Meet Donovan Display! She's a lovely, high-contrast Didone with lots of options. Do you like sweeping flourishes at the end of your strokes? She's got 'em! Prefer juicy ball terminals? She's got 'em! Like a simpler, cleaner terminal? She's got those, too! She also has a set of grand swash capitals and a trunkful of ligatures that will add panache and elegance to any project that requires display-size type. Even better, she comes in two widths: Slim, for standard display use, and Skinny, a compressed version for spaces that require a bit of a squeeze and/or a more (traditionally) masculine feel! Donovan's lines are inspired by classic Didone faces — most notably the work of Firmin Didot (for architectural detail) and Giambattista Bodoni (for the look of the skinny version). She's sexy and stylish and she'll give you exactly the fashionable, elegant look you're after.

Chord Symbols is a font for musicians. With this font, you can quickly write beautiful chords, using only simple keyboard characters as input. Musicians tend to write chords with regular characters. They use # instead of a genuine sharp, b instead of a genuine flat, dim instead of a small circle, etc. With Chord Symbols, your chords will be better looking, more easily readable and more efficiently notated. Chord Symbols helps you to write the chords the way you like it. Whether you prefer ‘maj7’ or ‘m7’ or a small triangle for a major seventh, whether you want ‘m’, ‘mi’, ‘min’ or a horizontal line for a minor chord, this font will suit you. Chord Symbols is originally created out of the need to write chords above pop song lyrics. It is designed to also work smoothly in music notation software, like Sibelius, Finale and Encore.

Capraia is a book typeface, with a heavily quirky look when shown at big sizes, and with an irregular but attractive rhythm at text sizes. Capraia Book and Regular are designed specifically for continuous texts: Book meets a current preference of Italian publishers for lighter faces, while the slightly heavier Regular is intended for the wider international market. True to its vocation for publishing, Capraia has a big x-height, medium contrast and wide bracketed serifs. Furthermore, its slightly flattened curves, some unconventional roman letterforms (a, G, Q) and the 'slanted roman' italics, along with design details such as ball terminals, give to the whole family a very contemporary appeal. Originally the design was intended as a tribute to Caslon's Great Primer but at a certain point the designer was enthralled by Baskerville. Capraia is the unpredicted and original result of that intense experience.

Dear type lovers, meet Lifehack - a casual script with a huge personality. Warm, amiable and organic, yet elegant, it is perfect if you want to convey individuality and style. The Lifehack family consists of the original Lifehack script, an Italic version, a narrow handdrawn Sans and a Basic version of limited glyph set with letters that do not connect. All fonts in the Lifehack family work easily together to create visually appealing logos, packaging, presentations, headlines or editorials. The combination of casual sans and a script has proven useful many times and thus preferred both for print and web. When it comes to OpenType features, Lifehack comes with swashes, stylistic alternates and initial/terminal forms for you to give a custom flare to your designs. All fonts have several weights and a lovely collection of goodies - various ornaments, borders and ribbons that complement the fonts' charm and uniqueness.

Eirinn was designed by Norbert Reiners for Linotype in 1994. Its forms are based on those of Irish scripts of the 7th and 8th centuries, an example of which can be found in the Book of Kells in Dublin. Characteristic of this style are for example the lower case f with its short cross stroke on the base line and long cross stroke above, the unusual form of the g, and the t, whose form is almost like that of a c. This style consisted of a mixture of lower case and capital letters at the time of its conception, but Eirinn has a full set of both lower case and capital alphabets. At first glance the viewer is reminded of ancient and indecipherable writings of the Celts before the forms of our contemporary letters and words become evident. Eirinn will lend a touch of mysticism and secrecy to any text.

The year 2022 went and 2023 came. I can honestly say that last year was a horrible year and I am happy it ended a couple of days ago. The first week after New Year’s Eve always fills my head with the U2 song ‘New Year’s Day’ - so I named this font after a line from the lyrics. I also happened to watch a fantastic movie called ‘Im Westen Nights Neues’, directed by Edward Berger, but based on a book by Erich Maria Remarque, which, in English, was published as ‘All Quiet On The Western Front’. So there you have it: naming a font in 2 easy steps! ;-) All Is Quiet is a lovely brush font, which I created using my father in law’s Chinese pencil and ink. I can suggest some uses here, but I am convinced you can come up with that yourself.

Droid Sans Pro Mono is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. Droid Sans Mono features a fixed width (non-proportional) which is useful for developers to see code in a tabular setting and for viewing emails and other screens. Droid Sans is an approachable, friendly set of typefaces optimized for display on screen. Droid Sans Mono was designed to provide optimal quality and legibility. It features upright stress, open forms and a neutral appearance. Droid Sans Mono was optimized for user interfaces and to be comfortable for reading on a mobile handset in menus, web browser and other screen text. The Droid Sans Pro Mono Regular font contains Old Style Figures (requires an application that support advanced OpenType typographic features) and extensive character set coverage including Western Europe, Eastern/Central Europe, Baltic, Cyrillic, Greek and Turkish support.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Flare (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now, go make cool print and digital things with it.

Hemicube is a geometric logotype font, created by Mans Greback in 2020. Its futuristic lettering follows a mathematical pattern while being minimalistic and clean, which makes in work perfectly in sci-fi or technology context graphics. It is a three-style typeface family; in addition to the regular Hemicube style, it also comes as a basic Type style as well as a monogram Logo style. In the Hemicube Logo font, write any three capital letters to make a cube monogram. Example: ABC Use underscore to create a logo with fewer letters. Examples: A_B _CD _E_ It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Introducing Glaudia Script, a smooth, elegant typeface with ligature and alternatives to authentic handwriting nuances. Glaudia Script comes with Regular, and looks great on business cards, envelopes, logos, signage, greeting cards, wedding materials, packaging, and more! Simple for a polished contemporary style. No special software is needed to use Glaudia Script, although the Fly Panel or Character Map is very helpful in accessing alternative glyphs. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are several additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says. It’s fun and casual, yet it has a flair for fashion and elegance. It also has an art nouveau look which lends itself to greeting cards as well as the branding of perfume, clothing, retailing, dining, and other luxury/high-end uses. This font includes alternate characters for the upper R, S, and T, the lower g and z, plus ligatures that include a double lower t and double lower l (L). As the song might say, I apologize to anyone who can truly say that they have found a better font! Digitized by John Bomparte.

Artemis Sans is the beautiful Greek sister of Arthur Sans. Enjoy the unique grace of the eternal Greek capitals alphabet in a new fashion! For any mixed-language setting, Artemis Sans matches the proportions of Arthus Sans Semibold or Arthur Cabinet Tabac, it harmonizes perfectly with any other font of the Arthur series. Artemis Sans gives a wonderful breeze of elegance to book covers, title pages, headlines, business cards, posters, menus or labels. Both fonts contain the OY-ligature, the Kai-sign in two forms, and a small range of ornaments. For more embellishments please have a look at the stunning Arthur Ornaments. • Please note that Artemis Sans is a CAPITALS-only product! The basic English alphabet is also included in both fonts.

Step into the chilling world of 70s Italian horror with Giallo Rossa, a giallo inspired typeface. This macabre creation captures the essence of classic Italian giallo films, evoking a sense of foreboding and terror in every letter. With its sharp edges and jagged lines, Giallo Rossa has an unsettling energy that will leave you mesmerized. Immerse yourself in a typographic nightmare as you unleash the power of Giallo Rossa. Its letters embody the twisted beauty of giallo cinema – every curve reminiscent of a shadowy figure lurking in the dark corners. No matter what you’re designing, Giallo Rossa is your perfect accomplice. This horrifying typeface will set your creations apart from the mundane. Beware though: once you delve into Giallo Rossa‘s sinister embrace, there’s no turning back!

City Streetwear is a sophisticated signature collection that includes four script weights and plenty of ligatures. City Streetwear scripts includes 102 ligatures and 6 alternates. Ligature programming has been added to the fonts to give the scripts a more handwritten and luxurious appeal. Try the City Streetwear free font for fashion marketing and social media. It is a great starting point for finding appealing modern catchwords. Use City Streetwear for sophisticated designing. Fonts and posters designed by Cindy Kinash. See font details below. SCRIPT FEATURES: Signature style OpenType Common ff fi fl ffi ffl ligatures  Available in Extended Latin Pro (Standard) or American (US) version. 102 ligatures and 6 alternates. Programmed ligature feature for optimization. Every time you type specific pairs, ligatures are programmed to pop up to avoid letter pair collisions. Programming ligatures gives the script a more sophisticated flow. Make sure to turn on the feature in your preferred program that supports ligatures. FREE WORDS FEATURES: 68 free words useful for fashion, marketing and social media promoting. Keyword examples include fashion, exclusive, and style. Intended use for fashion, apparel, beauty, marketing, social media, websites, magazines, sales, film and packaging.  VERSIONS: American (US) and Extended Latin Pro (Standard) AMERICAN (US) Shorter version  102 ligatures and 6 alternates  Common ff fi fl ffi ffl ligatures  OpenType Includes the common alphabet, numbers, American symbols and punctuation. EXTENDED LATIN PRO (Standard) Extended version of the American (US) version.  102 ligatures and 6 alternate Common ff fi fl ffi ffl ligatures  OpenType Includes characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, Finnish Scots, French, Gaelic, Galician, German, Greek Transliterated, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Maltese, Nynorsk Bokmal Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh. TIPS: Try the OpenType ligatures by turning on the feature in your preferred program that supports ligatures. DISPLAY- The City Streetwear fonts work best as large headline text for optimization. FONT USE- Use City Streetwear for fashion, apparel, beauty, marketing, social media, websites, magazines, sales, film and packaging.

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect Included!) ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Stop trekking through the thick, wintery font forest, and step lightly into the fresh life of the Haboro hyperfamily. Though simple in nature, the Haboro hyperfamily provides you with a variety of options. Take, for instance, Haboro Soft, the latest member. Soft features a clean, geometric shape based off Haboro Sans. Unlike Sans, however, Soft’s blunted terminals give your work a more contemporary appearance. It’s a gentle touch for those times you prefer subtilty over pounding your message home. Take Haboro Soft even farther with its OpenType features. The typeface contains specially shaped small caps and old-fashioned figures--just enough to give your work a unique touch. Of course, for more options, use the entire Haboro hyperfamily to expand your abilities. Enjoy the comfort in knowing you’re choosing a font family equipped with tools for most anything: packaging, branding, web pages, iPhone apps and more. Its simplicity lends itself to achieve perfect results. And yes, your work will even thank you.

Stevens Titling refers to the classic Roman alphabet as it appears on the Trajan column and numerous other monuments. With its realistic brush strokes, it shows the letterforms as they might have been sketched on the marble before the stonecutter reached for his hammer and chisel. The four fonts that constitute the Stevens Titling suite are named after animals — badger, boar, sable and wolf –, each known for the specific character of its hairs when used to make painting brushes. Sable Brush is the most formal and elegant, with solid forms which show no obvious trace of the handdrawn brush stroke; it comes with a set of small capitals for those classical titles preferred by Hollywood. In fact, each of these fonts would do a great job as a film title and poster font. The Badger Brush variant is compact and firm; Boar Brush is dramatic, and in Wolf Brush each part of the letter is made up of realistic, dry strokes.

HS Safa, an elegant Arabic display typeface carefully crafted for book titles, creative graphic projects, and modern logos. Categorized under "titles," it draws inspiration from the rules of Fatmic Kufi calligraphy, infusing a beautiful idea and special dimensions that preserve the allure of the Arabic font and its fixed rates. HS Safa is built upon the foundation of HS Sama font, but with a fresh and stunning molding (ornament) for the vertical strokes, adding a new dimension to its charm. This intricate detail enhances the overall visual appeal, making HS Safa a captivating choice for any design project. With comprehensive support for Arabic, Persian, and English languages, this typeface is versatile and accommodating. Available in two weights, Regular and Bold, it effortlessly integrates into the collection of contemporary Arabic Kufic fonts, catering to diverse design preferences. Whether seeking a modern Arabic font with a touch of uniqueness, HS Safa is a perfect addition to elevate any creative endeavor.

Frederic Goudy joined Lanston as art advisor in 1920. One of his first initiatives was to design a new version of Garamond based on original Garamond designs of 1540. Goudy intended his free-hand drawings to be cut exactly as he had drawn them and fought with the workmen at Lanston to keep them from “correcting” his work. This new type was called Garamont (an acceptable alternate spelling) to distinguish it from other Garamonds on the market. (The other Garamonds on the market at that time were later confirmed to be the work of Jean Jannon.) In 2001, Jim Rimmer digitized Garamont in two weights. The display weight is based on the actual metal outlines to compensate slightly for the ink gain that occurs with letterpress printing. The text weight is a touch heavier and more appropriate for general offset and digital text work. Digital Garamont is available to the public for the first time in 2005.

ITC Berkeley Old Style is based on a typeface designed by Frederic W. Goudy in 1938 called University of California Old Style. It was a private press type for the publishing house of that school. In 1958, about ten years after Goudy's death, Monotype re-issued the type under the name Californian, and it became a very successful face for book typography. Goudy himself said he designed this face to have the greatest legibility possible, and it is indeed free from the exuberances in some of his other faces. Tony Stan redrew the family for ITC for 1983, and it was named ITC Berkeley Old Style, Berkeley being the city where the University of California Press is located. Stan did a careful drawing of eight styles including italics. ITC Berkeley Old Style is a crisply beautiful tribute to a distinguished typeface, and it works well for books, magazines, and advertising display. Featured in: Best Fonts for Tattoos

Caplosy – Trippy Font is a font that transcends the boundaries of conventional typography, drawing inspiration from the mesmerizing world of psychedelia. Its letterforms twist and twirl in a captivating dance, inviting you to explore a typographic realm that’s equal parts strange and spellbinding. This font is your passport to the extraordinary, a choice that says “ordinary” is simply not an option. Whether you’re designing album covers, posters, or any creative endeavor that craves a mind-bending twist, Caplosy adds a touch of mystique and magic. Its unconventional, serpentine design transports viewers into a realm of altered perception, where the typography itself becomes a hypnotic journey. Caplosy is like a wormhole into a trippy, surreal dimension within the world of fonts. It’s the ideal choice for projects that want to challenge reality, creating a visually tantalizing, thought-provoking experience that’s nothing short of an artistic adventure. Choose Caplosy when you’re ready to take your design on a mind-bending trip through the extraordinary.

When traveling in Paris, American designer Frederic W. Goudy did a rubbing of a second century marble inscription he found in the Louvre. After ruminating on these letterforms for several years, he drew a titling typeface in 1918, all around the letters P, R, and E. He called the new face Hadriano" as that name was in the original inscription. Robert Wiebking cut the matrices, and the Continental Typefounders Association released the font. Goudy designed a lowercase at the request of Monotype in 1930, though he didn't really like the idea of adding lowercase to an inscriptional letterform. The lowercase looks much like some of Goudy's other Roman faces. Compugraphic added more weights in the late 1970s, and made the shapes more cohesive. Hadriano has nicely cupped serifs and sturdy, generous body shapes. Distinctive individual letters include the cap A and Q, and the lowercase e, g, and z. Hadriano™ is an excellent choice for impressive headings and vigorous display lines."

ERAGU is a display typeface that is unlike any other, both in terms of shape and the impression it gives when used in words or sentences. It also has a new and unusual appearance that makes it truly unique and quirky. All of your projects will be unique in the market if you use this font; it will pique the interest of everyone who sees it, and it will be simple to remember every message you will convey to the audience because, in just a few seconds, everyone will be interested in the appearance of your project if you use this font. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Modica Pro is here to expand upon the success and versatility of the original Modica typeface (2019). Modica has been compressed, condensed, narrowed, widened, and extended to a mega-family of 108 fonts that now includes small caps as well as additional language coverage. Modica Pro is a nimble typeface that can handle a multitude of applications – everything from body copy to retail fashion to corporate identities... why not put Modica Pro to task today? There are 108 fonts in this family, ranging from Hairline to Ultra weights across six widths in both roman and italic. A single variable font (included with the full family) covers all weights, widths, and italic angle with every increment in between to suit whatever style you prefer. Modica Pro has a character set that covers all Latin European languages. Key features: 1 Variable Font 9 Weights in Roman and Italic 6 Widths Small Caps Full European character set (Latin only) 650+ glyphs per font.

• Algarabía "Joy" is a provocative and multilingual text face designed by Leonardo Vázquez. • It was created for a mexican magazine with the same name that uses it as the body text font, and now it's released for the public. • In 1397, Frederic Goudy's was asked to draw a face for the exclusive use of the University of California Press at Berkeley. The font was called California. In 1983 a digital version of this typeface was created by Aaron Burns and it was called ITC Berkeley. • Algarabía is inspired by ITC Berkeley, it keeps the calligraphic touch and weight, but it presents certain features in its design that might result unexpected, yet at the same time they are invisible when used as body text and provides the typeface its unique own personality. • Small Caps and Small caps italic, Included in each version. • Ideal for magazines, Art books or any editorial purposes where legibility and originality are needed.

Okasa, our newest typeface, is now available. We present to you a quirky and contemporary typeface, which you can use to produce an optimal visual display in each of your projects and to impress all of your audience with the unique look of your project. Because everyone does not necessarily understand Japanese letters, we supply fonts with letters that can be utilized for your project. We produced this display font with a Japanese theme or an Asian font, which we designed to fulfill the needs of your Japanese-themed project. Of sure, your initiative will be understood by people all around the world. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out. Caps only fonts

This font was inspired by the Latin script used in European monasteries from circa the 5th to 8th centuries, before the Carolingian “Caroline” (look at our 825 Karolus). It was a regular script, rounded, written slowly, used mainly for specially meticulous books, with a few ligatures, legible, but only with lowercase. The capitals consisted of enlarged lower cases, but here, we have preferred to use two slightly different patterns. Our lower cases are a synthesis from a lot of variants (mainly from the “First Bible” of Charles The Bald), the upper cases were mainly inspired from a 700’s manuscript from the abbey of Fécamp (France). We have adapted the font for contemporary users, differentiating between U and V, I and J, which has no relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash, K, W... punctuation and the usual accented characters which did not exist at the time. It can be used with 799 Insular Title.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Our original Hero Sandwich font has become a go-to for video game and app graphics, due to its easy readability and friendly demeanor. The new Pro version adds nine weights from Thin to Heavy, with matching italics, plus a versatile Variable Font to dial in your preferred combination of weight and italic slant. Each weight includes four numbering options and support for 222 languages, including Cyrillics. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering Hero Sandwich! Prepared with care and plastic gloves by those awfully nice chaps at the Comicraft deli.

Introducing Drefar – Slab Serif Font The Masculine Casual Blend Drefar – Slab Serif Font is a striking fusion of masculinity and casualness, making it a perfect choice for displays. Bold and Rugged Drefar’s bold and rugged appearance conveys strength and resilience, making it ideal for projects that require a robust presence. Informal Versatility This font’s informal nature lends itself to versatile applications, from posters to headlines and more, without sacrificing its bold character. Confident Typography Drefar is a font that exudes confidence. Its slab serifs and well-defined lines provide a sense of clarity and determination. In Conclusion In summary, Drefar – Slab Serif Font is the font that marries masculine and casual elements, offering bold, confident typography for your display needs. Its versatile and rugged nature ensures that your content carries a commanding presence, engaging a wide range of readers and viewers. Whether it’s posters, headlines, or other design projects, Drefar ensures your message is delivered with strength and determination.

With reference to the Type Heritage Project, this font (designer unknown) was cut by Henry Brehmer of New York for the Dickinson Type Foundary of Boston in c1879 and had the original trade name of Renaissant. John F. Cumming later cut a light-face derivative called “Artistic.” A history of the un-patented face can be found at the Type Heritage Project website. Ressonant has a full character set as well as ligatures, superiors, inferiors, numerators, denominators, old style figures, and auto-fractions. There are also alternate caps for N and M as in the original, and, unlike the original, comes in four weights. This font is a documented revival of a 19th-century typeface. The year, country, designer and/or foundry of origin will be published in a series of textbooks entitled “The Type Heritage Project.” Volume I explores quintessential Victorian faces, a spectacular trove of innovative gems; you can see samples by clicking the Type Heritage Project link above.

Introducing Ervha Modern Sans Serif Typeface Ervha is a modern sans serif font with a minimalist and trendy style. This font has 10 styles from thin to extra black Perfect font for print and digital projects. Quality fonts can help your projects become more modern and classy. This font also supports other languages The clean and sharp lines of sans serif fonts are the main reason many graphic designers prefer this font style for both screen and print use. Clean lines and sharp edges can be displayed more clearly on the screen which improves legibility for users. What do you get when you buy this font? Ervha is one font you need Affordable and versatile Multilingual support and complete character set Designed by a Typeface Designer Get one font for any occasion Multilingual support in this modern sans serif font Well known for its exceptional readability Enhance your Project by using Ervha Sans Serif Modern as your font of choice.

This set of initial decorated letters is an entirely original creation, drawn inspired by Italian renaissance engraver Vespasiano Amphiareo's paterns published in Venice circa 1568. It contains two roman alphabets : the first of large Initials, the second of small caps. Both containing thorn, eth, L & l slash, O & o slash. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font is conceived for enlargements remaining very smart and fine. The original height of the initials is at least about one inch equivalent to about four lines of characters, small caps may have the same height than the caps of the font used with, but cover two lines is better. This font may be used with all GLC blackletter fonts, but preferably with "1543 Humane Jenson", "1557 Italic", "1742 Civilite", "1776 Independence" without any fear for doing anachronism.

I was asked by a good friend of mine to design his tattoo lettering. This fellow prefered an easy stencil with no ornament, such as swirls or loops. After some preliminary design I finally accepted the challenge and while completing the whole alphabet, the idea of creating a cool font of it occured to me. Only a few months later this new font family already contained 4 weights, every weight has a companion Italic style, punctuation, numerals and mathematical operators, as well as all accented characters. Bomber TV is a brand-new font and all glyphs have been contemplated very carefully so that all characters match in a well-balanced and streaming way. In both shaped weights, the font suits extraordinary well for headings, slogans etc. The cleanly cut and powerful Bomber TV font can easily be used for logotype, games, prints, magazines, web, apps, packaging, posters, T-shirts, signage & design projects. The font is original and custom made by Kustomtype.

Galano Classic is the display companion of the Galano Grotesque family. Like the Grotesque family, it also pays tribute to the geometric shapes of Futura, Avant Garde, Avenir and the like. However, instead of that family’s modern interpretation of the geometric genre, Galano Classic prefers to stay in the past, a tendency characterized by a moderate x-height and details like the long stretched leg of uppercase “R”, as well as the traditional shaped lowercase “g”, to mention only a few details. Galano Classic, compared to Galano Grotesque, includes lots of redesigned glyphs and consequently adjusted kerning pairs, an extended number of alternative characters, ligatures and opentype features to match a great many design applications. It comes in 10 different weights with matching italics containing 555 glpyhs per font. Although Galano Classic was planned to be the display version of Galano Grotesque, it feels great in small sizes and long text passages, too.

LTC Goudy Initials has been a best-seller since it was reformatted to font format by P22 in 2005. We decided that while it works very well at medium sizes, when it was used extra large, the outlines were not as true to Frederic Goudy’s 1917 drawings as they could be. We decided to redraw from the ground up—and here we have the NEW LTC Goudy Initials! Meticulously redrawn by Miranda Roth, these ornaments referenced original proofs of large sizes of Cloister Initials. In our quest for artwork for this project, we even arranged a quickly sold out recasting of the 120 point size and have produced a limited edition letterpress print from this casting This new digital version features two additional layers to allow for quick colorizing of the central letter and/or the floriated background. Registered users of the previous version of LTC Goudy Initials may upgrade to the set at a discount.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Slab (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now go make cool print and digital things with it, and share them with me.

Quars is a text and display typeface family designed to work on magazines. However, it is also suitable for books and other editorial material. It has a strong personality with elegant, sharp and contemporary features. This typeface comes from several subtle influences, from the contrast of the Scotch Romans to the sharpness of contemporary Dutch designers. Quars is a crystal clear and neat typeface full of small details, its structure is bursting with curves and accurate features which gives it its firm personality. Its italic experiments with the boundaries of italics themselves; with just 1 degree of slant Quars Italic accomplishes its purpose of highlighting pieces of text within its Roman. This carefully thought out inclination protects the uppercase from the usual distortion which Italic caps suffer. It offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.

The Flintlock Font Family has a Bold personality. The 'Rough' version of the Flintlock Font has a hand-carved or hand-etched edge, carefully crafted for each of over 300 glyphs. Caps, lower case, all numbers, fractions, accents and European characters that work in over 70 languages. 'Classically Built with a Vintage Flair'. Vintage in the American West Tradition that might have been forged and implemented from the 1860s through the 1930s and consequently fresh again. Flintlock Rough can be envisioned on many things dated from 1860 to present day. The font is available in 3 basic weights as of this release date. There are other versions on the drawing board... Flintlock Rough works extremely well with Posters, Branding, Movie Titles, Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, Holidays, Menus, and more. Flintlock Flat & Flintlock Flat Italic are the siblings to Flintlock Rough without the hand-carved edge but rather clean with slightly rounded corners and edges. Extremely Legible, Bold and best used in all the same application descriptions mentioned above and more, specifically contemporary uses and settings, eg. Sports, Titles, Branding, Headlines, Logos and more. Curiously the Flat & Italic versions of Flintlock work extremely well in 1960s and 1970s settings.