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  1. Caridade by insigne, $29.00
    Caridade is a bold and powerful script face. It draws some inspiration from heavy brush drawn vintage hand lettering but its heavy weight is much thicker with plenty of impact and more contemporary letterforms. The face offers a wide array of weights, from the powerful Heavy weight to the graceful Thin. Caridade can get the job done for many unique design tasks. Caridade includes many useful OpenType features, including a set of non-connecting alternates, 40 ligatures, and two types of end letterforms. OpenType features include ornaments, swash endings, ending contextual alternates, discretionary ligatures, ligatures and three different stylistic sets filled with alternates. In total, there are over 60 alternate letterforms. Please see the sample .pdf to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.
  2. Marco by TypeTogether, $49.00
    Marco is a lively text face, with an informal touch, inspired by 15th century Italian letter-forms with strong calligraphic traces and intended to be used primarily in continuous and intensive reading conditions. Marco is full of features required for high-quality book typography, including: strong language-support in extended Latin, Cyrillic and polytonic Greek, a multitude of swashes in the italic styles of Latin and Cyrillic, stylistic alternates to obtain the best possible solutions and other typographic niceties. Inspiration for Marco goes back to Italian humanist typography such as those of Nicholas Jenson or Aldus Manutius, and general influences from calligraphy. As a result, Marco has matured into a personal and unique text face where its lively and somewhat informal style is an ideal counterpart to its careful and ingenious crafting. Toshi Omagari’s Marco features a huge set of over 1900 characters per style —and almost 2600 in the italics— and is available in Regular, SemiBold, Bold with matching Italics.
  3. FranTique NF by Nick's Fonts, $10.00
    The 1905 Barnhart Brothers & Spindler catalog featured an ultrawide face called "French Antique Extended". The letterforms have been faithfully rendered here, but this font’s kerning calls for a lot of overlapping and interlocking that the original cast-metal face wouldn't have been able to duplicate. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).
  4. Maypole by Scholtz Fonts, $19.00
    MayPole is a contemporary, 21st century, sans serif font, that contains an eclectic mix of elements from the 20th century. It combines gentle curves with base and caps-line transgressions but is substantially more rounded than in most commercial-style sans serif faces. Terminal strokes are slightly rounded and occasional elements are strongly rounded. MayPole is readable and can be successfully used for presentations, magazines etc, and for display use in newspapers, advertising and promotions.
  5. Hollywood Hills by Studio K, $45.00
    Inspired by that iconic sign in the Hollywood Hills, this font is a must for film buffs, movie lovers and designers who want to bring a bit of big screen glamour to their projects. It’s a caps only face, but by using the upper and lower case keys type can be set above or below the base line, thus creating the signature stagger effect. See also Jazz Age and Tea Dance by Studio K
  6. Eckhardt Signwriter JNL by Jeff Levine, $29.00
    Eckhardt Signwriter JNL is based on a casual display lettering face popular with many sign painters and show card writers of yesteryear, best suited for large print projects. Jeff Levine has named this font (along with others in a series) after the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.
  7. Typewriter by Monotype, $29.00
    The Monotype Typewriter" series contains three typefaces. These were made to enable type to be set that could emulate output from real typewriters. Use where a typewritten look is required for reports, tabular work, where the fixed pitch nature of these faces is an advantage, technical documentation and correspondence. Typewriter Regular is the base style of the family. Typewriter Elite is lighter than Typewriter Regular, and is monotone in weight, being designed to retain readability even when multiple carbon copies are produced. Typewriter Gothic is a medium weight sans serif typewriter face designed to give good readability from a fixed pitch typeface. Originally made for daisy wheel printers, the Typewriter Gothic font is useful for tabular work, technical documents, correspondence and reports."
  8. Martin Crantz by Proportional Lime, $9.99
    Martin Crantz (or sometimes Krantz) of the three, including Ulrich Gering and Michael Friburger, that set up a press at the Sorbonne in 1470 was likely the fellow who had the technical know how how to cast the type itself, hence the name of this new face that is based on his work. This font has been expanded to meet the demands of modern day use but it also contains a number of specialized glyphs that allow for the recreation of text in the manner of his day with such characters as the -rum abbreviation and other handy Renaissance oddities. Since this face was designed prior to 1501 there is no italic variant in keeping with the spirit of historical accuracy.
  9. Solina by Scratch Design, $14.00
    Solina is an exciting typeface that is inspired by the future life which is full of robots, mechanics, speed races, automotive and life in space. References to this font are based on the science-fiction visual of the modern-futurism mindset, making it perfect for any project that requires a futuristic and technologically advanced design. This font is perfect for creating sci-fi movie posters, technology-based branding, packaging, event and festival materials, automotive designs, and many more.
  10. Balboat by Ingrimayne Type, $9.95
    Balboat is a plain calligraphic face with a very small x-height, long descenders, and tall ascenders. Having the appearance of a pen-drawn sans serif, it has four styles: regular, bold, italic, and bold italic. Although Balboat is quite legible, it is condensed and may need to be printed at a larger point size than other typefaces.
  11. Mobley by Sudtipos, $29.00
    Based on ten characters found on the cover of a 1960s Blue Note jazz album. The source characters were originally designed for film-based typesetting by Wayne Stettler as part of a single typeface published by Visual Graphics Corporation (VGC) under the name Neil Bold. Mobley Sans, along with its condensed and serifed counterparts, constitute a brand new typographic whole molded around the original inspirational source. The family embodies the independent creative spirit of that era - yet manages to remain contemporary with several modern design traits - creating its own unique visual theme through the use of odd counters, generous curves and sharp corners. Mobley delivers your message in a bold, yet friendly, and subtly discerning fashion. Perfect for music artwork, packaging and book covers. Available with both sans and serif versions, in regular and condensed widths.
  12. Normandia by Canada Type, $30.00
    Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.
  13. Lectio by Eurotypo, $14.00
    Lectio is a Roman font based on a Venetian Renaissance early typefaces, but with a modern and expressive design. His obvious calligraphic influence favors continuous text reading. The generous internal "eye" gives Lectio an appropriate legibility, its soft and organic modulation avoids fatigue, its robust character is attractive and stimulating in large bodies, especially for use in headlines. Lectio comes in two versions: Lectio and Lectio B. Lectio has seven weight and their corresponding slanted variables (true italics). Lectio B is composed only of Italics in six weight. The ascenders are slightly lower, the descending are more regular and the oblique trace of some letters have a more constant rhythm. Each of these faces has the optimum amount of contrast agains the background and clear and open internal letter shape. These fonts include diacritics for CE languages, Old Style figures, standard and discretional ligatures.
  14. Roundup by Ingrimayne Type, $10.00
    The Roundup family was inspired by fonts from the late 19th century, though it is not based on any one of them. Roundup-Caps was the first of the group to be constructed. It has two sets of upper-case letters that have minor differences. It has reverse contrast, that is, the verticals are thinner than the horizontals. Unlike most of the "Old-West" fonts with reverse contrast, the serifs are not square but have an odd, rounded shape. Roundup-Regular replaced the second set of caps with lower-case letters. A bold style strengthens the vertical elements so that it no longer has reverse contrast. Both the regular and bold styles have matching oblique styles. Finally, there is a hollow version with a shadow to the lower right. This shadowed style has had its inside taken out, creating RoundUp-ShadowInside. The spacing is the same as RoundUpShadowed so it can be layered over RoundUpShadowed to easily create two-colored lettering.
  15. AZ Storm by Artist of Design, $20.00
    AZ Storm was inspired from old '70's skateboard logo. This font was designed for use as a fun bold headline.
  16. PhrackSle by Ingrimayne Type, $11.95
    PhrackSle is a a Fraktur face with a difference: it has a uniform stroke rather than a calligraphic-pen stroke. It comes in four weights: thin, plain, bold, and extrabold. (For a version of the design done with a calligraphic stroke, see PhederFrack.)
  17. Elbflorenz by RMU, $35.00
    Another jewel of the vast treasure of historical font designs was digged out and brought to life again. Due to the courtesy of the Quay Brothers, London, who yielded to me an age-old brochure of Albert Auspurg’s ‚Miami‘, released by Schriftguss in 1934, I was able to redesign this elegant font. This font which I called ‚Elbflorenz‘, a cognomen for Dresden, contains West and Central European type faces as well as those for Romanian and Turkish. To get access to the historical number sign please use either the OT feature additional ligatures or ordinals.
  18. Paganini by Canada Type, $29.95
    Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the "oldstyle" of the Italian renaissance, its contrast reveals a clear underlying modern influence. In a typical Italian artistic fashion, Paganini manages to be a superb text face while having enough priceless ornamental moments to make it great in display uses as well: Check out the splayed M, the wide-tailed g, the flowing tail on the y, the high-armed k, etcetera. While the original metal version was limited to five basic fonts, this digital expansion includes small caps in the three main upright weights, plenty of alternate forms in all fonts, a super-seductive Open font, and an expanded language support covering the majority of Latin-based languages.
  19. Scoreboard JNL by Jeff Levine, $29.00
    Scoreboard JNL emulates illuminated scoreboards and is based on an alphabet found in an old clip art book of sports-themed alphabets.
  20. Veronese by Red Rooster Collection, $45.00
    Based on the early original Monotype design, you can definitely see the influence of Italian Old Style, Jenson and Morris’ Golden Type.
  21. Berstrom DT by DTP Types, $49.00
    This design is based on custom design work by DTP Types Limited in 1990 with associated Small Capitals and Old Style Figures.
  22. Boge LP by LetterPerfect, $39.00
    Boge LP is a new font family designed to communicate lucidly in text as well as in headlines and titles. The family consists of Regular, Italic, Bold, Bold Italic & Black. Character sets include a full compliment of multi-language support and fine-tuned kerning to make Boge™ a smart choice for professional quality typography from text to billboard-sized advertising. Regular and Bold styles include designed small caps and old-style numerals accessed as OpenType features. An original serif design, Boge blends traditional aesthetic with contemporary refinement. Its hallmarks are: clarity, readability, geniality, competence. The five related styles provide a strong palette for coloring words, text and ideas with quiet authority. Garrett Boge has been designing type for over 30 years, working with Apple, Microsoft, Adobe, Disney and numerous corporate clients. His background in calligraphy, commercial lettering, graphic design, and typography has been channeled into creating this namesake design. Boge Text joins his other popular faces — Spring, Florens, Bermuda, Spumoni, Longhand, Tomboy, Wendy — under the LetterPerfect Fonts brand, marketed through Monotype and its partners.
  23. Cloverdale JNL by Jeff Levine, $29.00
    Cloverdale JNL is another addition to Jeff Levine's revivals of classic wood type fonts from the 1800s. Bold, broad and in the "cowboy" style, this typeface goes well with projects featuring the Old West, Victorian times or old-fashioned nostalgia.
  24. Koloss by Monotype, $29.99
    Designed by Jakob Erbar and released in 1930, Koloss is a headline face that works well for posters. Characters have been drawn with a broad nib leaving small counters. This gives the effect of a compressed face, although the width of the strokes imply a fat face.
  25. Trade Journal JNL by Jeff Levine, $29.00
    Trade Journal JNL and its oblique counterpart are derived from a classic grotesk sans face from the 1800s. Despite the 'Grotesk' style name, the font design is actually quite pleasing to the eye and a nice alternative to many of the sterile sans serif faces of today.
  26. Letraflex by Art Grootfontein, $19.00
    Letraflex is a bold retro-inspired typeface with a slightly futuristic style. The family is based on old computer lettering and Magnetic Ink Character Recognition, with a little contemporary twist including ink traps. Letraflex layered fonts provide users with a wide range of choices for any design project. This family is an excellent pick for eye-catching designs, including Headline, Poster, Branding, Logos, Concert, and any other heavy design! Take a look at this video to see Letraflex in motion!
  27. Veneribe by Greater Albion Typefounders, $10.95
    Veneribe -the Venerable face- is an experiment in what many today might call 'grunge', though we at Greater Albion would probably prefer to talk of rustic (or if we're feeling really old-fashioned rustick) charm. It's a derivative of our Clementhorpe family, and aims to combine a battered antique look with the charm of that decorative Roman family. Regular and oblique forms are offered.
  28. Beckinslade by Greater Albion Typefounders, $15.95
    Beckinslade is a lovely elaborate blackletter face, released just in time for Christmas, but useable at any time of the year. It is in the best traditions of Victorian Gothic revival, drawing inspiration from a range of sources and marrying them into one homogenous whole. The emphasis is on aesthetics rather than historical accuracy. Great fun though for anywhere ‘ye olde’ look is desired.
  29. Stratham by insigne, $21.99
    Stratham is vigorous sans-serif inspired by the slab serif Clarendon. It is a heavy display face, and has a tangible modern British feel to it. The italic is especially dynamic and forward moving. Stratham includes OpenType titling and swash alternates, old style figures and small caps. Stratham is useful for headlines, highly legible signage or posters and works well in conjunction with the always popular Clarendon.
  30. Unger Script by profonts, $39.99
    Unger Script is a script design which is obviously based on H. Matheis' Slogan typeface designed for Ludwig & Mayer in 1957. This very expressive script design is defined by its widely swinging upper case and its quite narrowly designed lower case characters. Ralph M. Unger redrew and digitized this font exclusively for profonts in 2001. His work is based on artwork taken from old font catalogues.
  31. Tanger Serif by Typolar, $72.00
    Inspired by New Transitional and Egyptian fonts, Tanger Serif has elements of a sturdy work-horse text face and finely detailed headline font. A wide variety of widths and weights support many text sizes. Typically Narrow is used in headlines, Medium in body and Wide in smaller print. Nothing is predefined, though. By combining the right widths with the right weights this traditional approach can easily be challenged. Let’s take an oversized (over 10 pt) body copy for instance. In conjunction with using a bigger size to enhance readability, a narrow and slightly lighter weight will save space and brighten text color. Tanger Serif Narrow is a slim normal rather than a condensed face. As an Open Type “Pro” font each weight includes an expanded character set, small caps, old style figures, tabular figures, ligatures, fractions etc. All these are easily accessible through OpenType features.
  32. Brandold by Krisp Designs, $18.00
    Brandold is based on the repetition of one shape, the equilateral triangle. Using these triangles as pixels I built a medieval-like font that looks new, but follows an old aesthetic. I chose to make this font because I hadn’t seen anything similar.
  33. Thunderbird by Image Club, $29.99
    Thunderbird is an old American-style typeface. It is based on the kinds of big wood type that were popular in old Wild West advertising, which is evident through its ornate serifs, and the pointy flares that pop in and out of the centers of each stroke. Thunderbird is an all caps font and is best used in very large sizes.
  34. Zwart by Holland Fonts, $30.00
    Originally created with cutting in red litho film, as a headlining typeface for Vinyl music magazine. Its geometric structure was very applicable for early type design experiments on the computer. ...in the early 1980s, he (Max Kisman) became the designer of a small, independent music magazine Vinyl. This Amsterdam-based publication was set up very much as a response to the innovative British magazine, The Face. Responding to Neville Brody's radical designs for that magazine, Kisman began to experiment by creating new headline typefaces for each issue... (Emily King. New Faces: type design in the first decade of device-independent digital typesetting. 1987-1997.
  35. Sassafras by Monotype, $49.00
    Arthur Baker's display script Sassafras, designed in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen. Black and white are nicely balanced, giving this calligraphic face a remarkably smooth appearance. The regular and italic versions of Sassafras include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. In both, the ascenders increase in width as they move upward, while the descenders taper to a fine point. This variety of form makes Sassafras a very flexible choice for display work.
  36. Steiner Special by Canada Type, $24.95
    Steiner Special is a revival and expansion of an art nouveau face called Swing, originally designed by Peter Steiner in 1974. Some of the original film type letters were slightly normalized and toned down for concept consistency, though this digital version lacks none of the original face's charm and sunny disposition. This particular kind of art nouveau face is one that appeals very much to kids. Steiner Special can be used in upper-lower or all-upper, and can maintain its enthusiasm and excitement through any bending, stretching, squeezing, warping or any thinkable filter your favourite design program has. Children book covers, candy and cereal packaging, fun headlines and posters for kid events are but few of the possible uses of this font. If you're designing anything for kids, give this font a try and you won't regret it. Steiner Special comes with over 500 glyphs and support for the majority of Latin languages. A full set of ligatures in included, as are a few stylistic alternates.
  37. Decour Soft by Latinotype, $26.00
    Decour Soft is the rounded-edged version of Decour. It is a slab serif humanist low contrast typeface. The overall design also features strong curves, making it a very friendly face. The font retains the original elegant features of Decour—based on Art Deco design—such as high contrast between upper and lower case characters. Decour Soft is a suitable font for logotypes and packaging. Its design also allows it to be used with certain elegance in book titles and magazines subheadings.
  38. Rum Silhouette by Trine Rask, $30.00
    Rum Silhouette is developed as a display face within the type family »Rum« Rum Silhouette is a decorative all caps font, with uppercase letters based on Rum Soft Sans Black and a thin companion has replaced lowercase letters. It is suitable for posters and editorial design in large sizes. Includes two sets of numbers & punctuation marks that are in betweens. The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.
  39. Rapido Racers by Putracetol, $22.00
    Introducing “Rapido Racers” - a Quirky Display Speed Font that encapsulates the essence of speed, agility, and dynamism. Crafted meticulously to resonate with the fast-paced world of racing and e-sports, this font is a harmonious blend of pixel perfection and artistic craftsmanship. With 13 unique variations, each tailored to fit the theme of speed and sportiness, Rapido Racers is versatile yet specific in its application. Whether you’re designing logos that stand testament to the electrifying world of racing or branding materials that echo the swift movements of e-sports athletes, this font is your companion. Its strong display characteristics make it ideal for crafting eye-catching titles on posters or headings on web pages.
  40. Plantin Infant by Monotype, $29.99
    Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."
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