Bufon is a font that holds many ligatures (815); a characteristic that intervenes in the rhythm of words. For this aim, a study of the combination of signs in the text was made. The interest was to detect the most frequent duets and trios of letters. Three languages were studied; English, French and Spanish.

An Art Nouveau alphabet that has stood the test of time, Nicholson French, by legendary sign-painter Frank H. Atkinson, is over 100 years old and going strong. In modern typographic trim, it comes with OpenType feature replacement options and multi-language support, from standard Latin-1 to Latin Extended-A, Greek and Cyrillic.

Nuts Comic is a fun handwritten font inspired by 80s and 90s comic strips. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

This is a modern, wonderful, and beautiful font. This font is super readable and can be used from Posters to a Hebrew Bible. The readability of this font is amazing. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser. The first Hebrew Variable font with all Trop and Nikud!

Zombie Coming is a display font with a monoline Dripping graffiti style, there is some swash for your awesome design. It will elevate a wide range of design projects to the highest level, be it branding, headings, wedding designs, invitations, signatures, logos, labels, and much more! Featured : Uppercase Number and Punctuation Stylistic Alternate (Swash)

Arya is a display typeface, based on Roman proportions. It has three versions, differentiated by the amount of the drawn lines. Single is solid. Double is sturdy but light. Triple is versatile and includes alternatives. They can be combined in layers. Capsule versions (White and Black) are designed to do quick, simple and elegant labels.

Sticky Shoes was inspired by a sign at a local flea market. The artist behind the sign obviously didn’t care much about painting the letters “in the right way” - leaving a slobby and uneven impression. And what is wrong with that? Nothing, if you ask me. I tried my best to capture the charm and innocence behind that sign in Sticky Shoes. I even made the paint version go outside the outline in the Regular version! I added 6 different versions of each letter, and they automatically changes as you type. That goes for all 4 versions, and they even mix very nicely!

Among the world of Chinese commercial fonts, M Qing Hua has a relatively high flexibility to be used in different areas, for instance, media of advertising. Its design concept is to combine the neatness of Hei typeface with the roundedness of Yuen typeface. The typeface tries to revitalize the boring traditional design by adding energy, simplicity and modernness to it, which could be shown in the small features in strokes like delicate and curvy finishings. More is the appropriate mix of masculinity and femininity, so as to enable a more effective communication, stronger visual attractiveness and higher affections.

A Tarte Tatin is a French upside down apple pie. The story goes that one of the Tatin sisters (who ran Hôtel Tatin in Lamotte-Beuvron 169 km south of Paris), was baking a regular apple pie, but put the apples first and, realising her mistake, tried to rescue the dish by adding the pastry and sticking it in the oven. Tarte Tatin is a really nice all caps font. It was made with a Japanese brush pen on rough paper. Tarte Tatin comes with extensive language support and a set of alternates for the lower case letters.

Among the world of Chinese commercial fonts, M Qing Hua has a relatively high flexibility to be used in different areas, for instance, media of advertising. Its design concept is to combine the neatness of Hei typeface with the roundedness of Yuen typeface. The typeface tries to revitalize the boring traditional design by adding energy, simplicity and modernness to it, which could be shown in the small features in strokes like delicate and curvy finishings. More is the appropriate mix of masculinity and femininity, so as to enable a more effective communication, stronger visual attractiveness and higher affections.

Boldieslab is a font width display type with slab contrast. bring if the old west and the 70s had a lovechild with not a unformal usage, it's the perfect typeface for adding sophisticated playfulness to any design project.

Displays the appearance of a serif font that has a spooky impression but with elegant characteristics that make this horror-themed font different from other horror fonts, with the addition of sharp alternative letters that make the impression even more gripping so it is perfect for movie titles, posters, logotypes and many others. Thank you for seeing

Atipla ND is a contemporary sans serif typeface. It works best at large sizes, with softened ink traps pair legibility with aesthetic, while its strict horizontal and vertical terminals give it a rigid yet friendly appearance. The typeface contains a stylistic set, case sensitive forms, symbols and arrows, and the font covers all Latin Extended-A languages.

Amina was created using the DNA of Metrik. A neutral grotesque sans serif, chopped and remixed to create Amino. The ink traps have been raised to create a dynamic typographic language that makes Amina contemporary and dynamic. Amina works great for bold, typographic treatments and still maintains readability in body copy. Includes language support, stylistic alternates.

Akturi is a modular, techy and futuristic faux monospace display typeface, aiming to be used for all galactic space travel providers, mysterious coders and developers, and game designers creating strangely beautiful and gripping dystopian worlds. Featuring 471 characters, 7 stylistic sets and 7 weights, this display type offers plenty of customisability, versatility and support for 81 languages.

Sone is designed to be bold with stripped off nonessential details making it uncomplicated, simple in expression, yet appealing and easy to decipher, even from a distance. Serene and gentle in quality by low contrast, slow ductus and large x-height reducing the up down motion, plus enhance the legibility. It works beautifully in both, display and body copy.

An undeniably Art Deco font with some unexpected twists and turns, this typeface is based on a design originally called "Dignity Roman", a product of the fevered imagination of the rather unconventional 30s lettering artist Alphonse E. Tripp. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Arya Rounded is a display typeface, based on Roman proportions. It has three versions, differentiated by the amount of the drawn lines. Single is solid. Double is sturdy but light. Triple is versatile and includes alternatives. They can be combined in layers. Capsule versions (White and Black) are designed to do quick, simple and elegant labels.

Word up! DJ Dongboi and triple threat "JG" Roshell has been bustin' out for all the young font gunnahs out there. He bein' crazy, givin' out the love and non-stop dope moves... You feel it? Be showin' ya respect and holla at the Phat Boi an' y'all be cool. Aiiiigggghhht?! Phatboi is Da Next Big Thang! Stay bent.

This font is inspired and based on many indigenous geometric shapes (Mapuche and Diaguitas from South America). A collection of more than 50 glyphs that you may combine in different and creative ways, alternating the position of the modules is possible to produced a wide variety of linear strips or closed figures, frames, modular grids, textures, etc.

Inspired by midcentury motorsports, technology, and business, Turismo CF is designed for stunning logotypes and gripping headlines. Constructed from strong rectangles with sloping, elongated curves and a confident, affable stance. Turismo CF is a display typeface pairs well with mellow, text-friendly serifs that won't compete visually, like Artifex CF, or humanist typefaces like Artifex Hand CF.

Prior to the advent of digital type, many architectural layouts, amateur print projects and a myriad of other lettering jobs were created by the use of routed plastic templates and ink pens. Plastic Template JNL was designed from just one strip of a multi-part template set and replicates the clean lines of the original design.

Stay Gladin Script Font Trio is a new modern script font with an irregular baseline. Stylish and feminine. Stay Gladin Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and more. Perfect for use in ink or watercolor. Includes start and end letters, alternatives and support for many languages. Thanks You.

Bubble Gum is a juicy multi-dimensional gob of goodness that’s bursting at the seams with loads of alphabetic appeal. Its well-padded figure transforms the ample letterforms found in classic comic strip word balloons into a warm and casual display font with a little extra kick. Cooked up by Dave West for Photo-Lettering, Inc. between the late 1960s and early 70s, Bubble Gum was finally digitized by Jess Collins in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. 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. Featured in: Best Fonts for Logos

Cape Horn is a typeface inspired by seafarers who have perished by navigating the treacherous seas surrounding Cape Horn, which is at the southern-most tip of South America. A-Z Numbers Multi-language support Symbols Special Characters Uppercase

The Charta family of fonts draws its inspiration from the letter styles used in early manuscripts and printed books. Charta is also remarkably versatile: it’s equally at home in a traditional or modern context and can be used for a wide range of applications from an automobile badge to a newspaper masthead and from a fashion label to a candy bar wrapper.

Introducing Brightlast Brightlast font under inspiration of vintage bar signage, hotel signage, barbershop signage ect. Brightlast has a classic impression but still elegant suitable for modern and classic designs project. Brightlast are perfect for badge, label, tshirt design, branding, logotype, poster, book cover, packaging and more. FEATURES : Character Set A-Z Numberal Accents (Multilingual characters) PUA encode Alternates Ligature MULTiLINGUAL ACCENT žŠŒšŸÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ

Say hello to the Blackberry Macarons Font Trio! Heart-warming Script, Display, and Sans Serif fonts that will brighten your design. Blackberry Macarons Display - includes all caps regular and multilingual letters, punctuation, numbers, and as a bonus the letters A, K, M, Q, R with beautiful swashes to keep your designs attractive :) Blackberry Macarons Script - has all uppercase and lowercase letters, numerals, punctuation, and 42 fancy ligatures as well to add a cheesy flair to your words. Blackberry Macarons Sans - a cute and fun hand-drawn typeface with a little imperfect look that works great to add a handmade touch to your projects. Includes a full set of regular letters, numbers, and punctuation. Sweet and quirky, the Blackberry Macarons Font trio is perfect for recipes, book illustrations, lettering, fun packaging, greeting cards and so much more!

Altivo is a proper workhorse sans serif. Sixteen OpenType fonts in eight weights (with true Italics) range from Thin to Ultra. Meticulous care was taken to ensure high legibility in text sizes on the screen. The typeface is designed to have wide proportions, generous x-height, loose spacing, ink traps, large apertures and low stroke contrast. Altivo’s ink traps are not only a functional design feature, they also look interesting and lend character to the typeface in headlines. True Italics, small caps and multiple sets of figures, as well as a complete set of lowercase superscript were all included in the family to accommodate high typographic standards. If you need to pair it with a serif font, you can’t go wrong with Chiavettieri, since both typefaces were made with the same basic proportions, and their tabular figures are the same width.

CA Cula is standing in the tradition of cool tempered sans serif typefaces like DIN. But at a closer look it reveals a tendency towards rounder reading-friendly forms. The denaturalized ink traps give CA Cula a very special and individual look in display sizes, whereas in smaller sizes the positive aspects of huge ink traps show effect. The text looks clean and bright without black dots in the typographic image. This makes CA Cula suitable even for longer text, while the bold weight makes pretty cool headlines. The choice of weights aims at an easy straight forward use. A set of five well balanced weights ought to be enough to cover most needs without throwing the typographer into questions like: demibold or semibold? If you are looking for the extra kick, look out for CA Cula Superfat.

Tinteretto is a very beautiful, decorative Art-d�co font which is ideal for ad design about fine arts events and the world of arts and crafts as well as in restaurants, bars and for food packaging. Tintoretto harmonizes well with serif and sans serif fonts created at the beginning of the last century. It contains character sets for West and Central European as well as for Romania and Turkey. When Unger started his work on Tintoretto, he had the splendid idea of adding a Fill version to the original 3D characters. Combining both fonts make it even stronger and more beautiful. How to combine both fonts in order to achieve a color fill effect: Type your word or phrase and do not make any changes to the spacing or kerning. Duplicate or copy the original and change it to the Fill version (font change). Apply a color to the copy and position it exactly behind the original. See and love the result.

Boldu is a simple grotesque font. I created it using simple forms. I love geometry and tried use only one size of lines. Boldu was created being impressed by works of beginning of 20th century - period of strict and geometric forms

There are a lot of narrow passages... like the Straits of Gibraltar, Hormuz, of Malacca, of Thermopylae, the Dardanelles, the Dervenakion, Magellan, Rentina of Naruto, Kerch etc. I tried to pass into mine closely with the name «Artios Pro". Walking on the same considerations as the previous series (Khamai/Aeolus/Corset) I tried to give some sense of diversity for narrow passages of the letters. These twelve style are the result. And here, the "Rail" engage with "Semi Bold" in the same way as the previous series. This series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

This began life as a European font that was copied in the United States by Bruce's Type Foundry in 1885. It was caps only and had a fine line "three-D" shadow. We scrapped the shadow, added a lower case, and voila!

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)

On October 12th 1976 a new basilica was inaugurated in honor and in gratitude to the Patron Saint, the Virgin of Guadalupe, loved by the Mexican people. This basilica was designed by the Mexican architect Pedro Ramírez Vázquez (died on April 16th 2012). It stands out by its hug spacious interior, generously decorated with bronze elements. The aesthetic value of these items even includes many signs and text inscriptions in a particular typeface and style, of which this font is a reinterpretation. The purpose of this project is to revival this eclesiastical written letter forms in bronze and taking them to digital format. I was inspired to this on my last trip to Mexico in September of 2012.

Transcend has been designed specifically for titling and branding purposes. This 8-font, all caps typeface is packed with OpenType features including discretionary ligatures and alternates that – when used subtly – help you to create distinctive headline typography. Transcend aims to be “The Ultimate Titling Typeface”. This typeface is an exploration of my own “Carrig” from 2014. I have evolved its core personality and embellished it by means of crisp, sharp lines and serifs, adding stylised ink traps/notches, as well as carefully considered swashes, flourishes, and ligatures that add a touch of class and refinement to every word you type. Key features: • 8 weights – Thin to Ultra • Alternates, Discretionary Ligatures, and Old Style Figures • European Character Set – Latin Only • 600+ glyphs per font.