With the Josef K *, Julia Sysmäläinen continues her artistic debate on Franz Kafka’s writing style. This time the designer of FF Mister K is not drawn to Kafka’s literary works created at night but to those the writer produced at daytime as a high-ranking, confident bureaucrat – Dr Franz Kafka. The typefaces Josef K “Paneuropean” and “Strong European” echoe Kafka’s prestigious status at the Workmen’s Accident Insurance Institute of the Austro-Hungarian Empire. Their ductus, originating from a broad-nibbed ink pen combines a clear, self-confident stroke with the calligraphic features so typical for Franz Kafka’s handwriting. While both typefaces are more straightforward and bolder than the wonderfully erratic fonts of the FF Mister K family Josef K Paneuropean is best characterized as a semibold handwriting textface. Josef K Strong European, Sysmäläinen’s latest “K”-accomplishment, provides an ideal complement to it as a distinctly bold display face – great for headlines, product names and branding. It combines perfectly not only with Josef K Paneuropean but also with all the FF Mister K textfaces. Both Josef K Paneuropean and Josef K Strong European have Western, Central European and Extended Cyrillic character sets. With more than 2500 glyphs they support over 100 languages. *Kafka’s persona Josef K is a leading bank officer – reminiscent of the author himself – in the novel The Trial.

Feel Script is based on lettering that calligrapher and logo designer Rand Holub created for Intertype for his face Monterey. Fortunately, I didn’t have the technological limitations today that Intertype had back then. Holub’s lettering is presented in its entirety within Feel Script. Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), along with many new alternates, ligatures, ending forms, and strangely beautiful character combinations. The experience I’ve accumulated from my previous calligraphy typefaces (Ministry Script, Affair, Buffet Script, Burgues Script, et al.) made it easier for me to apply Holub’s lettering in a new context using OpenType technology. The usual extended treatment was given to Feel Script, all the way into the implementation of three-letter ligatures and the dreamiest swashes I could imagine. I changed some of the connections between the lowercase letters in order to fit Holub’s calligraphy as opposed to the limited Intertype metal attempt. I hope you like Feel Script. I also hope what I contributed to this particular Holub design is somewhat of a happy ending to a calligraphy story that crosses many technologies. From the pen to computer Bézier. My part of this story stops here ... and yours begins. Feel Script has more than 1200 glyphs including: stylistic alternates, contextual alternates, titling alternates, swashes, and ligatures. Check out the PDF!

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

Pseudonym is a low-contrast, subtly-flared serif available in four weights across three styles in both roman and italic. As with all of my typeface designs, I am creating fonts that I would use myself for branding purposes—typefaces with style and purpose that are intended for use in creating logos and distinctive branding typography. I wanted to create a typeface that had incisive flared serifs combined with the strength and solidity of modern grotesque faces. The result is Pseudonym, which I feel has great presence, style and legibility. Although I must admit, I had to tone down the flared serifs during the design process in order to achieve that :) I’m sure you will have great fun playing with some of the Open Type features that I’ve added to Pseudonym. There’s a full set of true small caps with their corresponding diacritics and figures. There are also a number of discretionary ligatures, these are chosen from the glyphs palette in your layout app to replace pairs of standard characters. You’ll also enjoy making use of the catchwords – these have been created to harmonise with each style, again, giving you more flexibility and scope to create some innovative typography. Finally, there are some alternate characters for /C/D/O/. You may wish to use these when creating logos that include standard contractions for limited, number, incorporated, etc. Key features: • Pseudonym is a low-contrast, subtly-flared serif that has great presence, style and legibility • 3 styles – Narrow, Regular and Wide • 4 weights in roman and italic: • Light | Regular | Medium | Bold • Full set of small caps with diacritics and figures • 30+ discretionary ligatures, catchwords and alternate characters • Full European character set • 600 glyphs per font

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Marginal Notes SRF is from the creative pen of Ray Larabie whose Typodermic foundry graces MyFonts.com. Designed to emulate the look of handwritten words using a felt tip pen, this font can be perfectly applied to any project where notations, subtext, memos or other forms of personalization with a human touch is required. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

I was cleaning out my pencil box and found an old marker pen. I wanted to throw it away, because it was leaking all over my stuff, but decided I could use it one more time. The result is Full Blast font: a ‘brush’ font (made with that leaking old marker pen). Use if for your fireworks packaging, fiery pepper sauce bottles and whoopee cushions (and just about anything else as well). Comes with an explosive amount of diacritics.

And the day in which I introduce my second typographic family has arrived. In order to do this, I borrowed several passages from this beautiful book by Maurice Maeterlinck, “Life and Flowers”. His poetic observation of Nature made me reflect about the small discoveries behind the flow of my pen on paper. About that quick, spontaneous, overwhelmed stroke, with some awkwardness as well as certainty in it. About the writing that looms line after line. About the mischievous stains of ink flooding my writing tool. Lady Dodó was born as a product of these drawings, pieces of writing and reflections. Following the steps of its ancestor and friend, Lady René, it takes advantage of the goodness of the Open Type technology to propose a systematized as well as a personalized writing font. Both friendly and challenging. Due to the large number of alternate characters (both for lower and upper case as well as for numbers) and to its precise programming, it proposes to design diverse and rich typographical sets with multiple strokes in a simple way. However, Lady Dodó is not just made of typographical signs; it also proposes a set of modules to make patterns and another one to design frames. From the combination of these modular signs, an infinite universe of possibilities for decoration arises. Here is Lady Dodó, ready to get started and write its destiny. July 2015.

Salt&Spices Mono is the mono lined version of Salt & Spices Pro. Where Salt & Spices Pro has the rough contours and high contrast that is typical for dip pen calligraphy, Salt & Spices Mono has clean crisp smooth letterforms that result in a totally different look and feel. Great for creating neon effects. Fun features like connecting spaces and long swashes for customization of words and phrases are preserved in Salt & Spices Mono. This versatile 10 font family, consisting of 4 casual script styles: Regular, Bold, Shadow and Bold Shadow offers great flexibility. For instance: the appearance of initial and terminal letters can be customized using the glyph pallet. Contextual alternates, Swashes and Stylistic sets give you the ability to replace spaces by 3 alternate connecting spaces or add swashes to initial/terminal letters. Double letter ligatures help sustain the natural flow of handwriting. In addition to the 4 script styles 3 SmallCaps Sans styles and 3 SmallCaps Serif styles were added, all mono lined. They add great variation to your designs and supplement and support each other perfectly. Add exceptional language support to all that and you have the perfect ingredient to spice up even the most demanding design project. You'll need an Open Type savvy application to get the most out of Salt & Spices Mono.

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

Yafferbuddle comes in the category of 'a funky fun font' with a pleasing rounded shape, but it still has the extensive range of features you'd expect in a modern OpenType font. It's especially useful for posters, headlines and comics. There's 5 weights and a Shadow version in Regular and Italic, making 12 fonts in all. To let you know what's in the font that you might otherwise not suspect . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period where given. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's even some of the more obscure stuff like the main mathematical operators, symbols like card-suits and male/female signs and so on, schwa, U-horn O-horn, and there's more if you can Access All Alternates. Much will depend on what features your software recognises.

A mechanically drawn felt tip pen styled font with matching common cap styles suitable for greeting cards, posters, and announcements. Ravenna requires subjective display kerning and compensation.

Novela is a chisel flat pen style written with overtones of Uncial, from century old scribes. Very suitable for greeting cards, headlines, packaging and many other applications.

Based on informal pen handwriting. A set of Western and Central European characters was added in 2011 by Gennady Fridman. For use in advertising and display typography.

Akoyster is a fusion of cyberpunk visual culture & contemporary calligraphy with broad nib pen. It's ideal for eyecatching bald statements. Enjoy wiered shapes and create new future.

ALYRAK is born from the anxiety of the future dystopia of the human race. The fear of Artificial Intelligence, robots, and technology that potentially invade living things. Represented in a font and visual to emulate the vibe every time you type it from your keyboard.

Horror Metal is a brush font with a bold weight font that’s perfect for any horror or metal designs! As its name suggests, Horror Metal is not a font for the faint-hearted. In fact, using this metal-style display font requires courage and bravery.

Digby is friendly, honest and active. Digby family includes twelve hand-drawn fonts. They work well together, in fact Digby Line Thin fits nicely over Digby Regular. All have a generous set of double letter ligatures and are designed to work great as all-caps.

This came from an early-1900s lettering book. Never was an actual font, but it has a quaint look that should be useful. We hate to see alphabets just fade away, which is why we make fonts like this. We added a few touches.

Feast your eyes on Paiute, the sultry script that'll have your design looking hotter than a Vegas summer! This font is so seductive, it'll make your audience swoon harder than when Elvis was at the Sands. The exaggerated top stroke and sharply slanted terminals give Paiute a look that's straight out of the vintage Vegas scene. It's like the Rat Pack meets Marilyn Monroe in a smoky casino bar. Whether you're designing a magazine cover, book cover, or movie poster, Paiute is the perfect choice for that extra touch of va-va-voom. It's like sprinkling glitter on your design - except it won't get stuck in your hair. So why settle for boring fonts when you can make your project stand out like a sequined jumpsuit? Let Paiute help you bring that authentic 1960s Vegas vibe to your marketing. Your audience will be shouting "Viva Las Paiute" in no time!

We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside. Well, my fine, font-finagling friend, you'd be Dead Wrong! This really is an All-New, All-Different, All Star, Ultimate Collectable, from the Comicraft House of Ideas! Our Dynamic Duo -- Johnny Comicraft and Ferran 'Nuff Said have brought you another winner from the Silver Age of comic book lettering. It’s a little worse for wear, we admit it, but wouldn't you be after three rounds with the Justice League of Avengers Assembled?!? See the families related to Battle Scarred: Battle Cry & Battle Damaged .

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

Schlub is just plain weird. It looks like it was drawn with the left hand of a right-handed person using a gloppy pen yet remains very legible.

Based on informal pen handwriting. A set of Western characters and two bold weights were added in 2011 by Gennady Fridman. For use in advertising and display typography.

Developed by Comicraft's Dutch Masters to give DC's BATMAN & ROBIN ADVENTURES a crisp, clean, Art Deco look, all four pints of DUTCH COURAGE are available as one font family. Please refrain from operating heavy machinery within one hour of partaking of these intoxicating fonts.

Messaline is a brush script written in a relaxed and fast way. Letters made with brush pen on paper. It is then carefully scanned and drawn into vector format. That's why Messaline has organic, authentic and relaxed characteristics. Suitable for use on title designs such as book titles, stationery designs, quotes, branding, logos, clothing, invitations, greeting cards, t-shirts, packaging designs, posters, and more. Messaline has a dry brush pen texture and Solid is a slightly cleaner version. Thank You!

Gloss & Bloom is rough script font made with a brush pen. This font is made from the awesome work of Sean Delloro. Enjoy this natural brush pen script font to create cool logotypes, posters or invitations. The full commercial version comes with a complete set of alternate glyphes and a wide selection of underlining styles and splaters. This font contains: Uppercase & Lowercase font Stylistic Alternates Lowercase and uppercase alternates A set of 14 underlining styles 8 Ligatures 6 splatters OpenType Features

Dragonflight Pro is a script collection of four modern calligraphy fonts. Each glyph was hand-drawn with a brass folded pen dipped in ink. The tip of the folded pen resembles the shape of a dragonfly’s wing, hence the name. By tilting the pen variations in line width are made. This produces fun, expressive letters with a spontaneous personality. The regular and rough version of Dragonflight Pro have alternate glyphs that can either be accessed by the swashes feature, stylistic set 1, or the glyphs panel, depending on the application you are using. There are lots of discretionary ligatures that offer even more variation. By typing _1 to _10 you can access bonus swashes that are part of Dragonflight Pro Regular and Rough. Both fonts have 567 glyphs. Dragonflight Pro Sans is an all caps font with 402 glyphs, also hand-drawn with the folded pen, that compliments the other styles perfectly. Dragonflight Pro Extra offers an additional 117 swashes, doodles and ink splatters. With Discretionary Ligatures activated you can type an underscore in front of a letter and (when available) this gives you the rough version of the glyph.

Verbindig is a modern serif style typeface. With over 45 joining ligatures and 3 different Styles it's easy to make a unique logo, headline or poster in seconds. Regular, Bold & Extreme Multilingual support Numerals & Punctuation Fun fact: Verbindig means connection in swiss german - yes I'm from Switzerland

Real trouble is going to hit you with this font! In fact, you most like didn't know what hit you! Perhaps one of the 5 different versions of each letter?! Well, these cycles automatically as you type! Besides all the trouble, Troublemarker has got extensive language support!

Sportesia is a modern and techno-looking display font. It is the perfect font for any sport or racing-themed projects, such as logos, posters, games, product designs, and much more. Sportesia is PUA encoded, which means you can access all the glyphs and swashes with ease!

Cul De Sac is a beautiful cartoon-like font. It was hand drawn, using an old fashioned pen and India ink. Use it for your ads, posters and websites.

Kaz is a casual yet sturdy hand lettering font somewhere between architectural hand lettering and "comic sans". Kaz Thin offers a variation for the look of a thinner pen.