This Barranom font is great for logos, branding, apparel and headlines. This typeface encapsulates a wide variety of nuances, apparently, opposing elements like technology with friendly angular shapes.

Christmas Weekday is a lovely, cute, and fun display font. This original look will appeal to a wide range of crafty ideas, from letterheads and titles to stationery.

Sweet Summer is a tall and a bit quirky handwritten font. Its friendly and simple style makes this font adept to a wide variety of designs.Caps only Fonts.

A slightly wide gothic with just a touch of flair. This font will add a nice elegant touch to all your designs; works great for text and headlines.

Jailbreak JNL takes the wood type design used for Hoosegow JNL and gives it a stencil treatment; offering a wide and bold stencil alphabet with a Western feel.

Paradise is a script font thought to be used in a wide range of pieces of design. From packaging to invitations, Paradise looks elegant and sometimes very playful.

Based on informal pen handwriting. A set of Western characters and two bold weights were added in 2011 by Gennady Fridman. For use in advertising and display typography.

Window Sign JNL is a solidified re-working of Sign Stencil JNL; originally modeled from some vintage lettering stencils that were part of a store sign making kit.

Antman is a bold serif font consisting of caps and smallcaps. Wide letterforms taper toward the bottom of each character to give this font a retro vintage feel.

RMU Gloria is a family of two stylish fin-de-siècle fonts, formerly released by the Gursch Foundry, Berlin, which additionally were spiced with elements for frame making.

Introducing "Bremoleaf" - The Nature-Inspired Font 🌿 Embrace the beauty of nature with "Bremoleaf," a unique and versatile font that seamlessly blends the organic elegance of leaves with a harmonious mix of sans serif and script elements. This exquisite typeface is more than just a font; it's a work of art that brings the enchantment of nature to your creative projects. 🌱 The "Bremoleaf" font is a perfect choice for those who seek a harmonious fusion of two distinct typographic styles. It effortlessly combines the sleek and modern characteristics of sans serif letters with the flowing, graceful curves of an elegant script. This harmonious pairing creates a visually captivating and versatile typeface that suits a wide range of design needs. 🌿 With dynamic ligatures and an extensive selection of alternates, "Bremoleaf" offers endless possibilities to express your creativity. These ligatures and alternatives seamlessly flow, enhancing the readability and aesthetic appeal of your text. Whether you're designing a logo, a wedding invitation, a branding project, or any other creative endeavor, "Bremoleaf" has you covered. ✨ "Bremoleaf" boasts a wide range of characters and symbols, providing support for a staggering 708 characters. This inclusive font enables you to create content in various languages and styles with ease. Plus, it includes PUA (Private Use Area) Unicode, ensuring that you can access all its special characters and unique features effortlessly. 🌍 "Bremoleaf" is not bound by language or borders. It offers comprehensive multilingual support, making it the perfect choice for projects that target global audiences. From English to Spanish, French to Vietnamse, this font will help you convey your message beautifully and effectively. Experience the enchantment of "Bremoleaf" and elevate your design projects to new heights. This nature-inspired font brings the organic beauty of leaves to your creations, offering an irresistible combination of style and functionality. With "Bremoleaf," your designs will flourish like never before.

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

A few scant examples of die cut gummed letters (R, C, Y and &) provided the design inspiration for Adhesive Serif Letters JNL. Influenced by the Caslon style, this typeface offers clean, legible titling. The sample letters were once manufactured by the Tablet and Ticket Company of Chicago and sold under their brand name of Willson's [named for the founder of the company]. Gummed letter sets were available in a variety of styles and sizes for various sign, merchandising and marking needs.

Bogesta Typeface - Stylish OpenType rich serifs with letters that seem to dance and swirl harmoniously together - to form unique & elegant typographic designs. The wide selection of interwoven binders and Opentype alternatives means lots of choice and variety in your final look. To access these OpenType features, you need Opentype-enabled software such as: Word, Textedit, Photoshop, Sketch, Pages, Keynote, Numbers, iBooks Author, QuarkXPress, Indesign and Illustrator. A wide variety of useful glyphs are included - see preview images of all glyphs.

Designed for a wide range of applications, Gentona was intended to support the goals of contemporary design paired with a mostly swiss oriented demand on typography – neutrality. The result is a nine-weight neo-grotesque family ranging from sharp and fine thin cuts to muscle-bound and strong heavy weights. Gentona’s confident and open shapes support legibility especially in small sizes while its alternative shapes and letterforms create flexibility. A wide range of typographic features round up the whole family.

This font is not overly distressed, nor is it overly clean. It is a typewriter font. It is perfect when you want a document to look like it was made on a typewriter. This font is primarily based on the typewriter used for a typographic conference document from 1966 in Mainz Germany. The model and age of the typewriter used is not known. Additional characters were sourced from other vintage typewriters and others were designed to complete the full character set.

HGB Memento was designed to replace 12 bronze plaques with the names of those who died in World War I. The 12 plaques were stolen in 2016. Stone tablets were made on which the original writing was engraved using sandblasting. Memento is therefore suitable for commemorative plaques and for texts of a sacred nature. Extremely short ascenders and descenders allow very narrow lines. The design language of the Memento comes from the 1920s with echoes of Art Nouveau and Art Deco.

Playing with old rub-on letters led to this alphabet. On the Letraset sheets (the older ones still remember...) there were always letters left over that were never or rarely used. I sometimes let interns play with it. To explain, I first rubbed an example myself. Two y's from a Helvetica made a pretty shape. Looking closely, you see a contoured, italic N. I developed the HGB Ypsilon font from this N. A purely decorative typeface – it could be interesting for some logo.

This font was inspired by the very well-known humanistic script called "Cancellaresca". This variant was used by a lot of calligraphers in the late 1400s, specially by the Venetian Giovannantonio Tagliente, whose patterns were mainly used for this font. You can compare this with 1610 Cancellaresca. Numerals were inspired by Da Vinci manuscripts, from the same period. We added accented characters and a few others not currently existing at the time. A lot of titling alternates and ligatures are also included.

A simple rough font. Kraft is a rough techno-style sans serif meant for setting text in all capitals. Instead of lowercase letters there are capitals of smaller height but with the same stroke width. They make tighter type. Characters are pressed really close together which creates the visual rhythm of very narrow and very wide openings. The wide strokes allow free use of graphics. This font is designed for putting on coarse surfaces, for breaking, crumbing, scratching, or making stencils on concrete.

Monotype Caslon Titling was made available for hot metal casting in 1932. The capital Monotype Caslon Titling letters were based on types from the Stephenson Blake Foundry, previously the Caslon Foundry. Originally designed by William Caslon in the eighteenth century, Caslon is considered an old face although it has characteristics which were later found in the transitional typefaces. The Monotype Caslon Titling font has a distinctive style, generous width and strong color, ideal for use in advertising, magazines and on book jackets.

The design for Granjon was produced at the English branch of Linotype under the direction of George William Jones and appeared in 1928. This reproduction of a Garamond typeface was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592 . The roman characters of the sample were made by Claude Garamond and the italic forms were designed by Robert Granjon. Jones made sure that the Granjon font remained true to the original characters of Garamond and Granjon.

It was during a visit to the Roman Forum that we were inspired by a seemingly unique style of lettering on a tablet among the ruins. The Latin message was chiseled in a condensed, free-style manner, almost as if it were intended as a personal note. While the stone showed only the capital letter forms of the period, we felt the creation of a lowercase would help extend the fonts usability and also add a whimsical feel to the design.

The idea started with the 1934 sheet music of “Mazurka Amabile”. Its hand drawn title had most of the letters rendered in a rectangular shape [‘square’ in the sign trade] that featured rounded corners and terminals made by the shape of the lettering pen nib. A few letters were rounder in design than others, so those were scrapped in favor of a more consistent character shape throughout the font. Pen Nib Square JNL is available in both regular and oblique versions.

Catskin is a fairytale by The Brothers Grimm. The story is about a king who has a beautiful wife and daughter - you know, the basic fairytale stuff. Long story short: they all live happily ever after (except for the wife, who dies…). Catskin is also a nice, handmade font. I like making fairytale fonts, especially since I have three kids, who love books. And when I see one of my fonts on the cover, I can tell them: ‘daddy made this’. #prouddaddy ;-)

Regular Joe was first delivered to the font world by Ron and Joe. Yes, the same Ron and Joe of the ArtParts fame. A few years of being so regular, Regular Joe became, well, just bored. Regular Joe needed company. He wished for a family. After all, most of his font friends had big families. His wishes were granted by FontHaus. So Skinny and Husky were created to be with Regular and all together, they became Family Joe. All is well.

Inspired from 60's and 70's script lettering, bringing a smile and a dose of nostalgia to the daily lives. Where you get to relive the far out culture of the 60’s and 70’s! The era of groovy was all about music, festivals, where icons were created, epic stories were told, and culture was changed forever. The Gv. time came with opentype features such stylistic alternates and others, its help you to make great lettering, also support multilanguage.

Rasteroids Monospace is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Because of its fixed character width, Rasteroids Monospace is intended for use in accents or small areas of copy rather than long documents.

A modern and slightly wide sans serif, Ezra Sans Family! Ezra Sans is a casual and modern sans. With slightly wide form and modern details, this font looks more casual for your any project and designs. This font also contain an alternate in selected characters that will make this font even more stunning. You can use it for a tittle, logo, quotes, or become a pairing in any font. This font also support multi language! Support Multilingual up to 14 languages

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

Bakery Goods is a cool, vintage styled and adaptable display font. This original look will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery.

Another Shabby is a script typeface family. Its shapes are defined by rough, wide brushstrokes, slightly rounded in corners to mimic the feel of a real handwritten casual script.

This font was inspired by the lettering on a shop sign along a very classy shopping street in Bordeaux, France. There were similar styles among mid-nineteenth century types.

Introducing new font family Venzel. It's an interesting experimental deco all caps typeface. • 5 fonts with different wide • OTF and TTF version • alternative letters and numbers • multi-language support

Stylish Marker is a font based on a casual and worn marker, just before it's unusable, thus giving rise to an irregular texture, typical of a widely used marker

The Manus font family is extended with a new relative: Manus Smooth. Some major and minor adjustments were made, but it still has the look & feel of the original.

Another rebirth: Verdaguera. The all time Catalan people's choice. Now with a complete set of characters that covers a wide range of latin alphabet languages. Catalan included, of course.

This font was inspired by Claude Garamond antique. The original set of letters from 16th century is enlarged by several characters that were not in use in that time.

Lucidity is a condensed, handwritten font with emphasis on texture and default wide spacing. This makes it a versatile font for display, medium amounts of text, and T-Shirts.