyle inspired by the title screen of a 1968 Walt Disney film titled, The Horse in the Gray Flannel Suit. This playful and childish font comes with an extensive language set, a stylistic alternates feature that auto-alternates between capitals & lowercase (alt caps), as well as a contextual alternates feature that auto-alternates between sets only where double characters are typed like SS, TT, etc. The contextual alternate feature also enables a few titling word options like " the " " in " and " in the ". As noted in the quotes, when these word sets are typed with a space before and after them, it will trigger the swap when contextual alternates is on. Switching on Contextual Alternates enables automatic alternations between caps and alt caps like AlTeRnAtIoNs to create a more randomized look.

Bigfoot is the fattest font ever made. It began as a simple exercise given to students in a design course: Most people don't appreciate type because they don't really know what it actually is. One way to understand it is looking at it like a combination of sculptures that have to work together to achieve a certain harmony, where each letter form is one of those sculptures. Most people understand and appreciate that a sculpture starts from a rock of an incomprehensible form, which is manipulated by someone into becoming the recognizable or abstract work of art it eventually is. Consider type design a kind of two-dimensional sculpting. You have a rectangle. Take away as a little as possible from it until it is recognizable as the letter A. Repeat to get the letter B, and so on. After all 26 minimal letters are made, do they actually function as an alphabet to build words and sentences that are recognizable to the human eye? This exercise can trigger thoughts and theories about the overall subjective nature of identifying abstract yet somewhat familiar shapes. It can go into the psyche of art in general. But one thing for certain, this exercise has so far helped a few people find a new appreciation for finely crafted typefaces. If you are a design educator, your students' typographical perspective and arguments would benefit from it. And if you are a designer, well, fat faces are all the rage these days, and this is as fat as it can get. Please note that that this typeface, due to its minimalistic nature, does not include accented characters. It does however support the full C0 Controls and Basic Latin Unicode set. All proceeds from this font go to support the Type Club of Toronto.

Peter Behrens’ renowned art nouveau type from 1902 – with ornaments. Newly revised and neatly digitalized by Ingo Zimmermann In 1902, Peter Behrens (1869–1940), architect, designer and typographer, created a new ”German“ type which became very successful very quickly for the Rudhard’sche Gießerei (foundry which later became Gebr. Klingspor AG) in Offenbach am Main. It served, for example, as the official German type for the world expositions in 1904 and 1910. Behrens himself writes about the development of this type ”...For the actual form of my type, I took the technical principle of the Gothic script, the stroke of the quill feather. The proportions of height and width and the boldness of the strokes of the Gothic letters were also decisive for me in producing a German character. A cohesive character could be hoped for by avoiding all non-necessities and by strictly carrying out the design principle of holding the quill at an angle…“ By the way, when “long s” is activated, the typographically correct “round s” is automatically placed at the end of the word so that you need only pay attention to the correct s on syllable endings within words. When using “long s,” you must ensure the correct use of the rules for the Fraktur font: “round s” is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding article in >> Wikipedia. Peter Behrens also drew matching ornaments for his typeface – we have likewise carefully revised these decorative touches and arranged them into a font. The "Behrens-Schrift" fits best on all topics that have something to do with art history or the time around 1900.

Linotype Contacta is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. Ralf Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical, unconventional forms look almost like a maze, especially when set together. This font is not suitable for text but makes a unique impression in logos and headlines.

Notre Dame is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Notre Dame was designed by Karlgeorg Hoefer, who was inspired by the structure of forms once used mainly for liturgical purposes. Digital techniques made it possible to add Gothic ornaments and borders to the font, perfect for designing anything which should have a late Gothic feel.

Araby Rafique is a part of the Take Type Library, winners of Linotype’s International Digital Type Design Contest. This font was designed by the British artist Tehmina Rafique. The forms lean sometimes left, sometimes right, which, combined with the stroke contrast, gives the font a dynamic character. Other distinguishing characteristics are the mix of teardrop and fine hair strokes and the handwritten style. This font is good for very short texts and headlines, especially when the look of the text is as important as its meaning.

Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

Oprath is a smooth deconstruct linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Wsago is a solid eclectic linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Borge is a lithesome sanctimoniuos tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Prattt is a stringent curvilineal tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Ramego is a smooth structural linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 240+ glyphs with ligatures and fractions available in opentype .otf and .woff format

Tokga is an articulate rounded linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Broft is a pointed substantial linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Agobb is a subside convolution tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Ogibo is an intrinsic scintillating tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Antique brass stencils hand-cut for shipping items during the early part of the 20th Century were for sale in an online auction; and are the basis for Carton Stencil JNL.

Woqna is a cubist pureness tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Karvx is an arithmetic explication tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Agobb is a gridlock overflow tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Ogibo is a disciplined clairvoyant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Roqbo is an esthetic puissant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Vobca is a dynamic fusion linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Magsk is a diminutive sagacious tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Rboca is a revolve consolidated unicase sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Gronra is a structural softness linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Goelt is a rigidity contrast linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Uegor is a roundel compact linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 150+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.