Lightmoon is an elegant and sleek script font, perfect for exquisite projects that need an authentic look! Add it to your most creative ideas, and notice how it makes them come alive!

Endellia is a bold and thick lettered display font, created with the help of a brush pen. Add it to your most creative ideas and notice how it makes them come alive!

Busero is a bold and powerful display font. It celebrates abstract shapes in all their eclectic beauty. Add this font to your creative ideas and notice how it makes them stand out!

Intense Horror is a cute and casual display font with a Halloween theme. Add this beautiful display font to each of your creative ideas and notice how it makes them stand out!

Akastar is a gorgeous handwritten font that impresses through its natural and elegant style. Add it to your most creative ideas, and notice how it transforms them into authentic pieces of art!

Olimate is a cool, summer inspired decorative font, featuring characters made entirely out of tiny splashes. Add this font to your most creative ideas, and notice how it makes them stand out!

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

Fresno is a two-font family. Fresno Inline and Fresno Black. Fresno Black is a recent addition. It can be used alone, and it is carefully tailored to fit behind the Inline font to add color to the inline. There are alternate characters: A, M & N in the caps and lowercase key positions. Fresno is a square gothic style typical of Mid-20th Century Showcard Lettering. A lettering genre known as “Gaspipe.” Signage samples similar to this still exist on buildings in my home town, Oakland, California. I have designed over a half dozen variations of this form over the years. Including Amboy. Golden Gate Initials, Matinee, Motel, and Hotel. Designed in 2001 by Jim Parkinson, Fresno has recently been refreshed, enhanced, and re-released.

Garvo is based on old Hollywood movie posters, vintage film credit designs and pays homage to Herb Lubalin's Serif Gothic font & lettering. This is why Garvo is named after the acclaimed international actress Greta Garbo. The Garvo family comes in 6 weights (from Thin to Black) and includes 2 different subfamilies: Garvo and Garvo Poster. Garvo is perfect for short readable texts, such as advertising and packaging designs, while Garvo Poster brings a wide range of contextual alternatives which makes it perfect for high impact pieces. Both styles increase the overall family flavor with discretionary ligatures, small caps figures. The 12 styles of Garvo are perfectly well suited for branding projects, album covers, audiovisual related designs, magazines and layouts, among other uses.

Amboy is a two-font family. Amboy Inline and Amboy Black. Amboy Black is a recent addition. It can be used alone, but it is carefully tailored to fit behind the Inline font to add color to the inline. There are alternate characters: A, M & N in the caps and lowercase key positions. Amboy is a square gothic style typical of Mid-20th Century Showcard Lettering. A lettering genre known as “Gaspipe.” Signage samples similar to this still exist on buildings in my home town, Oakland, California. I have designed over a half dozen variations of this form over the years. Including Golden Gate Initials, Matinee, Motel, Hotel and Fresno. Designed in 2001 by Jim Parkinson, Amboy has been refreshed, enhanced, and re-released.

ITC Coventry is the work of American designer Brian Sooy. ITC Coventry is what type would look like if you left a gothic font out in the rain. IF you look close, you'll see the roots of a handsome sans serif font buried under a layer of grime and rust, basically." The low-budget student flyers that Sooy saw in the Coventry section of Cleveland Heights, Ohio, inspired him to design this font and the result is a typeface which looks as though it has been faxed or photocopied many times. "While it looks very irregular in text, it's very carefully spaced to give that effect," says Sooy. ITC Coventry was designed to work just as well in text as in headlines or even on billboards."

Alhazed – Halloween Display Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Alhazed with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more). There it is. I really hope you enjoy it. Comments & likes are always welcome and accepted. More importantly, don’t hesitate to send a message if you have a problem or question.

Umbero is an experimental geometric blackletter. Umbero was inspired by modern street art (by artists like Pokras Lampas, RETNA, etc.), gothic script and constructivism. It has an ornate and twitchy structure: you can not find two similar letters. Capital letters have even more complex structure, then lowercase, to the extent that you can even use them as initial letters with a different, more calm font if you want to achieve a medieval stylization in a contemporary way. Get Umbero if you need something extra for your design. Or vice versa use it as a starting point of your work. It’s a perfect choice for the mystic or contemporary logos, headlines, oversize typography, branding, identity, website design, album art, covers, posters, advertising, etc.

The Roman alphabet has seen endless variations in interpretations of its classical form, and various wood type styles managed to explore everything from XXX condensed to hyper extended and expanded. This delicate and handsomely proportioned extended Roman was issued by Page Manufacturing Co. in 1872 and released as simply “No. 251” after Page was acquired by Hamilton. It is a rare font to find in print shops, most likely due to the very fine lines that would no doubt be less durable that bolder gothic jobbing fonts. While being quite wide, it still holds the elegant grace of wide Romans such as Craw Modern. This new digitization features a full Western and Eastern European Character set as well as ligatures and alternate characters.

Pasquinade is a blackletter/roman hybrid. The general look, feel and graphical styling of Pasquinade is that of a blackletter font, however, the underlying letter construction is of a traditional serifed roman. This produces a font with that familiar 'gothic' feel but has the inherent legibility of a roman, due, in part, to the discrete openness of the characters. The presence of roman serifs also lends to this legibility without detracting from the blackletter appearence because of their particular construction. When used in a text setting the font produces an eminently readable, even texture. However, it is when used as a titling font, that the letters reveal themselves to have a contemporary, geometrically calligraphic, blackletter appearance that makes it suitable for any and all uses.

Gaudeamus is a Cyrillic face of medieval Gothic textura inspired of incunabulum artworks. Recommended for a historical and cultural context, but it goes well beyond. Suitable for music, books, fashion, catering, packaging and more. Works for long paragraphs and short sentences. Features: — 7 Stylistic sets; two of which are text preformats to the commons of the Middle Ages and Early Modern historical periods. — Sets of Ordinal and Superscript characters for French, Portuguese, Spanish typesetting. — Localized letterforms for Bulgarian and Serbian. — Localized diacritics for Polish and Romanian. — Support typesetting in Russian pre-reform orthography. — Support typesetting in Middle English orthography. — Case sensitive characters for greater consistency with uppercase letters. — Set of Roman Numerals. — Standard and Discretional ligatures. — 530 glyphs; 40 languages support.

Poblano is a masterfully designed flared typeface, inspired by Gothic Tuscan that incorporates an aura of modern fun and classic southwest whimsy. With serifs that embody the beautiful, natural curve of the Poblano Pepper, it captures the pepper’s essence and attitude of having the perfect amount of piquant heat. Perfectly suited for menus, headlines, and logos, Poblano will be the ideal garnish to complete and elevate your food, rustic, grunge and hipster themed designs. The Poblano menu includes: • A range of styles from elegantly thin to boastful black • Over 400 glyphs per weight • More than 50 stylistic alternatives • Upper and lowercase characters • Uniquely stylized to elevate your design and add that finishing touch This is the ultimate niche solution to both display and functional Tuscan serif fonts.

Vinque is an interpretation of a nineteenth century Arts & Crafts revival of medieval lettering. British type designer William Morris completed Troy in 1891—a splendid blackletter typeface in the medieval style. It’s beautiful but some modern uses like UI and video game text require a less ornate gothic appearance. Vinque is simple. It avoids strong vertical blackletter strokes which can present problems for contemporary readers. The end result is an uncomplicated, crisp typeface that successfully conveys medievalness to the reader. Vinque was released in 2002 in one style: Regular. In 2019, Vinque was expanded to seven weights and italics. Language support was bolstered to support most current Latin based languages as well as Greek and Cyrillic. OpenType fractions, f-ligatures and old-style numerals are supported.

Joaquin Imperial – Blackletter Typeface Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Joaquin Imperial with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more). There it is. I really hope you enjoy it. Comments & likes are always welcome and accepted. More importantly, don’t hesitate to send a message if you have a problem or question.

Ramadhan Amazing is Arabic-style font. Designed with digital flat pen and gothic typography technique that gives the letters an elegant look. Equipped with an Arabic character display. This font is very useful for designing all kinds of graphic designs related to Islamic Content. Ramadhan Amazing font is suitable for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyers, posters, book covers, advertising, etc. What's Included? - Open support type - Multilingual support - PUA encoded - Features: uppercase, lowercase, numbers, punctuation, multilingual, alternative, and stylish set. - Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic - Alternative in OpenType menu Adobe Photoshop, Adobe InDesign, Corel Draw, even works in Microsoft Word Please message me if you have any questions. We are happy to help you.

Goneon is a vibrant and eye-catching display font designed to bring the electrifying energy of neon lights to your designs. With its big, bold uppercase letterforms and mesmerizing neon style, this typeface captures the essence of a lively and dynamic atmosphere.. Each letter is meticulously crafted to emanate a radiant and electrifying glow, just like the vibrant neon signs that illuminate city streets at night. This neon style adds a touch of excitement and energy, instantly drawing the viewer's attention. Inspired by the pulsating rhythm of city nightlife, Goneon exudes a sense of modernity and vibrancy. The font captures the essence of an urban atmosphere, casting a dazzling neon glow that creates a lively and captivating visual impact. Each letter radiates with an unmistakable charm, bringing your designs to life with its electrifying vibes. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Goneon perfect for headlines, banners, posters, and any design that requires a bold statement. The neon style adds an extra layer of excitement, making your text shine with a dynamic and eye-catching appeal. Whether you're working on advertising campaigns, event promotions, digital artwork, or any creative project that calls for a lively aesthetic, this font will instantly infuse your designs with an electrifying energy. It particularly shines in applications related to nightlife, entertainment, music, and urban-themed designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Updated October 2014. Scribbles AF is the perfect choice when you want to add a little personality to your design. The font comes in five weights and has been created using scans of real handwriting. The soft, rounded edges of each letter in Biro, Felt Tip, Marker and Chunky give it a very relaxed and friendly appearance, or for something a little more quirky why not try the Ink version? Ideal for notes, labels, packaging and child-friendly projects. What will you use it for?

Lunok is an all caps brush font, created to make every text look like authentic hand lettering. The all-caps marker typeface is perfect for bold headlines, posters, shirt designs, fashion brands, social media content and funky ads. Mix & match the stylistic alternate or ligature, so that you'll have lots of different letters for that unique look & feel! What's included: ALL CAPS LIGATURES STYLISTIC ALTERNATE MULTILANGUAGE SUPPORT NUMBER & PUNCTUATION Have fun creating with this brush font and let me know if you've any wish, suggestion or feedback :)

Handmade typeface inspired by permanent marker strokes. Simple, bold and casual shape strokes make this typeface easy to read event in a bunch of text. This can be useful for title, quotes, label, etc. Simple, casual and playful. All caps family comes with different style: Title, Outline and Stripes. Including handwritten style, Adventura Letter with uppercase & lowercase characters, make you have more option to create catchy design. All support basic multi language. Add Adventura Catchwords and Emo icons can gives more personal touch to your design.

Alf Becker graced many issues of “Signs of the Times” (a trade magazine for the sign industry) with his innovative hand lettered alphabets for others to use as design inspirations. His 134th submission was titled “Post Card Type”, a condensed thick-and-thin stylized Art Deco design. This served as the inspiration for Tourist Postcard JNL, which is available in both regular and oblique versions. Thanks to Tod Swormstedt of S.T. Media Group and the American Sign Museum for providing the work image for this type revival.

Introducing South Route Font Duo and Extras - a handsome new font duo with tons of versatility.South Route consists of two fonts , A textured casual script and a bold & hearty sans-script titling font.To make your designs more authentic, South Route Script font has a set of lowercase alternate letters and ligatures included.South Route also has a handy set of 26 extra dry marker swashes and grit dingbats . Fantastically versatile, South Route lends itself to both retro hipster style designs and fresh bold modern designs.

Kanona JNL is modeled from one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Thanks to a wealth of source material provided by Tod Swormstedt of ST Media (and who is also the curator of the American Sign Museum in Cincinnati, Ohio), Jeff Levine has been redrawing many of these alphabets and presenting them in digital form. The original variations in letter widths from Becker’s hand-painted alphabet have been left intact.

Introducing our newest graffiti-themed font collection, with realistic flat marker 2 Style : Regular & Swash perfect for adding an edgy and urban touch to your designs. Our collection features bold and expressive typefaces that are inspired by street art and graffiti culture. Our graffiti fonts are designed to capture the energy and vibrancy of urban environments, with expressive lines and curves that create a sense of movement and fluidity. They are perfect for a range of projects, from advertising and editorial design to branding and packaging.

Siren Song is a textured marker font with rough edges and dozens of ligatures that give it a true handwritten feel. It includes both regular and slanted versions of the font, with bonus swashes that complement it nicely to achieve eye-catching designs. This handwritten font includes: A-Z, a-z, 0-9, accents, punctuation and symbols Tons of ligatures, for a more natural handwritten feel Contextual Alternates (for b, f, k and s) An extra set of 26 swashes (a-z) and 10 symbols (0-9)

Lumios Brush is a new addition to the Lumios Extended Font Family. It was written with Pilot Brush Pen on a glossy paper (which allows a really smooth brush movements) and then carefully digitized. Just like Lumios Marker, its Brush sibling has multilingual (including basic cyrillic) support. The font also benefits from 2- and 3-letter ligatures (again, multilingual), stylistic alternates and swashes, underlines, arrows and a few symbols. If you already own Lumios Design Elements, you can used them with the Lumuis Brush font.

In Dutch, a Mandarijn is a Tangerine. I found out that it is called a Mandarin in Australia as well! I really like Mandarins, so I thought I’d give them their well-deserved place in the spotlights by naming a font after them. The whispers part - well, that’s just because it sounded good. Mandarin Whispers is a very nice brush font, which was actually not made with a brush, but with a cheapie marker pen. It comes with all the bells & whistles, so have a ball!

HandXpression was created with a stylus, imitating the experience of writing on a whiteboard with a marker. Its 646 glyphs cover from the Western to a wide part of Eastern European (Latin) alphabets. It also has all Greek letters for Math usage: yes, HandXpression makes formulas, and they look great, especially with LaTeX/XeTeX systems. The font has true italics, as well as some useful OpenType features: fractions, capital spacing, scientific superiors/inferiors, old style numbers, as well as standard ligatures and localized forms. Enjoy!

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

A family of extra compressed styles designed at ParaType in 1993 by Alexander Tarbeev. For use in advertising and display typography. Decorative versions were added in 1996.

Fun, little illustrations in line and reverse of what one finds in an office-- or at least my office. See Food Doodles for more matching little drawings.

A "serious"(serif) font with a crazy touch. The idea was born on dozens of papers, thanks to a not-steady-at-all hand guided by coffee.

Marie Jeanne is a handmade font created with a casual feel that works well at larger sizes in headers or titles. Also works great in branding applications.

Invader is a display font designed specifically for display, headline, logotype and similar applications. It is not intended for text use or for use at small sizes.