Montesori is inspired by the economic forms and large x-height with a condensed style and a humanistic-grotesque typeface forms. It is a perfect option for editorial projects, branding, logos and packaging. Montesori comes in a variety of nine weights (Fine, Extra Light, Ultra Light, Light, Regular, Semi Bold, Bold, Ultra Bold and Black) with its two styles (round and italic) classified in two forms, Basic and Alternative. In addition, its case-sensitive shapes, ordinals, scientific inferiors, denominators, superscripts, subscripts, numerators, fractions... make it ideal for posters or infographics.

Dutch type designer Just van Rossum created this sans FontFont in 1991. The family contains 4 weights: Light, Regular, Bold, and Black and is ideally suited for advertising and packaging projects. FF Advert provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Advert super family, which also includes FF Advert Rough.

Canadian type designer Silvio Napoleone created this sans FontFont in 2004. The family has 20 weights, ranging from Light to Black in Normal and Extended (including italics) and is ideally suited for book text, editorial and publishing, logo, branding and creative industries as well as small text. FF Hydra provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Slovakian type designer Peter Bil'ak created this sans FontFont in 2001. The family has 20 weights, ranging from Light to Black in Condensed and Medium (including italics) and is ideally suited for book text and editorial and publishing. FF Eureka Mono provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with tabular lining figures. This FontFont is a member of the FF Eureka super family, which also includes FF Eureka and FF Eureka Sans.

Ljubljana was inspired by art deco lettering seen in Slovenia, Croatia and Romania. It includes the Latin, Greek, and Cyrillic alphabets. It is named after the capital of Slovenia. Ljubljana is unicase, composed of as few basic glyphs as possible. The basic glyphs are shown in black, and the derived or duplicated glyphs in grey. Ljubljana attempts to encapsulate the essence of both upper and lower case designs in a single glyph. It also explores the common origins of the Greek, Latin, and Cyrillic alphabets, using the same glyph in more than one alphabet.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

German type designer Yanone created this sans FontFont between 2009 and 2010. The family has 10 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Kava provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

German type designer Hans Reichel created this sans FontFont in 1999. The family has 12 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards as well as web and screen design. FF Sari provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

Swedish type designers Örjan Nordling and Göran Söderström created this sans FontFont in 2009. The family has 12 weights, ranging from Thin to Black (including italics) and is ideally suited for editorial and publishing, logo, branding and creative industries, poster and billboards, software and gaming as well as web and screen design. FF Dagny provides advanced typographical support with features such as small capitals, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with proportional lining, tabular oldstyle, and tabular lining figures. In 2011, FF Dagny received the ISTD award.

German design agency MetaDesign created this sans FontFont in 1997. The family has 18 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, small text as well as wayfinding and signage. FF Transit provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Rohn Rounded is a rounded version of Rohn. This family is a modern squarish typefamily with a large x-height and soft feeling. Its letterforms are based on the shape of square with rounded corners. With particular details and large x- height, it is more legible at small sizes both on screen and paper. It has seven weights from Thin to Black with corresponding oblique styles and each weight includes ligatures, fractions, old style numbers, case-sensitive forms and more. Rohn Rounded is ideally suited for branding, logo, packaging, magazine, poster and editorial design.

German type designer Ole Schäfer created this slab FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing. FF Zine Slab Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with tabular lining and proportional lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Sans Display and FF Zine Serif Display.

There are very few Western-style stencil digital fonts available, hence Overland Stage JNL. In the days when stage coaches, wagon trains, the Pony Express and the first transcontinental railroad crossed the landscape of this country, merchants shipped their goods any way possible to the growing territories and states. Picture wooden cases filled with dry goods, hardware or foodstuffs marked in hand-cut stencil lettering and nailed shut for their cross-country journey. Companion fonts to complement this design are Frontiersman JNL (Western lettering with an inline engraving) and Frontiersman Black JNL.

Straight Angles is a precisely designed three-dimensional font with a clean and futuristic look. The predominant angles are 90 degrees and 180 degrees with parallel and perpendicular lines. Each character is surrounded by a crisp black border of even thickness throughout the font. Upper- and lower-case letters are the same, providing a constant maximum top height while the stems extending below are allowed to show off their distinct personalities in order to spice things up. The 3D extrusion effect makes text appear to stand out from the page.

German type designer Ole Schäfer created this sans FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing and sports. FF Zine Sans Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Serif Display and FF Zine Slab Display.

Twisted Halloween typeface embodies the chills and mystique synonymous with a moonlit October night. Out of the norms, its characters undulate freely, rejecting a fixed baseline, giving each word a personality tinged with a blend of spooky and retro allure. Imagine letters that dance like shadows cast by a flickering candle, seemingly sketching tales of witchcraft, mystery, and the eeriness found in episodes of the Twilight Zone. Use asterisk * to make a Halloween cat, or multiple asterisks to make different symbols like pumpkins, demons, skulls. Example: Witch*Craft & Black******Magic

Designed by Olivier Gourvat in 2014, Filson Pro is a new geometric sans serif family with versatility in mind. With its 575 glyphs and its round aspect, this typeface covers all kind of graphic and web design projects. This font family contains 16 fonts from Thin to Black with a professional range of Opentype functions such as pro kerning,lining and oldstyle figures, stylistic alternates, case sensitive forms, localized forms and f-ligatures. For better typographic control, Filson Pro also includes Opentype class kerning with thousands of kerning pairs.

Swiss type designer Cornel Windlin created this display and slab FontFont in 1995. The family has 9 weights, ranging from Thin to Black and is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries as well as poster and billboards. FF Magda provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining and tabular oldstyle figures. This FontFont is a member of the FF Magda super family, which also includes FF Magda Clean and FF Magda Clean Mono.

German type designer Ole Schäfer created this serif FontFont in 2001. The family has 10 weights, ranging from Regular to Black (including italics) and is ideally suited for editorial and publishing. FF Zine Serif Display provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. This FontFont is a member of the FF Zine super family, which also includes FF Zine Sans Display and FF Zine Slab Display.

Cross Stitch Regal is based on upper case characters 25 stitches tall and contains upper case characters A-Z, ampersand, exclamation and question marks, comma, period, colon, and semi-colon.

To be independent or to be dependent? The formula “one plus one is one” is here essential for this to work. The different cases, upper and lower is dependent on one another. To give us clarity they have to work together, to be like one the upper and lower cases must work together. Expedition One works best in InDesign or equivalent software. How to use it: write your text in lower case, copy the text frame and ”Paste in Place”, change your lower case text to upper case (you do that under top menu->type->change case). Change colour if you want to and maybe change the blending mode in the effects window to “multiply” makes it even more sparkling. On numbers and ampersand for example, you have to use the glyph window in InDesign to find their second half.

Bullish is a clean, contemporary, geometric font family. There are 12 fonts in the Bullish family, Light, Medium and Bold. Each with a lower case, small caps, lower case oblique and small caps oblique. The small caps versions have small caps in place of the lower case alphabets. The lower case and small caps versions have the same uppercase alphabet, numbers, punctuation, symbols and miscellaneous characters. The Bullish fonts are ideal for headlines, titles, branding, small blocks of text or wherever a fresh font is desirable.

A decorative, maze-like multi-line typeface in two weights. Lower case is narrow, upper case is wide, the two can be mixed to give a variety of bold, dynamic effects.

The On Hangers family is a collection of fonts consisting of font-bats on hangers. Upper-case are on hangers and lower-case are not. Mix and match and have fun.

Cross Stitch Monogram is based on upper case characters 15 stitches tall and contains the upper case characters A-Z, numbers 0-9, ampersand, and a selection of various simple ornaments.

HS Alnada is a modern OpenType Arabic Typeface. It is a modern Kufi / Naskh hybrid and keeps the balance between its construction and calligraphic angular cuts. This typeface supports Arabic, Persian, Urdu and Kurdish variants and it is available in five weights: light, regular, medium, bold and black. They are refined with enhanced legibility and are ideally suited to advertising, extended texts in magazines, newspapers, book and publishing, and creative industries, meeting the purposes of various designs for all tastes.

Rebnick is a sans serif typeface where in the early design process, the adjacent stems and bars weren’t weld seamlessly and perfectly. You can actually find glitches which were carefully transformed into a custom language in it’s own and later became the coherent generic rule that keeps everything together. In display sizes, the ink traps give the font’s own character, while in small text sizes they create a good legibility and a well-balanced ratio between the black and white spaces.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Meet Wiblz (say “Vibbles!”). Wiblz is a Modern/Didone text family in the great tradition of squarish text families like Walbaum, Ibis, and Georgia. He has a high x-height and a great balance of legibility and readability. Plus, he supports the Latin alphabet, basic Cyrillic, Monotonic and Polytonic Greek, and the International Phonetic Alphabet. That makes him superlative in his usefulness and versatility! When searching for a didone typeface, it's often a struggle between blackness/legibility and stylishness/contrast. this is especially true of squarish didones, which number less than their round counterparts. Wiblz is an excellent balance between the two — clean and striking, good for uses from text to heading, and at home in print and on screen. Give him a try! He's a smart, adaptable, useful guy!

Horror/Metal/Punk upper case only font with varied double letters (open type feature). Open type Latin Pro with alternate upper case using the lower case, and varied double letters for an even more genuine handwritten look. (Open type feature.) Ink on paper, carefully and meticulously touched up digitally so that all letters will look good printed in bigger sizes.

This font is a slightly calligraphic roman font with one major difference. In place of the upper case characters, there are decorative lower case “Drop Caps” accentuated by a decorative rendering of the alphabet in script form. As enlarged decorative caps—great for beginning paragraphs set in any number of fonts including the lower case included in the font itself.

Broadveau is retro typeface that embodies the feel of both Broadway and Art Nouveau. The upper case characters are standardized, while the lower case letters contains playful curvy alternates that give the font its character. While most fonts maintain a common baseline, and vary in height, some of Broadveau’s alternates vary on the baseline, making for an interesting, yet surprisingly readable, textual landscape. This is a title case font only, which contains all the standard sub-255 (upper case) unicode characters. With the alternates it’s almost like 2 fonts in one.

Bumbershoot is a typeface for a rainy day. A letterbat font constructed of umbrellas, it does not have true lower-case letters. Rather it has two mostly different sets of upper-case characters.

Schema is a family of hand-drawn architectural lettering designed by Ethan Dunham. Schema comes in three weights, light, regular and bold. This font works well both in mixed case and upper case settings.

If there is ever a need for a heptagonal font, that is, a font based on a seven-sided polygon, Heptagroan may fit the bill, unless the need is also for true lower-case letters. Heptagroan is caps only, though some of the caps on the lower-case keys differ from those on the upper-case keys. Heptagroan is monospaced and is available in two weights.

Ovaltown is a geometric font family with three weights in which the letters are derived from ovals or ellipses. It does to have true lower-case letters but many of the characters in the lower-case slots differ from the corresponding characters in the upper-case slots. Ovaltown is strange, unusual, and bizarre and can be useful when one wants strange, unusual, and bizarre lettering.

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

Wardshus Calligraphy is a unique blend of medieval gothic style and modern script, creating a distinctive and eye-catching blackletter font. The heavy, hand-drawn design brings an air of the Middle Ages to your projects, making it perfect for logos, posters, rock or hip-hop music album covers, and other display purposes that require a cool and striking touch. The beautiful cursive elements add a touch of elegance to the font, while the bold strokes and intricate details give it a strong presence. Wardshus Calligraphy is a testament to the rich artistic history of the past, reimagined for contemporary design projects. Use # after any letter to make a crown. Example: Que#en Use underscore _ anywhere to make a swash. Example: Kingdom_Heroes Use multiple underscores to make underlines of different lengths. Example: Knig___hters The Wardshus Calligraphy font family includes nine high-quality styles to suit various design needs: Regular: A well-balanced, classic blackletter script style. Regular Upright: Adds a more controlled, vertical look to the regular style. Regular Italic: Combines the balance of regular with a touch of expressiveness. Bold: A stronger, more assertive version of the script for impactful designs. Bold Upright: Merges the boldness of the bold style with the structure of upright. Bold Italic: A dynamic fusion of the bold style and the energy of italic. Black: The heaviest, most powerful iteration of the blackletter script. Black Upright: Combines the weight of the black style with the upright structure. Black Italic: Adds expressiveness and flair to the intense black style. Built with advanced OpenType functionality, Wardshus Calligraphy ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs truly unique. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Genova is a sans serif type family with 4 variables namely Thin, Regular, Medium and Black. This font has a harmonious and beautiful shape that makes it perfect for all your needs for long text, branding, logotypes, print designs and more. This font is made in detail and measured by using geometric details to make this font look balanced and minimalist. This font is dedicated to the use of all needs in 2023, and will be the most popular and best selling font of the year.