Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there. Now, URW has expanded its range of Futura styles by Futura Round with 14 additional styles.

Zombie Apocalypse is way more versatile as its name would suggest. It might be used as a horror font (red color tones in horror games, movie covers) or in ads for an Offroad Experience Tour (or wherever it comes to dirt, mud and spatters in combination with brown tones). When used with light blue/red/yellow/orange colors, the font can express creativity and freedom (on fashion, inspirational art and advertising) because it is not bound to classic straight-lined fonts. In various shades of gray or in black, it can be used to support a "worn out" look. Zombie Apocalypse - with its "worn out" look and many details - is espacially designed for use with large font sizes, for example in high resolution print media or in large images on digital media. The font is designed to be used in many different languages. It has a large set of accented characters and diacritical marks.

The Latin, or Roman, alphabet was originally adapted from the Etruscan alphabet during the 7th century BC to write Latin. Since then it has had many different forms, and been adapted to write many other languages. According to Roman legend, the Cimmerian Sibyl, Carmenta, created the Latin alphabet by adapting the Greek alphabet used in the Greek colony of Cumae in southern Italy. This was introduced to Latium by Evander, her son. 60 years after the Trojan war. There is no historical evidence to support this story, which comes from the Roman author, Gaius Julius Hyginus (64BC - 17AD). The earliest known inscriptions in the Latin alphabet date from the 6th century BC. It was adapted from the Etruscan alphabet during the 7th century BC. The letters Y and Z were taken from the Greek alphabet to write Greek loan words. Other letters were added from time to time as the Latin alphabet was adapted for other languages.

With its animated contours, and set in an appropriate size, the Garamond Rough typeface attempts to simulate printed hot metal typesetting. Its roughened edges make it appear softer and less crisp, and, thus, takes the harshness out of the type image. The size of the offered type complement as well as the number of its affiliated symbols makes it ideal for differentiated text setting. Furthermore, its display types make surprising visual accents possible. The origins of the design of Garamond Rough go back to the middle of the 16th century. They are ascribed to Claude Garamond who was one of the first typographers who designed typefaces specifically for the setting of books. During the course of the past centuries and decades, many different variations and new design interpretations of the Garamond typeface were developed to accommodate the most diverse typesetting and printing practices in many different countries. As such, today’s designers can take advantage of a comprehensive digital repertoire for text and display applications. Translation Inga Wennik

Happy Birthday Font is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Happy Birthday Font is equipped with 363 glyphs. and by having many of these glyphs there will be able to choose the letters according to your likes, lots of variations and options for each letter, so you can customize on your design choices. To use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) Thanks and happy designing :-) Thank You for purchase! Arief.hk

Also known as Schoolbook. 900+ glyphs. After Linn Boyd Benton's and Morris Fuller Benton's 1894 lower contrast version of Scotch Modern, Didone. The part of the large project on revival and further development (by drawing many additional glyphs) of the 20th century’s typewriters’ fonts. And especially the most famous, versatile and beautiful typewriter: IBM Selectric’s golfball fonts, lost for the civilization for many decades after ‘80s, not being created since then in digital vector form. This new sub-project started in July 2018 for the restoration of the most beautiful classical typefaces, used during the 20th century on the extremely rare now IBM Selectric Composer typewriters / desktop publishing systems. Together with Nick Hamze and the Right Reverend Theodore Munk, the collectors of old typewriters. IBM showed the perfect taste by developing these best historical book typefaces of the human civilization for typewriters. So people could type then using both the real book faces, and the famous classical ones.

Envisage is a distinctive new grotesk design by Alex Kaczun. Characterized by distinct details throughout as particularly visable in the capitals A, H and N. There is a more organic and natural feel to the overall design as in the sutle curves introduced in many of the lower case letter forms, specifically the a, h, m and n. And, especially evident in the warm overall curves within the l‘case g. In addition, incorporating flexibility in form and function, Alex has also included alternate letter forms in this OpenType font; allowing the graphic designer a choice in the overall look and feel. Envisage has impact and zeal. It's a wonderful choice for a distinctively unique headline treatment, and works equally well in text in a large range of point sizes. Use this friendlier sans serif as an alternate to Futura and Gill Sans. We think you will like what you see. The large Pro font character set supports most Central European and many Eastern European languages.

Introduce “Morgan” is a duo font, consisting of Serif and Script fonts, a very fitting combination, of course making your design more elegant and very charming Morgan was created to fulfill your need to create a charming and cool design. Equipped with many unique ligatures in serif fonts that will make your designs different from other designs, and also equipped with many Alternates in Script Fonts that will add a luxurious impression to your designs. How to use special characters in serif fonts for the letters “A, I, U, E, O” please select one of the letters above then use the dot 2 times (A..), then you get a special character, and to get a special character on letters K, R & L, use one of the letters above, then add a hyphen (-) once or twice. What's Includes: Morgan Serif Morgan Script Special Ligatures in Serif Font Special Alternates in Script Font Multilingual Support If you have any questions, please contact us

Azkia Script is a beautiful and lovely script font with many alternative styles, ligatures, swashes, and multilingual glyphs. Azkia is a script typeface with a noble vintage look. Created in response to current graphic design trends. Get inspiration from classic labels, vintage packaging, and vintage sign painting. This Brightina script will add a touch of worldly knowledge to your artwork. The classic nuance is perfect for those of you who need fonts, especially for logos, clothing, signage, branding, packaging, advertising, and others. I've designed a number of examples, so you can see how they're used. Azkia Script also has many alternatives for ascender, descenders, swash, and ligature. It also has several options for tails and underscores. To provide a huge number of possibilities to play with and come up with some unique designs. Azkia Script comes complete with: • Uppercase, lowercase, numbers, punctuation & symbols • Multilingual support • Alternative styles • Swash • Binder If you have any problems, questions or anything about my fonts, please send us an email.

Novel Display is the humanist sans serif typeface family for headlines and display sizes and the latest addition to the largely extended, award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 10 weights in combination with 4 widths enable designers to create fine display typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Display [788 glyphs] comes in 50 styles and contains an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Create your own world with the Picture Yourself collection! Picture Yourself is a graphic image collection, which functions a font family instead of hundreds of EPS files. The family is made up of 24 different symbol typefaces. Designed by the collaborative effort of Karin and Peter Huschka, both living in Germany, Picture Yourself was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH. The symbol library found in Picture Yourself offers an astounding array of high-contrast, simple forms, which may be used happily either separately or together in your layouts. Just as the fonts themselves stem from two designers working in collaboration, the imagery of the collection itself stems from two different influences. In large part, the font family was inspired by work displayed in the Frankfurt-based German Architecture Museum's 2003 Oscar Niemeyer exhibition. The photographs and sketches that were displays there inspired the first ideas for the Picture Yourself world of images. More of the typeface's design, as well as its name, were inspired by the underlying philosophy of the Beatles' music, especially the classic song from Lennon and McCartney, "Lucy In The Sky With Diamonds." In comparison with other large pictographic type collections, all of the characters in Picture Yourself fonts share the same horizon. The glyphs themselves are also drawn so that many of them can be combined with one another, creating tall or wide decorative compositions. Additionally, the proportions of the forms of the pictographs are aligned with various industry standards, in order to harmonize workflow. Picture Yourself Portraits (3:4), Landscapes (6:4), Cinema (9:4), and Panorama (12:4) each adhere to one of several photo or video formats. The Picture Yourself family of fonts can best be used with graphics applications like Adobe Photoshop or Illustrator, where different characters may be assigned to different layers, each with their own color.

Dark, spicy & distinctive display typefaces from the nineteenth century I had in mind when creating this font family. Extreme contrasts and sharp endings may remotely remind some blackletters, especially in narrowed styles. The range of interpolated widths is useful for designing a provoking poster, magazine, music or book cover.

Prose Sans is a wide sans serif font family that comes in 8 weights. With its slightly tilted axis and relatively high contrast strokes, it is both elegant and strong. The standard and discretionary ligatures help achieve a more tailored look, excellent for branding, logo design, poster design etc.

A mixture of bold and fine line helps this distinctive design evoke the spirit of the 1930s Jazz Age. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

The Stephenson Blake foundry in England, made two fonts, Flemish Expanded and Flemish Condensed. In our view, one was too wide, the other too narrow; so we redrew it and renamed it Brussels. Why not? Belgium is one of the few places where you may still hear Flemish spoken.

Moonbandit proudly presents Bad Motor typeface, a powerful bold vintage font. Inspired by the glorious old world of route 66, Bad Motor is perfect for that retro look and feel for your projects. This typeface is maxed with anarchy, attitude and attention. OpenType features include ligatures and kerning.

Abdo Logo is an Arabic display and text typeface. It is useful for headlines, books covers, logos design, slogans, advertisement and other graphic projects. The font is based on the simple lines of free style calligraphy. The font supports Arabic language and I may extended to cover additional scripts.

GalexicaMono is an attempt to create a futuristic typewriter font, which may be an oxymoron. Unlike most typewriter fonts, it is sans-serif. The family has two weights, plain and bold, each with an oblique style. For a variant of the design that is not monospaced, see Galexica.

Font Merlo Round is the younger brother of Merlo. Font Merlo Round is characterized by twelve different varieties – lower and uppercase characters. It is inspired by a You And Me Monthly published by National Magazines Publisher RSW „Prasa” that appeared from May 1960 till December 1973 in Poland.

Strong and distinctive, yet soft and cuddly. This is a rounded sans serif design that features slightly thicker horizontals. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

This calligraphic type is based on a free-styled blackletter with an ink-stained spirit. By having several stylistic alternates (on both U&lc.) plus some non standard ligatures, your text may look like it’s written or handmade! You should combine this font with Agony, also available on MyFonts.

All caps font with squarish letters. At first sight, it may look a little bit ordinary, but watch it with massive text - then you will notice the bounciness and the contextual alternates that automatically switches between the 5 different versions of each letter! Comes with massive language support!

A family of soft, rounded, yet bold display faces which can successfully be used in conjunction with one another. Due to the modular nature of this design there may be a very slight lack of smoothness to the curves at extremely large point sizes (around 200 pt and above).

Delicately swirled BabyDoll includes eight assorted dingbats, and like all Burghal Design fonts, includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. BabyDoll is so cute and sweet, you just may get a cavity. Please remember to brush and floss regularly.

Meleo is a semiserif consisting of 10 fonts with a few original quirks but still very legible at both text and display sizes. Since its conception, the aim was a balance of uniqueness and functionality. The typeface owes its energy to the slight suggestion of calligraphic crafting and humanist structure. But it also breaks the rules: a small x-height and a whimsical uppercase with resemblance to the lowercase may render Meleo more friendly than a conventional (semi-)serif. Titles and texts of moderate length, like those found on websites, flyers and packaging, are the natural habitat of Meleo, but it may as well thrive under different settings. Meleo supports most of western-european latin languages which are included in the ISO-Adobe character set.

Quadratique is the first font of a large family that was originated in geometric patterns. We developed a system through a square of 6 modules of side, which are transformed and combined to give up 104 originals glyphs. As a result, each letter is a subfamily that may be combined by overlapping (A, a, a.salt and a.swsh) and thus generate more than 365 glyphs, or thousands if we combine different letters. Quadratique is so easy to use, that user does not need guidance. You just must typeset [aaaa, bbbb, etc.] and start to play, try to make that each module overlapping with others and repeat [(a + A) (a + A) (a + A), etc.] You may create thousands of new patterns and creative frames just combining different modules.

GOOD GOD! You have circumnavigated the globe and chosen wisely...The Grail is FOUND! Oh... no, Zoot set light to our beacon, which I've just remembered is Grail-shaped. But wait, look! There! Carved in the wall... a Legend: "Here may be found the last words of Joseph of Aramathia: He who finds the Grail must face three, maybe four, challenges. First, the path of God; Second, the word of God; Third, the breath of God, and fourth is the Font of God. Only a font that is valiant, pure of spirit and includes international characters, both European AND Cyrillic -- may find the Holy Grail... in the Castle of AARRGGGHHH… That's all it says; the guy carving it must have died before he could finish.

First things first: I am really not a Star Trek fan. I did come up with this name, which I thought had a good ring to it. When I checked whether the name was already taken, I found out that Black Cluster is a term from Star Trek. Now you want to know what a Black Cluster is, so just check out poster 2 and read all about it. For me, Black Cluster is a handmade ink font, with a lot of jumping glyphs, a lot of diacritics and a handful of ligatures. It may be rough, but you will be pleasantly surprised by what it can do to a design! May the font be with you. Oh, no, that was from Star Wars…

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

The courageous Russian author of the best seller Anastasia, Vladimir Megre, once said that this remarkable woman would inspire creative people around the world to produce their best work. Since I consider myself a creative person who has been deeply touched by her story, I sincerely hope that this will be true for me also. Anastasia talks a lot about God, the wonders of the natural world and how all things have been created so perfectly. This belief in universal perfection, however, is not confined to mystics alone. Many great mathematicians and scientists, including Albert Einstein, were of the same opinion. Having read Dan Brown’s The Da Vinci Code, I became quite fascinated with the so-called Fibonacci series; "a sequence of integers in which each integer (Fibonacci number) after the second is the sum of the two preceding integers; specif., the series 1, 1, 2, 3, 5, 8, 13, . . ." (Webster’s Dictionary). These mysterious numbers, which are said to give divine proportions, are found throughout nature in everything from a rose to a spiral galaxy. Many believe that this reinforces the argument that there is a divine intelligence back of creation. With that in mind, I thought it would be interesting to see if I could somehow create a font using these numbers in the design process. If I have succeeded - even partially - in attaining these mystical proportions, it will definitely have been worth all the hard work. And, I sincerely hope that many will enjoy using this font in producing their own best work.

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

FF Casus was drawn for print – but is also as natural for textual content in interactive design. It brings warmth and a subtle, handcrafted quality to pages in books and periodicals as well as banners and informational copy on large and small screens. It pairs flawlessly with a wide range of sans serif typefaces to create inviting and easy to read text copy. Drawn by Eugene Yukechev, FF Casus is a fresh take on the robust serif typefaces produced early in the 18th century. The FF Casus™ typeface family takes advantage of slightly narrowed proportions, moderate contrast in stroke weight and an ample x-height to achieve high levels of legibility and efficient use of space. Born in Novosibirsk, Russia, in 1980, Yukechev earned degrees in philology in addition to editorial and graphic design. He also graduated from the British Higher School of Design in Moscow, studying type and typographic design. Yukechev now runs the Moscow-based studio “Schrift Publishers” and the online “Type Journal” with his colleagues. The six weights of FF Casus – each with an italic complement – are available as OpenType® Pro fonts with an extended character set supporting most Central European and many Eastern European languages. Looking for something new – with the panache and warmth of an old book face? FF Casus may be the perfect choice.

Have you heard? It’s in the stars: next July we collide with Mars! But until then, there are plenty of good reasons to treat yourself to this swell typeface. LiebeLotte Swell is a great investment for letter lovers who design beautiful things for their friends and family and also for designers who love their clients: Your next birthday invitation? Check. That photo album you’re making for your mom? Check. The business cards you’re designing for your friend who runs a deli? Check. There are so many nice things that want to be designed, and LiebeLotte Swell wants to be your assistant in the old-fashioned way: polite and friendly. Just like her monolinear siblings in the LiebeLotte family, charming LiebeLotte Swell knows how to impress with her perfectly drawn curves and her perfectly connected loopy letterforms. Of course LiebeLotte Swell comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, check out the complete LiebeLotte family with six weights of monolinear loopiness. You may also want to take a look at our best-sellers LiebeErika and LiebeKlara, they get along great with LiebeLotte Swell.