Yugee Techno Sans are the fonts inspired by the pace of growth of our current technology. Created in a way that it works as display text as well as paragraph text. The fonts looks great at all sizes and with different spacing. The font family inlcludes 4 different font weights that suits your needs.

Hey! I'm happy to introduce to you my new font in fast speed style. Dry brush stroke with grunge lines and dots. Perfect for Taxi logo, Race poster, Sport identity, etc. You’ll get: * Uppercase (lowercase glyphs are the same) * Numbers * Symbols Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

A 1970s Photolettering catalog indentified the pattern for this typeface as "Exotique" ...from France, no less. Named for a French expression meaning “pun,” this face is, indeed, witty and playful, with nary a groan in sight. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Based on wood type designed by William H. Page & Company in 1872, Aldine Extended is one of many variations within the Aldine family. The characters are extremely wide relative to their height, and have heavy, thick serifs. Aldine was extremely popular in broadside printing during the late 19th century and conveys America’s enthusiastic westward expansion.

Will Ransom designed the uppercase letters in this typeface for Barnhart Brothers & Spindler in the 1920s, under the name Clearcut Shaded Caps. The lowercase letters come from another BB&S typeface named Clearcut Italic. An elegant headline face, best used sparingly, the font includes decorative flourishes in the brace, bracket and en dash positions.

RM Sans has been designed to offer an useful but inexpensive family of 5 regular weights; 3 condensed weights; 5 outline weights and an 'eco' alternative. 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).

Julia Child said, "I didn't start cooking until I was 32: up until then I just ate". Whether you cook or eat, design menus or place cards or cookbooks this set of 30 fresh Kitchen Doodle illustrations makes the job easier. Baking, cooking, mixing, chopping, grating, this little font has it all. Bon Appétit!

Arsis is a condesed modern headline face that was originally produced and cast in hot metal by the Dutch type foundry Lettergieterij Amsterdam. The Arsis font family was designed by Gerry Powell in 1937. Arsis is a Serif (Antiqua) Modern Style font. Arsis font family attributes include roman serif, Didone, elegant, formal, modern style, feminine.

This stately typeface takes its inspiration from Erbar Medieval, designed by Jakob Erbar for the Ludwig & Mayer foundry of Frankfurt am Main, released in 1914. Equally at home in headlines or text blocks, this face is both elegant and inviting. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Snoogle is a friendly, round display typeface. Its character set contains 99 ligatures, which may be automatically implemented in OpenType-savvy applications. These give Snoogle the feeling of a script face, as opposed to normal rounded types. Snoogle's text variant is complimented by a Dingbats font, including further design elements as well as pictogram figures.

Halloween is coming. Get prepared earlier with our Suspiria Vampira. A bold and bouncy fonts with 2 styles, Clean and rough. Very good for a halloween concept, but the versatility level are high in this font. It can be placed into any fun and cheerful branding or event concept. So many possibilities coming up!

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

OMG it's got a smiley face underscoring the exclamation point! What a sweet, charming handwriting font from the wrist of an 18-year-old Norwegian girl. A sassy skip and a flowery flair lift this particular marker font up a notch above the rest. Now available in OpenType format for your Personal or Commercial Use.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

The Tes family was designed specially for a limited-edition book about Nikola Tesla and Resonance Waves. It needed to be modern and complete for a multilingual version of the book.

This beautiful roman style typeface is inspired from an E.C. Matthews book. Although the book we have is dated 1967, the style appears to have been created in the 1920s or 30s.

Created for Jim Lee's Wildstorm books, WildWords has proved to be one of our most popular fonts and has been featured in TIME magazine and the LEGO catalog, as well as used to letter thousands of Manga pages. Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes! See this family related to WildWords: Wild Words Lower

This cuddly face is based very loosely on Dave Farey's Beesknees. This version is a little more regimented but no less fun, and is notable for the addition of a lower case, not found in Farey's design. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Lanvier is an all capital display face, inspired by the thirties streamline era look. The family is offered in four style, Regular, Oblique, Double Oblique and Reverse Oblique, as well as two weights, Regular and bold. Bring the thirties back to life in all their chromium plated, streamlined and fast moving glory with the Lanvier family.

Originator is a display modular monospace font. The typeface has a distinct technical geometry using sharp angled corners. "Originator" name is derived from Latin and means 'one who first creates or initiates something into existence.' Originator is recommended for display work, branding, logos, technical writing, team sports, aerospace, aviation, automotive, racing, fashion, cinema, architecture, invitations, posters and headings.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

This industrial-strength titling face takes its design cues from Hans Eduard Meier's Syntax Antigua. This version is bolder and beefier, so your headlines will grab and hold attention in a refined and genteel manner. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

This stunning display face is based on Hans Bohn’s 1929 opus for Gebr. Klingspor, originally named Orplid. One of the treasures discovered in the legendary green vinyl binder that launched Nick’s love of type, it’s a real crowd pleaser. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Here’s a typeface with a stance as big as Texas. It’s based on Vincent Pacella’s 1960s oeuvre for Photo-Lettering, Inc. called Pacella Vega Extended 10, and named for a county in Central Texas, home of Possum Kingdom Lake. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

This elegant semicursive face is based on the works of J. M. Bergling from his 1914 classic Art Alphabets and Lettering. Suitable for announcements, awards and invitations, or for distinctive and unusual drop caps. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Another in the Whiz-Bang Woodtype series, based on authentic xylographic designs from the late nineteenth century. Named after (surprise!) a small town in Texas. The net effect is a typeface which can add style and warmth to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

This elegant unicase uncial face is based on a work by German type designer Ernst Engel from 1927.This typeface masterfully combines Art Deco sensibilities with medieval letterforms, and is suitable for both text and headline use. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Neon is an experimental, retro display typeface designed by Superfried. Neon features two styles which can be toggled via shift. As the name suggests styling for the typeface started with classic neon signage, but quickly took a new direction of its own leading to a very distinct and versatile display face. Neon has been featured in Computer Arts magazine.

Schoolyard Blues JNL is based on the hand lettered title found on the sheet music for the 1938 song "I Was Late for School". A condensed sans serif with chamfered corners, it reflects the Art Deco influences of the day in some of the letter forms. This type design is available in both regular and oblique versions.

Rozza is a single weight stencil cursive fat face font for extremal display use. Looking at this font the story of beauty and the beast comes to mind. That is how I would describe it. On the one hand prickly and dangerous, and on the other - pulsating beauty and passion. Try to combine Rozza together with Displace — great pair!

Arch Creek JNL is Jeff Levine's all-caps re-interpretation of a classic typeface of the past; Beton. Clean lines and slab serifs make this design a wonderful display face for attention-getting headlines. The beautiful watercolor print used in the font flag is by a good friend of Jeff's - Miami artist Michael George, and is used by permission.

A 1930s luggage tag from an eponymous hotel provided the inspiration for this face. The uppercase letters lean to the left and the lowercase letters lean to the right, so aLtErNaTiNg the two will give your headlines a little bounce. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sasparillo is an "extreme" Tuscan face, with reversed emphasis, by which we mean the horizontals are far heavier than the verticals. Saspirillo Fizz has been put through our (not quite) patented "fizzing" process, in order to give it that weathered look of heavily used type. Recreate the spirit of the "Wild West" with a sense of fun!

Mirabelle from Magpie Paper Works is a family of four hand-lettered fonts designed to coordinate with each other or stand alone as display faces. Each font was created with a felt-tipped pen & ink, and includes a full set of capital and lowercase letters, as well as multi-lingual support, currency figures, numerals, and punctuation.

This heavyweight poster sans is based on the typeface Samson, designed by Robert Hunter Middleton for the Ludlow Type Foundry in 1940. The slanted uprights suggesting brushwork make this face a perfect choice for casually commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

This engaging headline face is based on a rather pudgy typeface named “Bullion Shadow”, which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Now available in shaded and plain. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Free-form hand lettering on a 1979 poster for the Washington, D.C. exhibition of watercolors and etchings by the Elie Abrahami inspired Art Director JNL, which is available in both regular and oblique versions. This type of lettering was most popular in the late 50s through the mid-60s for movie titles, greeting cards and poster text.

“News Gothic” has been a reliable workhorse of a font since it was created by Morris Fuller Benton and first offered for sale in 1908 by American Type Founders. A clean, legible design used for text copy, it can also double as a light headline face. This reinterpretation (named Columnist JNL) is available in both regular and oblique versions.