Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Introducing the third reincarnation of TT Chocolates! The popular typeface was updated to stay up-to-date with the latest requirements and trends in design! TT Chocolates is an elegant Humanist sans serif with a dense typesetting and well-balanced proportions similar to the classical tradition. This font's nice and friendly nature makes it seem like something close and familiar. It has earned a reputation among designers as the perfect font for confectionery, but the application range of the TypeType's "sweetest" typeface goes well beyond that! In 2023, we decided to do a full-scale font update referring to extensive sans-serif market research. We figured out where the trends are headed and what users want—this information helped us enhance TT Chocolates. Specifically, we introduced a new Condensed font version, a narrow font style with the authentic proportions of the standard version. At the same time, TT Chocolates Condensed boasts a more expressive personality than the base subfamily, which allows designers to solve even more creative tasks using only one typeface. The third version of TT Chocolates has become even more modern and advanced. A large number of characters, various OpenType features, and stylistic sets make the font suitable for multiple purposes and tasks. TT Chocolates is a perfect match for both branding and layouts. The font's dynamic shapes make it easy to read in small point sizes, allowing the eye to move effortlessly across the line. This typeface can also be used in web design due to the TrueType manual hinting option. TT Chocolates 3.000 includes: 29 font styles: 14 roman, 14 italic, and one variable font; Condensed version consisting of 14 new font styles; Carefully crafted contours; Optimized font rhythm and completely new kerning; Enhanced italics in basic subfamily; Variable font with three axes of variation: width, weight, and slant; 32 OpenType features, counting in 13 new ones; 901 characters in each font style—the character set has grown compared to the previous version, which had 629 characters in each font style; 230+ languages support, including the new ones: 35 Cyrillic-based and 16 Latin-based. Elevate your design's appeal with TT Chocolates!

Downward Fall owes its name to one of my favorite Opeth songs, called The Funeral Portrait. The song itself is an uptempo metal composition with rather dark lyrics. This peculiar combination, a mix of good and evil if you will, is what characterizes Downward Fall font: the brushwork is quick, giving the impression of speed. The undertone is darker, scarier - lots of jaggedness and decay. Downward Fall font comes with a 20.000 foot drop of diacritics.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

News Gothic was created by Morris Fuller Benton in 1908 and presented by the American font foundry American Typefounders. Despite, or perhaps because of, the font’s unconventional relationships in proportion and form, News Gothic has long been a popular typeface for almost any use.

Sqair is an experimental display typeface designed by Superfried. It is available in two formats, stencil and solid. The inspiration for this font originates from fond memories of the classic Sinclair Spectrum logo. Consequently Sqair lends itself to any project with a technology related theme.

The Halis Grotesque font family comes in eight weights of Normal and Italic. In addition, all weights contain small caps in both italic and normal. The name of the font means “pure, clean.” The Halis Grotesque Font Family has the new Turkish Lira Sign as well as an alternative ampersand created by Prof. Halis Biçer, renowned in Turkey for his expertise in typography, calligraphy, and graphic design. That’s why this font’s name is inscribed with a dedication to the venerable Halis Biçer. The spaces between characters are wide enough to be legible even at very small sizes. With the HALIS GROTESQUE FONT FAMILY, you can create beautiful works for the web, including logos, banners, body copy, and presentations. Halis Grotesque also works nicely in print formats such as posters, T-shirts, magazines, and affiches. Because of its eye-pleasing style, this font is both effective and versatile.

Today's digital font technology has allowed renowned font designer and calligrapher Hermann Zapf to realize a dream he first had more than fifty years ago: to create a typeface that would come very close to the freedom and liveliness of beautiful handwriting. The basic Zapfino font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Zapf completed Zapfino Extra, a large expansion of the Zapfino family. Designed in collaboration with Akira Kobayashi, Zapfino Extra has a cornucopia of new characters. It includes exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful "forte" (bold) version. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Featured in: Best Fonts for Logos, Best Fonts for Tattoos

Closing Time - Display Retro Font takes you on a nostalgic journey to the charming days of classic design. This font is the epitome of retro and classic aesthetics, with its distinctive features and timeless appeal. The font boasts a perfect blend of retro and classic elements, achieved by slightly curving the font's edges inward. It offers two distinct versions: a clean variant for a polished look and a textured one for added character. Moreover, it provides alternative characters to infuse a touch of uniqueness and creativity into your designs. Closing Time - Display Retro Font is the ideal choice for logos, invitations, packaging, posters, titles, businesses, greeting cards, magazines, and any design projects that seek to capture the essence of retro and classic themes. Embrace the nostalgia and timeless charm of Closing Time - Display Retro Font, and let your designs tell a story of a bygone era.

Humanist on one hand, geometric wannabe on the other Born from the need of having a custom font for our own branding, Redonda became too big to keep just for us. Like that, came to light Plau's 10th retail font, the first one designed by Carlos Mignot. The font's personality is a result of a search for extreme impact. Having started out as a exclusively Black geometric face, it became a full, versatile humanist sans. While it maintains the impact that inspired it, it also offers performance for both UI and body copy. This balance reflects the font's creative process: at first it referenced historic examples, but we also made sure it worked as a contemporary face.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Chivels : Vintage Chiseled 3D Type System This vintage type family combines chisel effects and pinstripe styling to give it more life. Chivels comes with six fonts that you can combine with each other to get different effects. Starting with a base, you can add more fonts in front to get inner, chisel light, and chisel dark effects. You can also add fonts behind to add outline and shadow effects. Alternate characters are available for every single alphabetical character. In the OTF version, you can select the alternate characters in the Glyphs or Open Type panels. If you're using software that doesn't include Open Type features, you can use the TTF version.

Munderic Godas Font is a cool alternative for you to easily create a logo for your Underground band or whatever. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector – the classics of Death- and Blackmetal like pentagram drops, roots, spikes and more. How to easily create Death metal & Black Metal logo from font : https://youtu.be/scdtMQUVWXI Features : - All Caps - numbers & punctuation - Alternate - Symbol Ornament - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Mollis Gothic is inspired by medieval gothic calligraphy. The gothic calligraphy is classical and traditional, I want to add something modern to it. So the letters are simplified as lines and without the handwriting feel, just like a sans font. Meanwhile, the gothic calligraphy visual look remained. It expands the usage area because of the modern feel of this font, such as the package, titles, logo, poster design, etc. In September 2021, we created the thin weight. Although Mollis Gothic Thin is from the font family, the kerning set and capital letters’ height are not as same as the regular weight for suiting the thin font’s usage situation.

C.H. Griffith was commissioned by the American telephone company, Bell, to design a typeface which would be particularly suited to small, compressed sentences and inferior paper quality. The font was intended for use in the company’s telephone books. Griffith had already had experience with the conception of newsprint fonts and was interested in legibility issues. In 1922 Griffith created the Legibility Group, which contained particularly legible fonts predestined for newspapers. Bell Gothic has all the typical characteristics which optimize a font’s legibility. The modern heir of Bell Gothic is Bell Centennial, designed by Matthew Carter in 1974 in celebration of the Bell Company’s 100th birthday.

London is one of my favourite cities, so it was about time I named a font after it. Well, technically, I named a font after one of London’s districts. Southwark comes from the Anglo-Saxon word Suthriganaweorc, which means ‘Fort of the men of Surrey’. The font Southwork is a handmade Clarendon. I used a Japanese brush pen to create the outlines. I gave the glyphs texture by filling them in with a brush and Chinese ink. Southwark, therefore, has an uneven look and a brushy texture. It looks good on just about anything, but posters, greeting cards and product packaging come to mind.

Dreamfire Font is a cool alternative for you to easily create a logo for your Underground band or whatever. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector – the classics of Death- and Blackmetal like pentagram drops, roots, spikes and more. How to easily create Death metal & Black Metal logo from font : https://youtu.be/NBYIjcMmEb4 Features : - All Caps - numbers & punctuation - Alternate - Symbol Ornament - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

Presenting Dena Font, a forward-thinking typeface that straddles the boundaries of future aesthetics and modern design. Designed for the cutting edge designer, Dena Font is more than simply a letterform—it's a design language, a representation of sophisticated elegance influenced by cyberculture, sci-fi movies, and innovative video games. Dena Font is a tool that gives designers the ability to push the frontiers of creativity and reshape the visual world. Elevate your projects with Dena Font's futuristic appeal, which combines typography with creativity. Every letterform in Dena Font has a vibrant, futuristic feel to it. The deftly drawn characters blend together to create a visual rhythm that mirrors the quick-paced, constantly-changing nature of contemporary design. Modern Futuristic style: With futuristic style, Dena Font is at the vanguard of modern design. It is the perfect option for forward-thinking design projects because every curve and shape is painstakingly created to communicate a sense of innovation and advancement. Ligature-Enhanced Creativity: Dena Font's rich ligature set enables designers to smoothly combine characters to create a flowing and melodic typographic expression. These artistically elegant ligatures provide a touch of refinement to your designs and are ideal for creating distinctive logo types and brand identities. Overcoming linguistic obstacles, Dena Font provides extensive assistance for the Latin Western Europe character set. This makes your creative vision a flexible instrument for international design projects by guaranteeing successful communication across linguistic environments.

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

Before 1959, in pre-Castro Havana, Cuba, the preeminent nightclub was the Tropicana. During the regime of Fulgencio Batista, Cuba was resplendent with nightclubs and gambling casinos catering to [mostly] the North American tourists; which brought it the title of the Monte Carlo of the Americas. Although Cuba (and the world as a whole) has changed vastly over the decades, the hand-lettered logo of the Tropicana Night Club has survived, and has been reproduced as a complete digital font called Tropicano JNL (a slight twist to the club's name). At first the font seems to be awkward, crude and amateurish, but in taking a second look, there's a playful charm to it. Additionally, this font can double as a "spooky" font for the Halloween season, monster parties and in other similar themes.

Introducing “Towienk Font” – Your Passport to Summer Creativity. Embrace the sun-soaked vibes of summer with Towienk Font, your perfect companion for creating designs that radiate the essence of the season. This delightful display font captures the spirit of summer in every character, making it an ideal choice for all your warm-weather projects. Towienk Font’s playful and breezy style adds an instant touch of summer to your designs. Whether you’re working on beachside invitations, tropical-themed posters, or anything in between, this font will infuse your work with the carefree spirit of the season. With meticulous attention to detail, Towienk Font ensures that your text pops with the vibrancy of summer. It’s a versatile typeface that adapts effortlessly to various design applications, from travel brochures to poolside party banners. Dive into the world of Towienk Font and let your designs sizzle with the warmth and energy of summer. Elevate your creativity and make every project a sun-drenched masterpiece. – PUA Encoded Characters – Fully accessible without additional design software.

The Cralic Coob font is an excellent selection when you want to infuse your designs with a playful and whimsical charm. This adorable and quirky display font adds a delightful and lighthearted element to any creative endeavor. It offers a wide range of applications, making it a versatile choice for various projects. Whether you're working on branding projects, crafting unique logos, designing wedding materials, creating eye-catching social media posts, producing captivating advertisements, or even developing product packaging and labels, the Cralic Coob font is your ideal companion. This font's handwritten style adds a personal and charming touch to photography projects, while it also elevates the elegance of invitations and stationery. With its ability to convey a sense of childlike wonder and cheerfulness, the Cralic Coob font is your go-to choice for infusing character and whimsy into your creative work. Its versatility and distinctive aesthetic make it a valuable asset for designers seeking to add that extra touch of playfulness and individuality to their projects. See other fonts from Cralic family https://www.myfonts.com/collections/cralic-font-popskraft

Presenting 🕌Yulltan Ramadan Typeface🕌 by alitdesign. Yulltan Ramadan Typeface is a beautifully crafted font product with a unique style that is perfect for religious and Islamic designs. This font is specifically designed to cater to the design needs of the Ramadan promotion, and it has a distinctively Islamic and religious vibe that is sure to impress your audience. One of the standout features of Yulltan Ramadan Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages. With 869 glyphs characters, Yulltan Ramadan Typeface offers a wide range of characters, allowing users to create stunning designs with various styles and options. The font's characters are well-crafted and easily readable, making it an ideal choice for any design that requires an Arabic font. As a bonus, Yulltan Ramadan Typeface comes with Yulltan Dingbats font, which includes a collection of beautifully crafted Islamic symbols and ornaments. These extra glyphs can be used to add a unique and personal touch to your designs, making them stand out even more. In summary, Yulltan Ramadan Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other religious and Islamic design projects. With PUA Unicode support, multilingual characters, 869 glyphs characters, and a bonus Yulltan Dingbats font, this product is sure to meet all of your design needs. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Presenting 🕌Bahlull Arabic Typeface🕌 by alitdesign. Bahlull Arabic Typeface is a beautifully crafted font product with a unique style that is perfect for religious and Islamic designs. This font is specifically designed to cater to the design needs of the Ramadan promotion, and it has a distinctively Islamic and religious vibe that is sure to impress your audience. One of the standout features of Bahlull Arabic Typeface is its support for PUA Unicode, which ensures that users can easily access all of the font's characters without any issues. The font also supports multilingual characters, making it perfect for use in various languages. With 861 glyphs characters, Bahlull Arabic Typeface offers a wide range of characters, allowing users to create stunning designs with various styles and options. The font's characters are well-crafted and easily readable, making it an ideal choice for any design that requires an Arabic font. As a bonus, Bahlull Arabic Typeface comes with Bahlull Dingbats font, which includes a collection of beautifully crafted Islamic symbols and ornaments. These extra glyphs can be used to add a unique and personal touch to your designs, making them stand out even more. In summary, Bahlull Arabic Typeface is a versatile and elegant font product that is perfect for Ramadan promotions and other religious and Islamic design projects. With PUA Unicode support, multilingual characters, 861 glyphs characters, and a bonus Bahlull Dingbats font, this product is sure to meet all of your design needs. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

English designer Richard Bradley created the Calligraphic Ornaments symbol font for ITC in the 1990s. Drawn in a lively traditional style similar to fine calligraphy, this font's characters set the perfect holiday spirit with little teddy bears, a Santa Claus, ringing bells, holly leaves, and other charms.