Computer is an all-capitals headline font that immediately implies early mainframe computer technology. Although desktop computers and better screen and printer faces have been available for some time, the type style of the Computer font is still used for futuristic topics.

Beringin is a signature font that is unique and elegant. It is designed with an original hand stroke so it will be very suitable for your design projects. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash

The Magical look of Eklekt is not made by chance, it is created with the combination of graphic-sharp shapes and a flow curves that looks a bit like it is written by hand. Can be used for logos, headlines and short text.

Foppish Birdie is a font family with character of birds that was inspired by the font Guakala by RodrigoTypo. Foppish Birdie - dynamic, cheerful, a special typeface for children's short titles and brands, containing the Cyrillic set. Take each letter and make game!

An elegant font that is suitable for all types of printing. Latin font support for these languages: English, Danish, Spanish, German, Norwegian, Polish, Portuguese, French, Swedish Also support for a large number of languages in Cyrillic:Russian, Belarusian, Bulgarian, Macedonian, Serbian, Ukrainian, Kazakh, Kyrgyz

After Death is a script typeface. It is inspired by brush lettering and has a soft and welcoming look. After Death can be used for branding, packaging, and anywhere else you need a script font that is easy to read and smooth.

Momotako is a Cute Playful Display font that will make your designs look modern, unique and fun. It’s perfect for labels, quotes, posters, DIY projects, branding, packaging, greeting cards, websites, photos, photography overlays, signs, window art, scrapbooking, tags and so much more!

To design a font Kapra, I was inspired by a You And Me Monthly published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland. The font Kapra is designed in eight versions – lower and uppercase characters.

Kopi Arabica is Unique Playful Display Font that will make your designs look modern, unique and fun. It’s perfect for labels, quotes, posters, DIY projects, branding, packaging, greeting cards, websites, photos, photography overlays, signs, window art, scrapbooking, tags and so much more!

Ornata A is the first of a series of old ornaments that I am trying to save from oblivion. I am not just scanning these, I am completely redesigning the ornaments from scratch, thereby eliminating imperfections. Your digitizing type-designer, Gert Wiescher

This family of fonts was created to resemble a hand written style. It is loosely based on several sources, including that of the designer. There are unique ligatures, readily found in Keystrokes on the Macintosh platform: fr, ff, ffl, ss, tr, Th.

SVAXTICA is a modern font like a maze with a galaxy theme. This font is all caps font. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

Scribe is an elaborate typeface somewhere in between Bodoni and an English script. It has interwoven capitals and joining lowercase letters. I have tried to make something new that has this old, settled touch. I think I like it. Yours sincerely, Gert Wiescher

Glamour was originally released by Lanston Monotype in 1948. It is based on Corvinus designed by Imre Reiner. P22 Designer Colin Kahn has added some unusual variants to this family illustrating that Glamour can be taken too far and have somewhat unglamorous results.

Esenka is a family sans that comes with 9 weights, 9 italics and 2 outlines. Esenka has an expanded uppercase alternate, with a choice of 2x and 3x width options. Esenka is PUA encoded which mean you can access alternate with ease.

Bomerch Modern Display Font is a modern display font that includes Regular and Italic. This font is suitable for vibrant, energetic and bold designs such as sports poster designs, music posters, branding, t-shirts, prints, business cards, logos, posters, t-shirts, photography.

Foda Naskh is a modern naskh typeface that Combines the originality and modernity, which shows the letters beauty and the ease of reading. Foda Naskh is typical for books, the writing of newspapers, headlines, magazines, poetry, long and short text paragraphs and more..

Halistine Signature is a monoline script font with a signature style and a handwritten appearance. Inspired by handwritings, this font exudes elegance, smoothness, and a personal touch. This font is suitable for designs that require a personal touch and a casual feel.

Basic Stencil JNL was inspired by a lettering stencil sold by Dymo around 1968 that featured a sans serif design with rounded corners and an overall square look to the characters. This bold stencil design is available in both regular and oblique versions.

Superstar was designed by Colin Brignall, who was inspired by American sportswear graphics during the process. The font is an inline sans serif that incorporates wedge-like cutouts instead of curves. Superstar is an excellent choice for design work related to sports activities.

Enjoyable born from hand-lettered style combines fun and playful glyph with all-caps font; delivering a fancy hand draw that is guaranteed to add an eye-catching suitable for your quotes, logo designs, brand imagery, product packaging, merchandise & social media posts.

Inspired by the 1947 Weber font Gabriele, Gaby Pro is a freshly designed versatile and everyday cursive font that can be used for a wide range of printed products and for web design as well. The font was carefully extended for multilingual use.

A squarish font with rounded edges with an amazing number of ligatures—298 to be more precise. That should be enough to make your text look like hours of fun! You will need to use OpenType supporting applications to use the autoligatures.

Absolute Kiddos is a cute and playful display font. Use this font to add that special cool touch to any design idea you can think of! It is perfect for any branding project such as logos, t-shirt printing, creative products, and more

Wavy Rounded is a stylized sans serif display typeface by Japanese designer Hajime Kawakami. Some of the characters possess quirky features that randomly create fun visual “waves”. There is a handful of alternate characters including an old style figure set. Catch the Wave.

"Kids Brush" is a playful font that is cute and unique. This font is equipped with uppercase, lowercase, numerals, punctuation, and multilingual support. Very suitable for posters: 4th of July, summer, back to school, classmate, camping, father's day, teacher, Christmas, and others.

Phaley is a soft and charming handwritten signature script font that effortlessly exudes elegance and grace. With its delicate curves and timeless beauty, it adds a touch of allure and personality to any design or document, transforming words into works of art.

Mike Samiya is a playful and unique font crafted very carefully. Mike Samiya is perfect use for a logo for branding, typography design, christmas card, product packaging, invitation, quotes, t-shirt design, label poster, special events and anything that need handwriting taste.

Pejuang Cinta is a Script Font with Handwritten Style. The Pejuang Cinta font made with digital brush pen strokes that making this font look authentic. This font is perfect for fashion brand, wedding invitation, business card, logo brand, signature, and then calligraphy.

Golden Signer was inspired by vintage and tattoo letters. The font family comes with Regular and Serif type, completed with alternates characters, deboss style, shapes and also free ornaments. Golden Signer is a perfect package for any project that needs display lettering.

Vermilion is one of those colors that are neither/nor. It's an ancient hue, in between red and orange and I kind of like the name. Vermilion font is a hand written, narrow and tall typeface which comes with extensive language support.

Hope Sans™ takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman. The result is a sans serif family that is lively, inviting and deeply customizable. Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography. Hope Sans has been selected by the judges of the 22nd Annual TDC Typeface Design Competition to receive the Certificate of Typographic Excellence. The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy. Their friendly vibe also translates well to web and interactive design projects. Spacing is open, counters are large and Hope Sans’ range of six weights can provide just the right design for virtually any need. Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights – either with, or without, the swash letters. “Hope Sans is a paint box,” says its designer, Charles Nix. “In its basic form, it’s a sturdy grotesque, capable of setting text in a cool and relaxed way. But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning. And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.”

Aeonian, designed by Emilia Adorno, was mostly inspired by the iconic morphology adopted by the arts of the 1920s. One hundred years later we can still see the resemblance between the wants and the needs of now and then to reach for the sky, to look ahead and enter the future in style. Now as then, we seek the right tools to do so, then once again, we embrace the rational, yet elegant and stylish forms of simplicity, geometry and symmetry. At the same time, there is a strong and growing need for a warmer approach to creating lovemarks. For that, Aeonian’s alternates hold attractive, soft and inviting shapes to an emotional appeal. Aeonian is a combination of all of them. A rational side entwined with an emotional one. Born a geometric sans, Aeonian ended up being a 2 in 1 font with a sans serif set and alternates reaching over 1200 glyphs. The entire family contains 6 weights, from thin to black, with its matching italics. It features a variety of ligatures to be used as connectors, specially for display. It also offers multilingual support, even for certain display ligatures. Later, Aeonian kept growing, with stylistic alternate sets of initial, mid and final glyphs. These are its arms to reach for infinity with a warm heart. The wide range of possibilities that Aeonian offers, makes it the best font for creating vast design systems with a rich visual language.

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

Hamptons BF is a beautiful, elegant sans serif with dramatic individuality. A font that steps out in Art Deco style. As a design movement Art Deco came into prominence during the 1920s and 30s when forms were typically sleek, symmetrical, geometric or highly stylized. Today the influence of this enduring style can be clearly seen in architecture, industrial design, fashion, art, graphic design, and yes, even type design. Art Deco style exemplifies luxury, glamour and modernity. I believe Hamptons BF captures something of that retro look in a nod to the past without ever looking dated, all the while retaining a contemporary flair. Named after the well-known New York resorts synonymous with style and elegance, this gothic or sans serif type is based upon University Roman, an early 1970s serif design which in turn was influenced by yet another serif design called Forum Flair (late 1960s); and that in turn owes its pedigree to the late 1930s’ Stunt Roman, which is the original source of inspiration for all of these. Quite a family tree! There’s dynamic interplay between certain wide, full-round letters such as C, D, G, O, P, Q, R, S and narrow ones like A, E, F, H, K, L, M, N, U, etc. This contrast repeats throughout certain lower case letters and serves to create a unique look of distinction. Light and Regular weights communicate a romantic, feminine appeal while the Bold offers a complementary emphasis. The font is somewhat versatile as in addition to its primary purpose for display, Hamptons BF also succeeds in settings containing short blocks of large text. It’s right at home in a variety of typographic environments: branding, packaging, signage logos, magazine headlines, invitations, menus, trendy cafes and more. Among the included OpenType features are Stylistic Alternates, Automatic Ligatures and Fractions. There is extended language support for Western, Central and Eastern Europe and Turkish.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

A dangerous charm. A death hex. A summoning. An Invocation. An enchantment. An incantation to raise the dead. A supernatural chant. Be careful what you spell out with this font, you might get what you wish for...

Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )