Create a fresh and fun design with the Rekix Black font. This elegant font can be used in any project from fashion to editorial work. Add some whimsy and spice to your next design project with this font. This font takes inspiration from the most popular vintage and retro fonts while bringing its own unique character. The letterforms have been carefully crafted to offer an elegant, yet playful feel. With a wide variety of binders and alternatives, Rekix Black brings a bit of vintage charm to any design project.

Hugh is the development of a wide type font, we create a work of art that combines a very strong spirit of wide type, for those of you artistic art lovers, this good news for you, because Hugh has a high artistic soul. This is the start of a happy year for you, get this font right away and develop your wild ideas, Hugh is the answer for you now. Its weight is superior in posters, social media, headlines, titles, large format print - and wherever you want to be noticed

Norando this is a modern and elegant serif font. It carries a bold weight and with it in highlight the main thing, make a title or logo and much more. It can also be more expressive and playful, thanks to the many alternatives and ligatures that are harmoniously combined in this font and make it more attractive and versatile. Try to change the alternatives, ligatures and you will get a lot of options for your project that will make it unique. This font is easy to use and has OpenType features.

The Tang family came to be, when I started studying fonts made for use in very small point sizes, like Bell Gothic. I studied the use of ink traps and went to town with them. Instead of just using them for their purpose: trapping ink to prevent the type getting blotted; I used them as a design feature. With those features Tang works very well in both headline and text use. I use it as a house type, and I've already seen it in a beer and cider labels.

Padraig Nua is a font conceptualized and designed by Tony Fahy. It is a European Celtic font, contemporary to many languages, not just of Europe but of the world. It’s origin is influenced by events in Ireland in the 1960s when it was decided that the uncial letterform should not be used further in Irish schools for the Irish language—Gaelic—and that it should be replaced by the Roman letterform—the Cló Romhanach as it was called afterwards. This happened overnight without any apparent discussion. It probably had a lot to do with Ireland joining the EEC, as the EU was called then. It had a massive effect on the Irish language and culture, in that the distinguishing factor that gave the language it’s identity—the half uncial/uncial fonts that were in use in all school, government and society documentation and merchandise—were lost overnight. No one said how or why. It was just done. To this day, all documentation is bi-lingual in government and Gaelic is taught in schools and universities—and decreed so by the European Union—but the presentation for both languages is the Roman letterform. Throughout the world, there are millions of Irish Americans and Irish Canadians, Irish Europeans, Australian Irish, African Irish and many living in the Middle East and Asia—and this new font—Padraig Nua, will appeal to many of them, visually recalling their roots. No one had thought, in those days, of commissioning a design that might update the Gaelic language to a more contemporary appearance that would keep the cultural nature of it intact with a revised and updated font—at one with Europe, the US and the world. Tony Fahy designed Padraig Nua (New Patrick) to address the problem. It keeps an appearance that lends towards the Gaelic language but steers it in the direction of Roman fonts. Some characters reflect letterforms from the Irish/Gaelic manuscripts and uncial fonts.

Barkanon is not your ordinary humanist sans serif typeface. Blending modern styling with classic humanist flow creates a bold and captivating look. Designed to be expressive in the right places and legible where needed. Barkanon is great for headings, body copy, logos, etc. Barkanon was picked to be a part of the 2024 Typodarium and an early version of the font was featured on James Edmonson's (Oh No Type Co) YouTube channel Barkanon covers 96 languages, 9 styles plus italics, with stylistic alternates, ligatures, and other opentype features.

JollyGood Proper is a fun, friendly typeface that is clean enough to use for longer texts. It is a complete family with 7 weights in regular and italic for a total of 16 fonts. It has an amazing character set, with support for most European languages, as well as alternates and ligatures. JollyGood Proper works well for packaging, children’s books, or wherever you need an informal text without being too cartoony.It is also an excellent replacement for The Comic Font that Must Not Be Named. Check out the other members of the JollyGood family

As a result of fascination for East European type design, MRF couldn’t resist to make a unique interpretation of a typeface named Pracht. Originally made by the Czech type designer Carl Pracht in 1941–43. Having a rather calligraphic style both in regular and italic, MRF preferred it to be more straightforward and modern-looking. The italic version was executed with traditional italic letters (a, f, g, k, v, w and y). The numerals were made in a classic manner as old-style figures. Can be treated as both a text and display font.

The futuristic innovation of Superego—the ultimate geometric-techno typeface that will revolutionize your message like never before. With its creative aesthetic, Superego is a powerful force inspired by the cabinet artwork of the 1981 arcade game, Stargate. With an unyielding sense of innovation and technological perfection, Superego features primitive geometric shapes and unconventional letterforms that are nothing short of extraordinary. Every single letter is crafted to perfection, making each message you create a work of art. Superego is more than just a typeface. It’s a testament to the future of design, a bold and daring statement that refuses to be silenced. Superego will elevate your message to new heights, bringing a unique and unexpected edge to your designs. This is not your average typeface. This is a transformative tool that will leave a lasting impression on anyone who encounters it. So join the revolution and experience the unparalleled power of Superego today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

'1812' type family is a revival and further development of the typeface '1812' by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. The digital version development was launched in 2010. The original version was supplemented with lowercase letters and alternative symbols, the extended Latin and Cyrillic alphabets were fully supported. The font was evolved into a family of 14 decorative styles which can refine any design giving it a festive and elegant but at the same time strict and nostalgic look. Despite its decorative nature, '1812' is perfectly readable in small emphasized text blocks due to its classic shape and careful spacing.

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

Introducing Lokeya the new san serif typeface. It is clean, cute, modern and playful san serif . Lokeya contain several stylistic alternates that can make it unique and different. You can mix & match it to create the perfect combination of your design. Lokeya is perfect for branding projects, Logo design, Clothing Branding, product packaging, magazine headers, or any kind of advertising purpose. Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded Hope you enjoy with our font!

Sweet, charming and full of authenticity: Harleyquin is a one-of-a-kind typeface with a personal feel. Use titling to give different letter effects, making your project even more elegant!

Belly Swing is natural, organic and kind of cute. It's my handmade sans font with contextual alternates - meaning that you have 3 different versions of each lowercase letter to choose from!

"Welcome to the vibrant and bold world of typography!" Aprek Febux is a display typeface that adds sharpness, aggressiveness, and excitement to your projects. Aprek Febux, with its unequaled capacity to generate spectacular displays, is the ideal answer for your diverse variety of visual creations. Aprek Febux offers more than simply lovely letters. This font enables maximum versatility and creativity in every step of your design with excellent features such as ligature and alternate. You may quickly construct one-of-a-kind letter combinations to add a personal touch to your projects. We also recognize the significance of engaging with a worldwide audience. As a result, Aprek Febux supports numerous languages, guaranteeing that your communications are clearly received by everyone on the planet. Enhance your projects with the powerful visual appeal of Aprek Febux. Get this font right away and see how your every design becomes more impressive and stylish!

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Astori font is an elegant Display typeface with subtle details. This neat font can add modern and fashionable brand appeal. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, bridal and more. Keep it classic, or decorate it with ornate alternatives to uppercase and lowercase glyphs! To access the alternatives, you must have access to an older version of Photoshop to copy/paste the glyphs from the included PSD, OR the Glyphs Panel, which can be found in Photoshop CC or any Version of Adobe Illustrator.

An offbeat typeface inspired by the lettering on an art poster by Patrick Owsley for the cartoon character Hoppity Hooper. This typeface goes beyond the basic opentype features you've seen (i.e. extended language character sets, stylistic alternate character variations, etc) and offers not only a ligature feature that automatically alternates between the Capitals & Lowercase (Alt Capitals) sets, but also a unique Contextual Alternates feature that enables an automatic alternating BOUNCING effect. All this piled into a single typeface with loads of personality, just waiting to be played with!

Montalica Typeface font is an elegant serif typeface with subtle details. This neat font can add modern and fashionable brand appeal. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, bridal and more. Keep it classic, or decorate it with ornate alternatives to uppercase and lowercase glyphs! To access the alternatives, you must have access to an older version of Photoshop to copy/paste the glyphs from the included PSD, OR the Glyphs Panel, which can be found in Photoshop CC or any Version of Adobe Illustrator.

The Svati Sava font is a Latin Alphabet layout of a Serbian font. The original letterforms of this font struck me in their modern simplicity while retaing a traditional Eastern European feel and I wished to have a variant of it suitable for Latin Alphabets. To create this font I used many of the letterforms from Serbian and recreated a large portion of the miniscule alphabet. Svati Sava comes with full punctuation, a complete character set for most Western European Latin alphabet languages. Being a decorative font, it works best at larger point sizes.

Tusque is a layered chromatic type family with a Tuscan flavor. Regular, Circus and Tooled can stand alone, while Highlight and Deco are purely for layering up multicolored gorgeousness. Tusque lends itself to fairy tales, wine labels and boutique logos, and makes some particularly delectable drop caps. Although it’s all caps, the lower case slots are all different from the upper case so you can mix and match to your heart’s content. There are also a bevy of swash alternates and ligatures at your disposal. The contextual alternates feature cleverly substitutes alternate versions of more triangular glyphs like A and V to give a better fit. The ordinal feature changes ‘a’ and ‘o’ to the feminine and masculine ordinals for Spanish etc. but also changes ‘c’ and ‘ac’ to superscript lowercase versions for names like McBride and MacDonald.

Toulouse is a city of culture. It has long nurtured literature, music, dance, theater and concerts. It is therefore an entirely appropriate name for an elegant and classical french-style font. Toulouse, the font, is classically calligraphic with a sharp-edged look to the character terminus that speaks of skilled penmanship. Careful attention has been paid to the weights of the vertical strokes, keeping them consistent with the pen angle, and enhancing the faithfulness of this font to the period style. Toulouse will be very useful wherever an ambience of measured elegance is required. It will enhance the appearance of advertisements, wedding and other invitations, as well as menus, headlines and posters. It contains a full character set and is professionally letter-spaced and kerned.

With this charismatic new type system, the possibilities are as large as your vision behind them. Achieve the impact you're looking for by layering the different fonts and colorations for a custom, hand-drawn look that likes to be noticed. Play around with the potential. Create effects such as realistic 3D looks by adding centerlines, dotted centerlines, and shadow variations. Inspired by the affable look of vintage handmade signage, the Aviano Sans Layers spacing accommodates these shadows and other features well with its generous width and helps you hit your message home. Try mixing it with the other members of the Aviano Hyperfamily, too. There are lots of funky options for you to explore. See what you can create with Aviano Sans Layers!

The Pop Cubism fonts are inspired by Roy Lichtenstein who combined the strong outlines and benday dots of Pop Art with the fragmented viewpoints and facet line divisions of Cubism. The bold letterforms are derived from a variety of styles, both serif and sans, angular and rounded. Pop Cubism is available in two packages: Pop Cubism Shaded is a single font which contains the lines and dot tones for use in a single color. The Pop Cubism Color Kit contains three matching fonts (Pop Cubism Outline, Pop Cubism Halftone Underlay and Pop Cubism Color Underlay) for overlaying different colors of lines, dot tones, and background color.

Leapfrog is a friendly and restless cursive font with no baseline containing 3 glyph variations per character. Each variant of the glyph is slightly different and is replaced randomly as you type, giving the impression of a unique handwriting. The font is suitable for logos, large headlines, posters, signs, children's books and comics. Its character is cheerful, kind and playful due to the random set and rounded stroke endings. Leapfrog contains extended latin, cyrillic, ligatures, peace sign and frog, the total number of characters is 1902. It contains OpenType functions: liga, numr, dnom, calt, ss01, ss02. The font is also case sensitive, has fractions, currency signs, and arrows.

BeneCryptine is not based on any particular calligraphic type style. It has exaggerated upper-case letters and hyperactive lower-case letters that give it a wild and undisciplined look. It comes in four styles: the base style, a decayed variant, a shadowed style, and a final style that looks much like the base style but which has the spacing of the shadowed style. This last style can be layered with the shadowed style to easily create lettering with two colors.

Love Birds Pattern is a picture font consisting of pattern tiles and illustrations. It is the sister font of Love Birds , which contains a handful of charming birds silhouettes. With 37 unique tiles (corresponding to lowercase & numbers) and 26 single illustrations (corresponding to uppercase), this font makes it easy to create awesome patterns – even in the simplest text editors. Just be sure to set the line spacing value the same as the font size, with no spaces between paragraphs. And keep singing!

BeneCryptine is not based on any particular calligraphic type style. It has exaggerated upper-case letters and hyperactive lower-case letters that give it a wild and undisciplined look. It comes in four styles: the base style, a decayed variant, a shadowed style, and a final style that looks much like the base style but which has the spacing of the shadowed style. This last style can be layered with the shadowed style to easily create lettering with two colors.

Zuume is a high-impact, condensed, display font family. Its weight range gives a sharp, technical feel in the lighter weights, while the bolder weights are meant to be tightly spaced and stacked for visual punch. The strong and sturdy design makes it ideal for eye-catching headlines, branding, packaging, sports, logos, and more. The Cut family takes the dynamic nature of this design further by adding sliced out elements to flat, horizontal strokes, giving it more movement, aggression, and speed.

Inspired by some handwritten letter forms originally made by Hermann Zapf for his 1949 book "Pen and Graver", the drawings and designs finally became an entire font. It is an ideal companion to create diplomas, certificates and any other vintage projects. Take advantage of the long s which can be reached when you change the round s by the historical OpenType feature or when you simply type the integral sign [ ∫]. This font contains also swash forms of d, g, and v.

Spilled Ink is a handwritten typeface designed to complement illustrations. Inspired by the idea of spilled ink that spreads and fills the shape of letters. Therefore, the symbols do not have sharp corners and looks smooth, soft and cute. Spilled Ink is intended for use in headlines, so lowercase have the same height as uppercase, allowing them to be used as alternates. Make your stories fabulous with Spilled Ink! Scripts: Latin, Greek, Cyrillic, Hebrew Language count: 480+

So Wonky is a cute hand-drawn serif font. Clean and a little bit quirky, this font is the perfect fit for all of your logos, branding, social media, and crafty DIY projects. As the nature of the characters is hand-drawn some "wonky" lines might be found which helps to add another touch of organic in the font that resonates with my personal style! Don't hesitate to reach out if you need any further information. Bia

I designed this font a few years ago to address a direct problem. My work demanded small paragraphs of text to be screenprinted in a varsity font style. The house varsity was rather uneven and created small blobs of ink at sharp angles when printed. I designed Beau's Varsity to address both of these problems. The new font eliminated the blobbing, and I like to think my original design is a step up in evenness from the other options.

Monoreal, a basic coding font. Unlimited Single Fractions can be had. The GOTHIC STYLE is NOT monospaced and is kerned, designed for subtitles and other various applications.

Little Malio 8-Bit is a sci-fi, technological display font. It can be used to a variety of designs, related to the gaming or digital world.

Paihuen Beta A Typography that plays with the Rupestre concept, contains 6 variants that can be combined with each other to make more powerful and entertaining titles.