Point™ Soft is more than the rounded edges version of Point™, it is a reinterpretation of what a geometric soft font should look like. Clean, simple, and above all: huggable. Point™ Soft conveys that warm and soft feeling. With 20 styles it gives you a lot of versatility (From Hairline to Black), plus it comes with two FREE styles for you to play with before commit yourself to buy it. It has Extended Latin and Cyrillic support, old style, lining and tabular figures and much more. It has a wide range of use possibilities. Since it is a very readable font in small font sizes and the details really pop out in display sizes. Be it on small or large font sizes, Point will make its point.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version fo their logo, and from there expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole Family bundle: 489 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Introducing Clasifa font a retro bold script style typeface. Inspired by retro typography and lettering in the '70s and '80s combined with bold typography style. This Font is perfect for vintage and retro design, badges, logos, posters, branding, packaging, signage, book cover and so much more! Multilingual support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, French, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and many more. What’s Included : Standard & Multilingual glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. Hope you enjoy our font!

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Ds Hand Font Family is a handwritten font designed by Tom Nikosey, based on Danielle Nikosey’s printing style. Tom is an American Graphic Designer specializing in Typographic Design and Illustration. Ds Hand is available in Regular & Bold weights CozyFonts Foundry is Tom's intro into the world of font design. Ds Hand Family is a tribute and gift to his daughter. Ds Hand, at first glance, gives a hand drawn aesthetic feel but on closer inspection, when set as text, this font gives off a cool, organized, legibly organic read. Also available in Bold. This is the 5th Hand Drawn Font Family from CozyFonts!

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

Hilender Rhapsody is a modern script font that has a cute and elegant touch. Hilender Rhapsody is attractive because it is sleek, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to its many luxurious lettering connections. I also offer a number of decent stylistic alternatives for some of the letters. The classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . . . Files include: • Hilender Rhapsody Regular • Hilender Rhapsody Bold • Hilender Rhapsody Slant • Hilender Rhapsody Bold Sant Contains full set: -Has 4 font models: Regular, Bold, Slant and Bold Slant -Uppercase -Lowercase -Alternative -Ligatures -Punctuation -Number -Multilingual support. need help or have questions let me know. I'm happy to help. Thanks & Congratulations on the Design!

Just a hint of grunge in this font, one side fairly clean and one side with subtle grunge. Demigrunge lends itself readily to display, headlines and writing sentences without verbs in them. Just one style in this family. Lots of accented characters and extensive punctuation. Great for goth titles.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Fourties is an elegant bold hand-brushed display font with capital letters. With a cool style, it will add a bold and powerful touch to your projects, inspiring you to create something bold too. Fourties is ideal for headings, flyers, greeting cards, product packaging, book covers, printed quotes, logotypes, and album covers.

Richfont Bold is the bold version of my handwriting. I always felt that I had unique handwriting. When I was learning how to design fonts, the first font I made was Richfont Medium, which Bitstream is selling. The Bold version is the perfect companion to the medium version, which is offered at Bitstream.

Introducing Belora Vintage, a bold serif font with soft, bold edges and curves giving it a groovy 70s feel. Belora Vintage has separate lowercase and uppercase letters, as well as numbers, punctuation, and multilingual letters. With alternates and ligatures it's perfect for fancy retro-style logos, or bold header text and much more.

A well-designed bold art deco font. Very chunky. Uppercase, lowercase, numerals and punctuation. CastleType additions to the Koloss family include Koloss Bold Condensed and Koloss Bold Wave. The latter was used beautifully in the wonderful children's book The Leaf Men (and the Brave Good Bugs) written and illustrated by William Joyce.

In the 1943 Three Stooges comedy short “Higher than a Kite”, Curly reaches into a box with the label “hand grenades” painted on its side and pulls out one of the devices. The bold, squared stencil hand lettering on that prop inspired Stencil Label JNL, which is available in both regular and oblique versions.

Geometric sans fonts in the Bauhaus tradition were the inspiration for the design of FF Mark®, for example the Universal font by Herbert Bayer, Erbar® Grotesk, Kabel®, Neuzeit Grotesk and of course Paul Renner's Futura®. From an aesthetic point of view, FF Mark is a descendant of these classics of German typeface design that intends to meet the needs of modern communication. Hannes von Döhren and Christoph Koeberlin had the support of the entire FontFont Type Department in the design of FF Mark, including Erik Spiekermann, who took over the artistic direction of the project. The teamwork resulted in carefully planned, balanced forms, which are responsible for the harmonious overall impression of the font. The capitals are not based on Roman square capitals; rather, they have a uniformly wide letter form in a comfortable ratio to the x-height. Thanks to the x-height, which is significantly larger compared to the historical models, FF Mark is also very legible in small sizes. This makes it a very flexible font in terms of its range of applications. A contrast in the stroke width is barely noticeable. At the same time, light modulation supports readability, especially in the bold styles in small sizes. The uniform line ends are obvious for a contemporary sans family nowadays (unlike some of the historical precedents, which evolved over years). Other details from the predecessors are consciously maintained and provide for added individuality in FF Mark. For example, the limbs in the uppercase "K" and "R" are offset slightly from the stem. Alternative characters with crossbars are available for the numbers "0", "1", "7" and the uppercase "Z" and the lowercase "a" also has an alternative with an open form. German typesetters have the option of uppercase umlauts with points that are set lower, as well as a long "s" from the Fraktur. And last but not least, FF Mark has the very characteristic ft-ligature of Futura. FF Mark is available in ten finely tuned weights ranging from Hairline to Black. A Book style for text setting further emphasizes the well-rounded features of this contemporary typeface. When the font was published, it also included ten carefully designed cursives for all weights. Users also have the option of various numeral sets with old-style and uppercase numbers as well as small capitals. FF Mark also has some geometric shapes and arrows based on the features of Futura. FF Mark is a modern, full-featured, geometric sans serif that you can use without hesitation for large projects in headlines as well as in texts. FF Mark's design is a nod to the historical models and transports their charm, elegance and in some cases unusual design applications into a modern font family equipped with the most current typographical features. NEW: the new FF Mark W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet and also several based on Cyrillic and Greek alphabets.

Proxemic is a bold sans based font with unique lowercase that will make your logo and design looks advance and modern. With the unique characteristic lowercase, this font can make your logo even more stunning only with simple steps. You can use this font for any purpose, especially to make logotype. You can mix and match the uppercase and lowercase to make your logo more advanced. This font also comes with number, symbol, and multilingual support!

Megapolis - Sans Serif Font Family - Multilingual support - 16 Styles With its elegant and clean structure with 16 styles and multilingual supports, you can easily use the sans serif font feature in many areas. From body text to big headlines, from classic to modern and bold styles, you can develop your projects. Ideal for books and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. Have a good time.

Thoroughly contemporary, clean, and ready for work, Tilden Sans was designed by Delve Withrington to be no-nonsense but still stylish and friendly. Tilden Sans is square-ish with low contrast and a generous x-height. Curvilinear strokes like those in the capitals C or S, and many lowercase letters feature incised terminals offering a measure of distinction from other sans serifs, without sacrificing legibility. All of those features work in unison to make this typeface a pleasure to use and read. The Tilden Sans family has seven useful weights ranging from Light to Black and features a glyph repertoire of over 900 glyphs with language support for 225 languages. This versatile typeface performs brilliantly in a host of sizes. The Regular and Medium weights can be used at text sizes, while the Light and Black weights are great for display size settings.

Max Joseph Gradl designed Art Nouveau jewelry in Germany. At least some of his designs were produced by Theodor Fahrner of Pforzheim, Germany -- one of the leading manufacturers of fine art jewelry on the Continent from 1855 to 1979. I don't know if he designed for Fahrner exclusively, but every example I found was produced by that firm. I assume it was also the same M.J, who edited a book, Authentic Art Nouveau Stained Glass which was reissued by Dover and is still available. For an artist as accomplished as Gradl was, he is very tough to research. There just does not seem to have been much written about him. The jeweler is visible in most of his typeface designs. They exhibit a sculptural quality as if they were modeled in clay (or gold) rather than drawn on paper. His monograms, especially, reflect that quality. Those shown in plates 112 through 116 in Petzendorfer actually appear to have been designed specifically for fabricating in the form of gold or silver pendents. Of the initial letters that came out of Germany during this period, these by Gradl seem unusually open and lyrical. They seem to be dancing on the page, rather than sitting. Please note that Gradl designed only the decorated initials. All other characters supplied were extrapolated by HiH, including the accented initials. Orn.1 (unicode E004) is based on a jeweled gold clasp designed by Gradl (please check out Gallery Image on Myfonts.com). Also included are an art nouveau girl’s face, a swan and the face from Munch’s “Scream”, from scans of old printer’s ornaments. Gradl Initialen M represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 341 glyphs. Both upper & lower case provided with appropriate accents. 2. 558 Kerning Pairs. 3. Added OpenType GSUB layout features: salt, dlig, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines. 6. Alternative characters: 16 upper case letters (with gaps in surrounding decorations for accents above letter). 8. Four Ornaments: face1, face2, swan and orn1 (silhouette of Gradl clasp) The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Brightwall is made with a natural brush. This texture will make your design more beautiful and powerful. This font is suitable for any design like branding, quotes, t-shirt printing and more. Features: Accents (Multilingual Characters) Many Alternates Extra Swashes PUA encoded Numerals and Punctuations (OpenType Standard)

We present to you STIFF - a simple, characteristic typeface in a nice, retro style which is angular, geometric and extra narrow. Stiff makes the text look distinctive and unique so it's perfect for titles, subtitles, logotypes or short parts of text which need to be exposed.

Proudly Present, Rumaisha Script Font. Rumaisha is an Elegant Calligraphy Font. Rumaisha is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Rumaisha also multilingual support, and you get extras ligature and more alternate Enjoy the font!

An expressive disconnected script and a stylish display face that play together devilishly well. Add some handsome extras to the mix and voilà Blueshift, ​​a hand-drawn family with a remarkable contemporary accent. Splendid designs are guaranteed for all​!​ (​And tonight Mr. Kite is topping the bill.)

An example of hand lettering from a vintage instructional book was the basis for Fashion Statement JNL; available in both regular and oblique versions. This extra-wide "thick and thin" design is perfect for replicating the classic signage and print work of the Art Deco era.

Superion is a supercharged, street-wise brush font bursting with energy. Extra attention was given to quick strokes and sharp details. This font is perfect for challenging jobs, titles, t-shirts, websites, hoodies, clothing, headline, logotype, branding, advertising, event and various energetic print and digital media projects.

Volante is a gorgeous condensed sans serif typeface that comes with various stylistic alternates and discretionary ligatures. It comes with multiple weights, from thin to heavy, with 3 extra outline styles. This is perfect to sweeten up your headlines, branding visual identity, editorial, poster, and etc.

Mister Twiggs is a comtemporary modern sans created by the American type designer Alex Kaczun. There are absolutely no curves in this elegant typeface. It has sharp corners with extra tall capitals and a narrow waistline. Mister Twiggs comes in 3 flavors: regular, thin and heavy.

NS Mudolf is inspired by the lettering of vintage prints, signs and labels. It comes with five font styles and extra swashes, ligatures and stylistic alternates. It's ideal and perfect for creating a design piece such as letterheads, posters, signage, charters, labels, packaging, logotypes, and more.

Windstone is a Black Ultra Condensed display sans font published by Variatype, available in regular and italic. FONT FEATURES Additional Accents 66 Languages Kerning Alternates Ligatures

This is an extension of Alquitran, but now converted into a family from the Thin to the Black Line, it contains dingbat, inspired by the Pichação!

MGN Albiston is a condensed display typeface that we designed with a strong and sporty look. It is perfect for headlines, posters, and logos. The condensed form gives it a compact and powerful appearance, making it stand out in any design. The serif touches on certain parts of the letters give it a classic touch, adding complexity to its overall impression. This typeface is suitable for various design projects, such as sports branding, fashion, and entertainment. It has a versatile and dynamic look that can add a bold touch to any project. Give it a try and see how it can enhance your designs.