Cnabel, is a display font inspired by the Art Nouveau movement, particularly by Slovenian book illustration from the period. It�s a modern interpretation that took some characteristic features. It has no contrast, large x-height, and rather wide proportions. The typeface feels constructed and futuristic, but at the same time, it has sinuous round lines that provide an organic feel. Its unconventional shapes guarantee a unique design experience. Good for posters, branding, headlines, logotypes, covers. Easy to use, fits nicely to different materials, attracts attention. It supports European languages, has alternates characters, OpenType features, and ligatures. It�s in 3 weights: thin, regular, and bold. It� contains 357 glyphs.

Proudly present Monday Tuesday - Retro Type, created by ikiiko. Monday Tuesday is an thick slab font with a touch of retro style. This type has a character bold, sturdy and also short. Tight font spacing makes this font has a retro impression and is more fun to explore. This type is very suitable for making a poster, magazine layout, brand logo, packaging, food & beverages, cartoon style, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

The original sketch of Joker was drawn by Viktor Kharyk in 1978 as experiment on creation type by a method of subtraction. In 2000 the font was digitized, modified and Hebrew, Greek, Georgian, Armenian and Arabi? alphabets and outline style were added. As a display face, Joker allows the creation of decorative compositions, easily combining a vertical and horizontal arrangement of words. Its characters are easy for filling with images. In line the face creates ornamental effect very appropriate for logotype design. The font is good to set small expressive advertising texts also. Joker type family received the third prize at TypeArt 2001 Cyrillic type design competition in Moscow.

Proudly present Hypebuzz - Hipster Type, created by ikiiko. Hypebuzz is an urban sans serif font with a distinctive wide shape. This type has a character of streetwear vibes, hip-hop, youth, urban culture, etc. Hypebuzz had a 2 types of letters allows us to explore the text with creativity. This type is very suitable for making a poster, magazine layout, brand logo, sleeve cover, party flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? 2 Weights : Regular & Outline Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Birmingham New Street is the latest updated development of a typeface family inspired by the hand lettered title on a 19th century railway map. The map, prepared by the London and North Western Railway was headed "Birmingham and environs". New Street, meanwhile is the great 19th century commercial road linking the city centre of Birmingham with the train station of the same name. So, in a spirit of 19th century enterprise, we present "Birmingham New Street", a fun family of three display faces, laden with open type features and late Victorian charm, ideal for posters, book covers and any other high flown design you might have in mind.

Fabrikat Kompakt (formally known as Fabrikat) is a type family designed by Christoph Koeberlin with creative input of Hannes von Döhren. The Sans Serif family is published by HVD Fonts and consists of seven weights plus matching italics. Its geometric design is based on German 20th century engineers’ typefaces and has a plain and precise appearance. The shapes are optically corrected, yet retain an uncut charm. They work best in display as well as text sizes. The type family is equipped for complex, professional typography with OpenType Features like alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Orbi Sans was designed as an extension of the font system Orbi released on the end of 2010. It’s a low contrast humanist sans serif of open design with the elements of dynamic nature that inherited from Orbi its elegance and clearness. The faces were coordinated with Orbi on metrics, proportions, weights, and design features. Orbi Sans consists of 4 roman weights with corresponding true italics. It can be used together with Orbi and separately. Due to wide variety of styles the family is very good for books, periodicals, and business papers. The fonts were designed by Natalia Vasilyeva. Released by ParaType in 2011.

Afronaut PRO (New version of typeface published in 2019) was inspired by vernacular Latin & Arabic typography in St. Louis (on Senegal-Mauretania Border, Africa). Geometric forms working well and contrasting with smooth, round elements. After reading "Afronautics – from Zambia to the Moon" by Bartek Sabela (about Zambian conquest of space) a breif was set to create typeface that looks like mix between: vernacular Arabic script, futuristic typography and some special lettering that I found in Africa during my travels to Guinée, Bissau, Gambia, Senegal, Mauritania and West Sahara. Afronaut has seven weights, also many letters have 3 different forms. Afronaut PRO can work as regular version of my Yalla Typeface.

Spotlight was created by British designer Tony Geddes in the tradition of the bold serif fonts of early 19th century England. It too is a robust alphabet exhibiting extreme stroke contrasts, however, Geddes gave his font a more relaxed feel by not filling in the strokes completely. Long white rays break up the otherwise dark black strokes, following the form of the outer contours and giving the figures a three dimensional look. Spotlight is also reminiscent of the decorative advertisements of the 1930s and of the glamorous revues and shows of this time. Spotlight is perfect for headlines and display in larger point sizes.

A set of transfer patterns for sewing decorative monogram initials on clothing was manufactured by Women's Day magazine circa the 1940s. Designed by renowned Copenhagen-born industrial artist and letterer Gustav Boerge Jensen [April 8, 1898 - June 27, 1954], these initials have been redrawn into a digital font entitled Danish Script Initials JNL. Large initials are on the uppercase A-Z keys, while smaller initials are on the lower case a-z keys and are centered to the larger cap height. An ornament is provided on the asterisk key, and can be placed between the small initials and the larger initial for decorative effect.

The Dro family is an all uppercase handmade font that resembles cut-out construction paper; Both fonts have 6 glyphs for each letter & 2 per number which are accessed by uppercase, lowercase, small caps & Contextual Alternates. Each font has 550+ glyphs total. When using Opentype applications Dro and Dro Fill take the handmade look further by cycling through Contextual Alternates, Small Caps & Double Letter Ligatures for a unique and authentic look to your creative. When not using the Contextual Alternates feature, you can still alternate between uppercase and lowercase letters and using Stylistic Sets to switch up the flow. The Dro family has an extended character set for multilingual support.

Cradley™, a CastleType original, was inspired by the work of William Caslon, considered by some to be the finest type designer of the Baroque era. With its classic proportions, beautifully bracketed serifs, and high contrast, Cradley is a contemporary design with a Baroque spirit. The family of three beautifully crafted fonts support most European languages, including modern Greek and many languages that use the Cyrillic alphabet. Includes over 30 "flowers" (as Caslon called them), useful for creating borders or adding an accent. Спасибо / thanks to Alexei Elfimov for his suggestions for improving the Cyrillic, and to Max Fernandes for his helpful feedback and overall enthusiasm for this design.

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, but the best. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher

In a Jar is a display typeface based in hand lettering. Inspired by the grandmother's kitchen, its colors, forms, smells and the new way for rescue this old things. Designed for use in short text and big sizes is perfect for brand design, headlines, labels, greetings cards and all kind of things related to kitchen and foods. In a Jar is a sweet little family that include alternates, compounds words, ligatures plus a serie of dingbats and ornaments very cute to compliment and accentuate the handmade design. Try and enjoy all fun in a jar! Designed by Coto Mendoza with technical support of Luciano Vergara.

Spencer is a calligraphic semi-serif type family that has been carefully designed to provide easily distinguishable letterforms that are practical in use, as well as aesthetically appealing. It's natural and organic forms comes from a deep consideration of the efficiency of the visible word and provides the typeface with a distinct and unique voice.

 Named after Herbert Spencer, an educator and researcher of legibility at the Royal College of Art in the sixties and seventies, and influenced by other early typographers and legibility researchers, such as Walter Tracy and John Harris. Spencer was designed as part of a legibility study by Sofie Beier and Kevin Larson.

Rail Line JNL is a font for the railroad enthusiast for making their own model train car emblems. The logos contained in this font are or may be the property of the various rail companies, their assigns and/or successors. Outside of non-profit hobby use or for historical/educational purpose under the Fair Use rules, any commercial application of these logos must be obtained by written permission by the respective logo owner or owners. Jeff Levine fonts provided Rail Line JNL strictly as a hobby font. We assume no liability for the use, misuse or misrepresentation of any of the logos contained within the font file.

Ride my bike is a fresh handmade typeface inspired by street style and the new culture that moves pedaling around the city. Perfect for use in headlines, brands and fashion photography compose alternative, thanks to its leading characters, terminals, alternate characters and ligatures that you can find in the Pro version. This version contains more than 600 glyphs. The 'Dingbats' font in this family has 91 dingbats, very fun to compliment and accentuate the handmade design. If you do not want to ride so fast, you can find a version without OpenType features - Essential. Come! Get on it and let’s go ride my bike! Photography by Seba Sanchez.

Stencil Package JNL has its design roots in the brand name hand-lettered on the paper sleeves for the short-lived Stencil-It line of lettering guides produced in 1955 as a direct competitor to Stenso Lettering Guides. Formed by Bernie Aronson [a relative of the Libauers who owned the Stenso Lettering Company and who once worked for them] along with a financial partner (noted artist) Sidney Levyne, the company was soon put out of existence by a court action. It re-emerged in 1956 as the E-Z Letter Stencil Company and existed until the 1990s. Stencil Package JNL is available in both regular and oblique versions.

Introducing Stray Cuts - Decorative Type, created by ikiiko. Stray Cuts is a raw and expressive brush font with a touch of "Surf Vibes". This type has a freestyle line with a sharp cut shape. This typeface is perfect for an extreme sport event, poster, flyer, magazine cover, street wear brand, fashion youth, quotes, or stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Alternates & Ligature Multilingual Support Format File : TTF & OTF Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

The BD Micron Robots variable dingbats font features 52 Microns – micro-tiny robot characters with 5 mutations. The variable font technology helped breathing live into the BD Micron Robots See them in action. The Muta1 version of the font shows the Micron Robots in its original shape. Muta5 is the final stage of the Micron Robots mutations. The Variable version of the Micron Robots font is a variable font and you can determine the grade of the mutation between Muta1 and Muta5 by yourself. By the way: The BD Micron Robots perfectly fit together with the BD Micron Font, also available here at MyFonts.

Contania Script is a new fresh and modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more. Contania Script comes with 608 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers.

Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

The new Foundry Gridnik typeface family features an expressive range of 10 weights – from Light to Extra Bold, each with accompanying Italics. Foundry Gridnik was developed from the single weight monospaced 'typewriter’ face, originally created by Dutch designer Wim Crouwel in the 1960s. Crouwel's devotion to grids and systems led to his affectionate nickname of ‘Mr Gridnik’, and this inspired the new typeface family name. Foundry Gridnik’s distinct geometric design has been described as ‘the thinking man’s Courier’. Crouwel said, ‘I am a functionalist troubled by aesthetics’, and although Gridnik is based on logic, rationality and strict adherence to the grid, it also has a human dimension that sets it apart.

Heinrich Wieynck’s blackletter font, carefully redrawn and redesigned for modern use. Due to its proportions, this blackletter font can also be used for body texts. This font contains the letter ‚long s‘ which can be reached in two ways. Either you use the OpenType feature ‚historical forms‘, or you type the summation sign on your keyboard. There are two graphic elements implemented, a corner element and a pearl for framing. The corner can be set by [alt] + [shift] + 1 for the outline, and [alt] + v for the filling. The pearl, set on a path, is accomplished by [alt] + [shift] + p for the outline, and [alt] + p for the filling.

Memoire is an elegant linear hairline contemporary sans. It is based on the underlying form of Vanitas, yet is rendered in a nearly monolinear hairline weight. Memoire is intended to be used selectively for headline use starting at 60pt and above. Stylistically, Memoire retains Vanitas’ alluring, sophisticated sensibility that is directly inspired by high fashion. The delicate linear form creates a sense of cohesiveness and lends the typeface an intriguing lightness of character. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Memoire’s sharp characteristic through each style.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

Linotype CoolWool is part of the Take Type Library, featuring winners of Linotype’s International Digital Type Design Contest. This font was designed by A. Leonardi and P. Wollein, who took their inspiration from clothing labels and care instructions. CoolWool is designed to look like it was stitched, a style of typeface which goes back to the hand embroidery of the time of Biedermeier. CoolWool, however, is a distinctly modern font with a technical feel. The font is not suited for longer texts, but CoolWool is good for shorter texts and headlines, especially because of the possibilities allowed by its three different styles, regular, stone washed (bold) and Cotton Club (outline).

NorB Architect fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. NorB Architect is actually my emulation of architectural lettering, it comes with 4 weights: Medium, Regular, Semi Light and Bold along with their Condensed and Extra Condensed version. NOTE: For more variations of "NorB Architect" font please visit click on this link.

Handover is inspired by a retro and hand drawn style. Each curve has personality. It includes a set of swashes too. This font is ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media, greeting cards and more. This includes multi-lingual support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). If you have any question, don't hesitate to contact me by email masinong.studio@gmail.com :)

Designed in 2012 by Olivier Gourvat, this font family is inspired by the euskaran (basque language) font. Redesigned with modernism, this new font respects the traditional euskara language with lowercase addition. These nuances give Kara a traditional appearance for both text and headlines, but can be used for many more applications such as titles, decoration, posters, cartoons... Kara Text & Display support a wide range of languages, with more than 500 glyphs and OpenType features like case-sensitive forms, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. With its 2 fonts, Kara is an ideal font family for text, brand identity, signage, print and web design.

Bizzle-Chizzle is an expansion of lettering sketches initially made for my personal website. Each glyph is drawn by hand and inked by brush to simulate the texture of letters chiseled out of stone. Bizzle-Chizzle is meant to be used for dynamic layouts and prefers to be as large as possible. Bizzle-Chizzle is an OpenType font package that consists of four individual fonts: 1. Bizzle-Chizzle Outline 2. Bizzle-Chizzle Front 3. Bizzle-Chizzle Sides 4. Bizzle-Chizzle Solo The first three combine to form Bizzle-Chizzle’s three dimensions, while Bizzle-Chizzle Solo can be used individually. Feel free to mix and match for fun effects!