New from the Monotype Studio, Cotford is a contemporary serif from Creative Type Director, Tom Foley. Dynamic, adaptable, and surprising—Cotford is a languid serif that ranges from delicate thins, bending and reaching like flower stems, to bold heavy weights that command the page and screen with confidence and vintage charm. And as a variable font, Cotford allows designers to explore and refine the design almost endlessly, unearthing its many visual tones and hidden secrets. Foley set out to design a soulful, contemporary serif typeface that delivers all the versatility and robustness today's designers expect. The variable font unlocks an expandsive spectrum of visual expression that allows designers to explore, tweak, and adjust the typeface until they find the perfect weight, contrast, and optical size for their project. At the same time, Cotford’s static weights follow a traditional model of 3 text and 5 display weights, making it a strong choice for brands looking for simple implementation. A pop serif for the digital age, Cotford takes you places. Cotford font field guide including best practices, font pairings and alternatives.

Pendulum is the much-anticipated digitization and swashy expansion of Americana, an amazing yet long overlooked treasure from the Nebiolo foundry, circa 1945. With heavy descenders and seemingly floating ascenders emanating from one of the most classical attempts at connected upright calligraphy, never did a font have this much charm and complexity at once. To complement the beauty of the original letters, Pendulum comes with two additional sets of swashed ending lowercase we call Swings. These Swings help Pendulum become a fantastic calligraphic plate making tool, as well as a great personalizing headline font. Plenty of alternates and extra custom endings are included for extra choice and variety. The OpenType version of Pendulum comes with the Swings included in the stylistic alternates and contextual alternates features. One click of a button and you have a nice swash ending for your word, or a nice mix of swash lowercase for a calligraphic plate. Pendulum can take your design anywhere your imagination goes. Its use can efficiently vary from simple slogans to richer layouts such as music sleeves or movie posters, and everything in between.

Seuchter Experimental is a product of the fertile Jugendstil period in Austria. Drawn by Bruno Seuchter, about whom little biographical information is available, the design first appeared in Seuchter’s publication, Die Fläche, in 1902. Die Fläche means “surface or expanse,” presumably a reference to a “tabula rasa” or clean slate. The implication is one of starting anew, rejecting the past and searching for fresh, different modes of visual expression — which is exactly what Art Nouveau attempted to do. Seuchter Experimental is a quirky and light-hearted font. Ligatures include AT, AV, CH, CK, FJ, LO and ST. Although basically an all-cap font, several of the accented letters in the lower case position represent the oft-seen desire to keep the accents below cap-height. The a-umlaut at 228 and u-umlaut at 252 reflect Seuchter’s original design. For a discussion of the difference between a diaresis and an umlaut, see Appendix B of Bringhurst’s The Elements of Typographical Style. In the meantime, give this font room to breathe.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

In the world of graphic design, there are some typefaces that stand the test of time and become ingrained in the collective creative consciousness. Neuropol is one of those typefaces, and Neuropol X is the enhanced version that takes things to the next level. With its broad, futuristic letterforms, Neuropol X is a true classic of the Y2K design era. The smooth, plastic strokes evoke images of a time when technology was exploding with possibilities, and designers were eager to incorporate these visions into their work. The truncated, rounded strokes of Neuropol X bring to mind the shapes of lasers, circuit boards, and oscilloscope vectors—all hallmarks of the Y2K design aesthetic. This expanded version of the original Neuropol, first released in 1996, comes in a bigger family, with five weights, three widths, and italics. This range of options allows designers to create a diverse array of looks, from sleek and modern to bold and attention-grabbing. Whether you’re creating a website, a brochure, or a brand identity, Neuropol X has the versatility and timeless appeal to elevate your design to the next level. If you’re looking to tap into the iconic design trends of the Y2K era, look no further than Neuropol X. It’s a typeface that’s been tried and tested by generations of designers and has stood the test of time for a reason. So why not add it to your toolbox and see how it can help take your designs to new heights? Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

Castile is a central region of Spain that formed the core of the Kingdom of Castile, under which Spain was united in the 15th and 16th centuries. "Castile" is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. I adore Spain and the historical achievements of the Islamic civilization existed there in the past. By designing "Castile" Typeface, I wanted to refer to the Islamic civilization that Muslims had in Spain and especially in Andalusia. Today the name of Castile survives in two autonomous regions of Spain: Castile-La Mancha (capital city is Toledo) and Castile-Leon (capital city is Valladolid). The main characteristic of "Castile" Typeface is in its modern open-end style for some of its Arabic characters such as "Sad", "Dad", "Seen", "Sheen", "Qaf", "Faa", "Yaa" and others. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Castile" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its charactersí modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitionsí signboards and external or internal walls of malls or metroís exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Want to add an urban touch to your designs? Try using the Shock Graffiti font! This font offers a distinctive writing style and is very suitable for urban and street-themed designs. With Shock Graffiti, you can bring a strong and bold impression to every design you create. Shock Graffiti comes with a complete set of letters and fine details, so you can customize your design better. This font is also very easy to use and compatible with various design applications. Suitable for use in posters, merchandise, or even in t-shirt and hoodie designs. Get Shock Graffiti now and become a daring design creator! Available at an affordable price and with flexible licensing, so you can use it without limits on your future projects. What’s Included : - More than 200 of glyphs ( include Uppercase, Lowercase, Numerals & Punctuations ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

This is Floral Decay, your seasonal autumn font with jaded, weathered, and earthy contours of rustic lettering. As they blend into words, the characters evoke floral arrangements of a decaying beauty. It is versatile, playful, and perfect for Graphic Design decorations! This font is unique because, in order to create it, I had to answer some tricky questions: What makes autumn… autumn? Capturing the essence of the other seasons into your letters comes easier. For instance, in order to suggest summer, you only need to draw a few flowers. How about autumn? You could garnish your letters with a few grapes, you might think, but it would only result in a grape-themed font. The notion that is more directly associated with autumn is the image of falling and withering leaves, which brought me to the second question. How exactly are you going to create something beautiful out of a somewhat morbid premise, like wilted leaves? Well, I soon realized that by creating a handwritten font and preserving the right imperfections, you can actually portray collateral beauty. In this context, asymmetry is important because it suggests decay. Further on, the design concept required the letters to come very close together, so that every typed word can be regarded as a floral arrangement. How close together, though? As much as possible without confusing one with the other, risking a lack of legibility. Therefore, in contrast with the demo version of this font, this actual version provides the ideal kerning.

This group of icons has graffiti as central theme, based on the most representative images and styles of the artists; Guache, Toxicomano and DjLu. In addition, the 26th Street corridor (also known as El Dorado Avenue) was taken as the main reference because it brings together the work of many important exponents in this type of art; at least locally and nationally. Some icons are characterized by have a similar appearance with the Stencil technique or by have a loose stroke with high contrast. This font can be used in projects and works related to street art.

Romper is a slightly narrow handwritten sans in four weights and it is perfect if you want to convey a casual and friendly feel. It was designed with the idea to be used on comic books, mobile applications and children’s books, thus it has a Dancing Baseline version (Romper DB) and a Slanted version (each of them in four weights as well). The family is equipped with 450+ glyphs, has Latin Extended and Cyrillic Support (both Russian and Bulgarian) and a lovely set of extras. The family includes a lot of discretionary ligatures and alternate letters for more variety in the design. Overall, Romper is cute, amiable and really versatile, so it will fit most applications - think greeting cards, menus, merchandise, books, packaging, websites, etc.

Joaquin Display is a Brand New Elegant Bubbly Typeface with a powerful font family. It has a dependable and uncompromising style, with controlled letterforms and modern touches. It looks amazing in funny logos, cartoon posters, and movies. Joaquin Font would be perfect for kid's craft, comic posters, Captions, bubbly texts, and cute funny boards. The various weights allow you to experiment with a wide range of applications. It's created to make an impression without sacrificing its beauty and readability. It's shown a clean, bubbly, warmth, funny, yet still purposed to be versatile The Typeface includes four Weights - Regular, Medium, SemiBold, and Bold All offer wide language support Uppercases and Lowercases. Numerals and extended punctuation. Thank you for taking the time to look into the font

Introducing George Town new generation Typeface with 6 Weights. George Town Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. George Town is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Six Weights. Thin, ExtraLight, Light, Regular, Medium, and SemiBold Features: Numerals, extended punctuation & Basic Symbols(200+ Glyphs). Expert kerning and quality crafting. Uppercase Letters & Lowercase Letters 24x7 Support Thank you for taking the time to look into the font.

Xyngia is a professional modern sans serif typeface. Thanks to its excellent legibility it is a great choice both for on-screen use as well as print purposes. Xyngia is designed for use in long and short paragraphs of text, headlines and user interfaces. Its design nuances gives it distinctive character making it an interesting option for brand identification and logo design. Xyngia consists of 22 fonts - 11 weights and their corresponding italics. It has extended language support (over 1000 glyphs) and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

From the same page of a vintage German lettering textbook entitled “50 Alphabete fur Technikur und Fachschulen” (loosely translated to “50 Alphabets for Technicians and Specialized Schools”) that inspired Trippy Hippy JNL comes Eleckatrical Banana JNL. It’s another novelty, free form Art Nouveau hand lettered alphabet that works well in recreating 1920s period pieces or for designing a retro-inspired rock and roll concert poster reminiscent of the 1960s. The name of the typeface is from a line in the 1966 pop hit “Mellow Yellow by Donovan (Leitch), and his extended pronunciation of ‘electrical’: “…E-lec-a-tric-cal’ banana is going to be the very next craze…” Caps only Fonts. Eleckatrical Banana JNL is available in both regular and oblique versions.

The Lina typeface family was designed by Roy Cole and completed in 2003. The roman font, Lina 30, was drawn originally by hand and later its character set extended and digitally redrawn with the aid of Fontographer. The five additional fonts, 60, 90, and the italics 33, 66, 99 followed and were all produced digitally from scratch. Lina is characterized by economy, lightness and evenness of weight. The capitals and figures are not as tall as the lower-case but retain the latter’s weight, and the figures are designed to provide enhanced recognition. The characters are relatively large on the body and text and benefit from additional leading. Lina is essentially a typeface for text composition. Roy Cole's other typeface families are Zeta, Colophon and Coleface.

The Flowers Family is a collection of 3 typefaces in two weights, meticulously drawn by British designer Roy Preston. The Flowers fonts share a common clean and narrow design, with oval-shaped rounds and distinctive individual letter shapes that give each font a unique character all their own. Flowers Petal is the base typeface, essentially a sanserif with rounded terminal ends. Flowers Bud adds a unique inverted triangle shaped serif, and Flowers Thorn replaces that with an elegant pointed serif. All 3 typefaces are very legible and usable for text runs, and there are bold weights of each font for headlines and display applications. Flowers' extended character set supports many Western European languages and each font has some OpenType features, including Ligatures, that make them more useful.

Rumi is a script font with organic and natural feel, designed to look as true handwriting. It has a calligraphic touch and shaky, unpredictable execution, being very clear and readable at the same time. In order to achieve realistic look, Rumi features 4 variations of lowercase characters, figures and punctuation. The font mixes randomly all four versions after activating OpenType “calt” feature. Many ligatures help to create even more unrepeatable settings. Rumi has an extended character set of more than 900 glyphs containing alternate styles, standard and discretionary ligatures, symbols, ordinals and case-sensitive forms. It suppors Central, Eastern as well as Western European languages. Rumi is great for all kinds of projects that need strong, personal feeling and natural, organic look.

Elegance flows through Couturier Poster soul. The new cousin of early launched Couturier, brings higher contrast and an extended family, perfect for big sizes. Inspired by the didones from the 18th century, its design its heavily influenced by contemporary ideas makes it suitable to use for almost anything you can think of. Equipped with swashes, ligatures, small caps and alternates, this typography is very versatile and allows you to set a big range of compositions with discretion or personality. Couturier Poster comes in six weights and matching true italics, from thin to black. It's a good choice to pair with Couturier for smaller sizes and Couturier Poster for the big titles. It has a set of 1248 characters that cover more than 200 languages derived from latin.

This is the rounded, softer version of Canada Type's popular Press Gothic. Originally done in 2011 for a global publisher, this font has already seen plenty of magazine and book cover action, perhaps even more than the sharp condensed face that spawned it. And like Press Gothic, Soft Press comes with small caps and biform/unicase forms, in addition to the main upper/lowercase set. The extended language support covers a wide range, including Greek and Cyrillic, Turkish, Baltic, Central and Eastern European languages, Celtic/Welsh and Esperanto. The Pro version combines all three TrueType fonts into one OpenType-programmed font, taking advantage of class-based kerning, the small caps feature, and the stylistic alternates feature for the biform shapes.

The Mehdi Mutamathil type family follows the guidelines of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. The Mehdi Mutamathil family includes all required Lam-Alif ligatures and selected marks positioning so it does use limited glyph substitutions or forming. Mehdi Mutamathil employs variable x-height values. Text strings composed using typefaces of this family are non-cursive with stand-alone isolated glyphs. The Mehdi Mutamathil family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Darmhagh Underwood is a “rough” monowidth font based on the face used on the old Underwood manual typewriter. Darmhagh Underwood was first digitized in 1999 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Darmhagh Underwood version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. The particular Underwood typewriter from which samples were taken to design Darmhagh Underwood is on display in the National Library of Ireland. It belonged to Conradh na Gaeilge and was used to draft armistice documentation which led to the end of the Irish War of Independence in 1921. Darmhagh is pronounced [ˈdaɾuː].

RaseDowne is unique amoung all of our other Graffiti Fonts. This font is intended to be rotated 90 degrees clockwise so the text reads downward. This single font includes 2 alphabets with capitals that extend downwards. The RaseDowne font was created from hundreds of handwritten samples. This style was created by RaseOne & is often used to create tattoo designs, fashion designs and mountable artwork. There are actually nearly 3 full alphabets plus numbers, symbols and a variety of embellishments all included in this one font. The rough, natural style and imperfect lines help maintain a handmade look. Using the optional glyphs you can try multiple letter combinations until you get just the right configuration for whatever word or phrase you are trying to make.

Akwe Pro™ is a professional, ultra versatile sans serif typeface characterized by excellent legibility and modern design perfect for all design purposes. It is designed for use in long and short paragraphs of text, headlines and user interfaces. Its distinctive character and carefully crafted proportions make it a great option for brand identification and logo design. Akwe Pro™ mega family consists of 164 fonts - each weight in uprights, italics and small caps versions. It has extended language support and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, old style, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Mouser has been an ongoing project that originated as a geometric sans of the same name before morphing into a similar, but entirely different family called TypoGraphica. It retains much of its earlier character such as limited contrast, high legibility, and tight spacing. Major changes were made for a simplistic, more cohesive look. This was done to maximize its usefulness for body text while keeping characteristics used for display purposes. Slices to top strokes are much more subtle with styling dialed down to a minimum. This family comes in 6 different versions to meet a variety of needs. Mouser is equipped with Basic and Extended Latin/diacritics, Cyrillic, kerning, ligatures, and fractions. Try it for website text, applications, or headlines.

Taking its cue from the lettering of 1930s Dutch commercial artist Martin Meijer, Libertine is a script where expert calligraphy and total wrist control are on display. With strokes stopping and starting at very steep angles and extreme contrasts, every character is a high riff jolting from within a stunning epic that brands the message home. This is the rebel yell, the adrenaline of scripts. Libertine comes in three interchangeable fonts, each of which containing extended language support. The complete set comes with a fourth font that includes tons of alternates and ligatures and, more importantly, Libertine Pro, the 1160+ character behemoth that combines all four fonts for advanced typography environments, where automatic ligatures, stylistic alternates, and position-sensitive forms are seamlessly put to good use.