Crisis is a child of the dictatorship of economics. Since time is money the time budget of its production has been rigidly limited. Crisis was designed and generated completely on one single day. The target was to make a useful font while investing nothing more than absolutely indispensable. The component-based glyph construction scheme of another font has been utilized, further detailing work has been strictly limited. Due to those restrictions some letters have rather unusual shapes. This straightforward and contemporary sans (320 glyphs) is of compact proportions and very legible even when set in small sizes. In printing you get more text on one page and thus save up to 30% of paper.

Alternate Gothic was designed by Morris Fuller Benton for American Typefounders Company in 1903. All three weights of Alternate Gothic are bold and narrow. In fact, this face is essentially a condensed version of Benton’s other well-known sans serif types, Franklin Gothic and News Gothic. In the early twentieth century, the modern concept of type “families” had not yet been formed — and though Benton designed these sans serifs to harmonize with each other, the foundry gave them different names. Robust, dark, and coolly competent, Alternate Gothic is a good choice when strong typographic statements must fit into tight spaces. As a modern usage, it is currently the font of YouTube’s homepage logo.

This set reproduces over 350 of the signs contained in German typographer Rudolf Koch's "The Book of Signs," the symbols include Astrological, Christian, Medieval and Runic iconography.

A little funky, a little fun and thoroughly unusual - this is the best way to describe Yargo JNL. This novelty font is best used in short phrases and at large point sizes. No kerning has been added so the letters can retain their hand-made look and feel.

Strong and distinctive, yet soft and cuddly. This is a rounded sans serif design that features slightly thicker horizontals. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Styled after the monogram of the USS Greenling 213 emblem (a submarine that my grandpa proudly served on), I created this typeface in honor of his long and wonderful life. With both Regular and Rough styles, this typeface comes complete with multi-language support, special characters and symbols.

Introducing Sociato: a typographic trendsetter. It's a quirky font that perfectly blends modernity and antiquity. The French Revolution was a period of uncompromising innovation in art and fashion, with celebrity artists, notably Jacques Louis David, creating propaganda for the new regime. This regime failed, but we have rare historical artifacts related to this historical upheaval. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being. It's a stunning piece of work, with a wild, baroque layout and hand drawn typography. Words leap off the page in a cascade of sounds and shapes, and quirky letterforms give it a lively, almost mischievous character. It's a veritable goldmine of typographic ideas. This typeface is based on the hand lettering in the original manuscript, but it has been enhanced by adding a full variety of characters. The typeface comes with a comprehensive range of diacritics, including old-style figures. The typeface is suitable for a wide range of uses, including titles and headers, and it should look beautiful in any typographic setting. Use Sociato to create a revolutionary identity, as bold and audacious as the French Revolution!

Eckhardt Sans JNL continues Jeff Levine’s “mini series” of fonts modeled after hand-lettering used by sign painters; and named after his good friend, the late Al Eckhardt of Allied Signs in Miami, Florida. Clean and somewhat condensed, this sans face has chiseled edges on many characters and the warmth of the lettering once made by brush or ink pen. Use this font in conjunction with any casual typeface to invoke the days of sign shops and talented lettering artists.

Introducing Wild Believers, a bold vintage serif treasure that takes you back to the golden era of classic typography. This font embodies the timeless charm and elegance of vintage serif typefaces, with a bold twist that adds a modern edge. Elevate your designs with the charm and character Wild Believers. Let it transport your audience to a bygone era, where elegance and tradition reigned supreme. Rekindle the nostalgia of classic typography and make a bold statement with this captivating font.

Lateman is a casual font built with apps. with freestyle and natural make this font look friendly to the project you are working on. Lateman only consists of uppercase letters, but if it collaborates with other fonts, it will feel more striking like the preview example above. This font was created for superhero movie titles and is perfect for movie titles, superheroes, action, animation, war, and more. You can see the sample preview above for comparison, stay the center of attention and classy!

Island Life is a font inspired by the loose, wavy style of the type associated with 1970s surf culture. Often found on lo-fi surf movie posters, t-shirts, and decals, it’s an aesthetic that promotes a laid-back, summer-loving style. With a zen “be like water” approach, this font has no straight edges. Behaving like letters inside a Lava Lamp, each individual character blends into a harmonious whole; perfect for groovy titles, logos and headers. The Island Life font features unique uppercase and lowercase characters, along with numerals, punctuation and language support, symbols and lots of custom ligatures for a truly hand-made look. All ligatures function automatically and can be turned on/off using the opentype features built into your software of choice. It’s the perfect font for the summer season and works great across posters, logos, t-shirts, menus and more. I recommend first laying out your text and then experimenting with warp, wave and bulge effects for some excellent results. Check out the visuals to see it in action. Enjoy!

Introducing a new modern calligraphy font - Olella. This gorgeous script is for those who need some elegance and style for their designs and is perfect for wedding invitations, date cards and feminine branding. Olella includes the full set of Basic Characters, Numbers, and Lowercase Punctuation. Also contains binders and many stylistic alternatives to perfectly recreate natural calligraphy (check the preview to see all of them). You can check your language typing characters in the text box below. If you have any questions regarding my products, feel free to write a message or contact me via email cooldesignlab@gmail.com. Thank you very much for visiting my shop!

Alga is a high contrast modern typeface with a contemporary look. It has subtle details that make it appealing for big sizes and headlines. It is a lively and charming serif typeface with lots of fancy curves. It is a serif typeface that will shine in headlines and short pieces of text. It also works in smaller sizes, but it is not for the tiny text sizes. Alga started from an exploration of the thinner weight with this idea of a tall and elegant serif typeface with low contrast. Then it evolved to be a high contrast font in the bold weight. But always keeping its style and personality.

I digitized and revitalize Hostetler Fette Ultfraktur Ornamental from the classical type specimen book from Rudolf Hostetler. He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of “Technical Terms of the Printing Industry” (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Epica is a contemporary interpretation of the Venetian Renaissance types. A humanist type family with a contemporary design. This family encompasses different typographic scenarios with emphasis in style and functional equilibrium. Its letterforms show the visual richness of Epica that includes some calligraphic reminiscences perfectly legible in small and display sizes. Its strong personality makes it distinguish, because it perfectly combines the elegance of antique typographies and the forcefulness of contemporary ones. This family has been designed in two different moments. Epica Serif, which have a more classical design, was finished 5 years ago in its first version. The first sketches were drew 8 years ago during the Master of Type Design at the University of Buenos Aires. Through the years was re design in several times to the point of reaching its current version. On the other hand, Epica Sans was completed in 2020 and is the counterpart of Epica Serif. A complementary system designed to enrich the serif version and give new options for hierarchy and composition. This is a versatile type family perfectly fit for books, editorial, and usage in print and on screens. It possesses great legibility in body texts, which makes it ideal for extended reading and supports a variety of languages.

I'm letting my inner nerd show through on this one: "Chaotic Neutral" is a Dungeons & Dragons thing. But the name applies to this font, too! Chaotic: This font has all sorts of built-in irregularities. Some variation in letter heights and letter widths, and the stroke widths are all over the place. It's all about the hand-written messiness. Neutral: And yet! I've smoothed the strokes a bit, and gone for as few nodes on each letter as I can (while still keeping a bit of roughness), so this font can be used for any kind of purpose -- not just print, but cutting out as well! Chaotic Neutral also comes with over 300 extended Latin characters for language support, and is fully PUA-encoded for easy access no matter what program you're using.

Introducing, A NEW RETRO BOLD FONTS WITH STYLISH AND ICON ALTERNATES, Psyche lover! Psyche lover is a retro font serif based that contains stylish alternates! You can make a unique branding retro and psychedelic designs with this fonts. This stylish bold fonts also included extrude and outline style that will compliments the regular style for more retro looks! This fonts suitable to use for poster, branding, merchandise, and any retro style! The "Love" shape also included in this font as an alternates for character "o". You can see all the alternates from preview above!! Also support multilingual and already PUA Encoded! Thank You!

A calligrapher, graphic designer and teacher, Duško Trifunović of Belgrade created this handsome calligraphic typeface called Sloboda. It has an open design, an outline of sorts, and though the lowercase is small and compact, it sets beautifully in text. The generously sized uppercase has a swash flavor to it yet works harmoniously with itself. This OpenType font has extra ligatures and the extended character set supports Central Europe.

We have created this family inspired from the set of well known Auriol fonts used by the French popular "cheerful" satirical magazine Fantasio (1906-1948). The present version contains Normal, Italic, Bold and Bold Italic styles, in use for texts, plus narrow titlings and normal outlined with upper and lower case, both in use for titles. This family may be used together with 1906 French News, 1906 Titrage and 1890 Notice.

This elegant and somewhat edgy typeface is a faithful revival of Numantina, designed by Carl Winkow amd released by Madrid's Fundición Tipográfica Nacional in the 1940s. The lowercase letters take their design cues from medieval Spanish uncial lettering, making this face a natural choice for intriguing headlines and subheads. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

"With Lovely" is a very pretty handwritten font. This font has beautiful decorations in the form of love, birds, and butterflies. This font features uppercase, lowercase, alternative, swashes, titling, binders, numbers, punctuation, and multilingual support as well. The font decoration is very easy to apply, and there are also instructions for use in the preview. Great for weddings, Valentine's Day, invitations, stickers, birthdays, Christmas, winter, Easter, and so on.

Dilemma is a sans/sans serif type system with 42 styles; it is inspired by the anonymous Polyphème, Cyclopéen and Extra Condensé designs from the early 1900s at the Peignot Fonderie. From these initial points of reference, Sudtipos went further and reimagined these projects for an actual use by blending them into a unique and complex type system. Dilemma is defined as ‘a situation in which a difficult choice has to be made between two or more alternatives, especially ones that are equally undesirable’ and that is exactly how we designed this font. We created a workhorse system where each style functioned well alone but would be more powerful when working as a team, pairing the sans styles with the serifs. Dilemma comes in 3 different widths and 7 weights in both the sans and the serif, ranging from the more economical yet legible condensed styles, to the opulent bold and expanded weights. Dilemma also contains 2 Variable Fonts. We imagine Dilemma being used in a limitless array of graphic projects including identity systems, digital platforms, public spaces, editorial design and beyond. Now the Dilemma is yours.

ITC Kallos is the work of British designer Phill Grimshaw, a text typeface family with traditional calligraphic flair. It is the result of Grimshaw's first experiments with text typeface design. The long ascenders and descenders of the lowercase alphabet lend them a look of sophisticated elegance. The capitals display the unmistakable influence of the pen and the proportions of classic inscriptional forms.

The original version from this display sans-serif typeface was Van Condensed, published during 2004 (Latin, Greek and Cyrillic). Van Condensed Hebrew is the last script update, where the Hebrew characters follow the same design approach from the Latin characters (geometric structure, round corners). The only big difference between the Latin and Hebrew characters is the contrast, Hebrew letterforms contain reverse contrast.

Introducing Kaylani – a Vintage Script Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: - uppercase & lowercase - numbers and punctuation - multilingual support - ligature - alternative - swashes - PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature. Happy Designing!

Introducing Niraloka – a Serif Vintage Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: uppercase & lowercase numbers and punctuation multilingual support ligature alternative swashes PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature.

Keraasih is a graffiti display font that combines art, freedom, and the beauty of handwriting. Crafted with boldness and expression, this font is the perfect solution for projects that require a unique artistic touch and beautiful handwriting. With Keras, you can create striking and eye-catching designs. This font gives you the freedom to express your creativity and exudes a style like no other. The expressive look and strong character make Kerasih a standout choice among other fonts. The artistic touch in each letter and the intricate details make Keraasih so attractive. Every cut, line, and stroke exudes boundless creative courage and passion. The bold graffiti design and the feel of beautiful handwriting create a unique and eye-catching combination. Keraasih takes you into the world of art and freedom. Use this font to create eye-catching posters, memorable logos, or cool merchandise designs. With Kerashy, you can bring an interesting and evocative touch of art to your projects. What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

Blinkstar Font Duo is a playful script containing many choices of alternative characters to choose from as well as ligatures that look natural to add to the authenticity of letters. A collection of strange and initial swash tips is also included to add finishing touches or fill the design space in your type design. Blinkstar scripts are calligraphy handwriting fonts, loaded with awesome opentype features, and full alternative upper and lower case character sets. make custom letters a dream thanks to all the extra decorative choices you can enter for beautiful and unique customizations - swash, endings, alternative letters and ligatures all make it the prettiest little thing since tutus and tiara. Designed to work harmoniously, this duo font consists of super fine and casual signature scripts and a complete and clean set of all sans serif letters. Sans Serif fonts consist of two outline fonts of different weights, and a regular version. Layer them with different colors and turbidity to get a million different views. This font is perfect for branding, logos, web and editorial design, branding, prints, invitations, crafts, quotes, and more. Including Files: • Blinkstar Script • Blinkstar Sans Regular • Blinkstar Sans Outline Need help? If you need help or advice, please contact me by e-mail "Greatstudio92@gmail.com" Thank you for your purchase! Cheers, Great Studio

The robust and contemporary sans-serif typeface Rethink, comes with strong characteristics. The typeface is made for work in text as well as in display. It features nine weights in two styles, including Small Caps, a set of contemporary OpenType functions, multiple figure sets and a rich language support. Rethinks main characteristics are the non-straight stroke endings and a slope that might come in an unexpected direction. It brings a bit of movement to the baseline and some attraction to the shapes in bigger sizes. These details are designed to ‘disappear’ in smaller sizes and to not disturb a reading process. Rethink was designed with the idea to help spreading bold ideas ond strong opinions, to support the work of activists in contemporary movements, to design statements with impact and meaningfulness.

The font family Brun includes two styles Regular & Clean. Brun is a casual, modern and hand brushed font. I've designed Brun carefully with the intention to preserve in its glyphs the original tell-tale dry brush imperfections and a bouncy baseline for a more personalized effect even more authentic. Brun Clean preserves the characteristics of a brush font without being dry brush stroke. As an exclusively Open Type release, with 575 glyphs and 35 ornaments, it has several special alternatives for all letters with lots of possibility an an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, swashes and stylistics alternates for each letter, beginning and ending letters. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. This will help your creativity and make it easier to make the impressive and elegant typographic work. This font is a perfect choice for greeting cards, posters, labels, t-shirt design, logos, and more. Brun was made to make your project more beautiful and attractive! Have fun with it! To activate the optional glyphs you may click on buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Enjoy it!

Julietrose debuted in May of 2006 and was quickly embraced by members of the graphic design community, who found it as charming as its name. The playful, full-bodied script began to show up in all forms of graphic communication. However, it soon became apparent that a bold weight would add more versatility to the design. Martin Wait, Julietrose’s designer, happily obliged by drawing a new and more forceful weight of the typeface. Where Julietrose is vivacious and lighthearted, Julietrose Bold is assertive and speaks with authority. They are clearly sisters, though – both weights feature flamboyant swashes and elegantly long ascenders and descenders. Both designs also offer a suite of swash and alternate characters, and are available in OpenType format The Julietrose family is small but irresistible. This pair can easily charm their way into such diverse uses as posters, restaurant menus, social announcements and even product brochures.

Parto Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing more typographic flexibility. It enables, moreover, the use of this typeface for decorative headlines. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parto supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parto Font is available in Regular and Bold. Parto design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parto is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parto's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parto was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

This face was designed by Andre Guertler’s class in room 505 at the Kuenstgewerbeschule in Basel. It follows the principles of Frutiger’s Egyptienne, and won the first of the VGC type competitions.

Bailamore is a retro boldscript font. We're pouring the lettering styles into fonts. As much as possible we make this font well integrated with spacing and balance of space. We made 159 ligatures. Activate the ligature mode and you are like being a lettering artist, plus 85 alternates to enrich the feel of lettering. This font consists of 3 fonts, namely regular, outline and shadow. Regular stands alone, while outline and shadow are complementary if you want a 3D extrude impression. Please see the video torial here: https://youtu.be/H71JEgEOows Please try and enjoy the retro bold Bailamore script

Reywak is an impactful new font that merges the clean look of sans-serif fonts with the powerful symbolism of Arabic characters. Its readability makes it the perfect choice for headlines and long reads, while the unique allure of its arabesque design lends itself beautifully to posters and greetings. Reywak: use it to make your content a cut above the rest. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

OBL Gianis is a family of compact geometric sans-serif typefaces designed with a strong focus on headline utility while infusing a touch of subtle naivety. We drew inspiration from the rigid yet rhythmic construction principles found in late 20th-century geometric classics like Avant-Garde, Futura, and Kabel. OBL Gianis seeks to salvage and build upon the legacy of geometric typefaces as they continue to evolve in the 21st century. We've considered various real-world scenarios and use cases, adapting to the ever-changing visual culture. This evolution has given OBL Gianis its unique quirks, including a larger x-height to accommodate bold usage in tighter typesetting, a compact double contour to balance the larger x-height, and shorter descenders and ascenders in lowercase characters. With extensive Latin character support (over 1000 glyphs) and 18 different weights and accompanying italics, OBL Gianis is well-equipped to meet the ever-changing demands and trends in headline typesetting.

Lenga is a kind of beech originally from South America. The explorers who discovered this beech in Tierra del Fuego, thought it looked like a tree from their home country and named it 'Lenga'. Like many of southern hemisphere beeches, the Lenga beech is fast growing and hardy, making it an ideal timber tree. It regenerates easily after fires. The wood has good quality, moderate durable, and easy to work. The Lenga fonts were inspired in the nobility, robustness and flexibility of those trees. They have a distinctive personality within contemporary atmosphere. These fonts are quite appropriate for headlines, subheadings and with its text flow works very well for long texts. Their legibility is suitable for editorial purposes mainly in newspapers and magazines. Lenga comes in 16 styles carefully done in OpenType format. All styles contain standard and discretional ligatures, proportional lining figures, lining old style figures, scientific superior/inferior figures. The complete set supports Western European, Central and Eastern European languages.

Gluon is a font that is perfect for headlines, logos, posters, and much more. This font combines the minimalism, the futurism and aesthetics. We wanted you to feel the cosmos and its beauty when you look at the font. Three weights will help you choose the perfect combination with your design. Initially, the font was developed for the company's logo, but later the idea was slightly revised. The idea of the font is to convey the spirit of the future, but leave the beauty that we are used to seeing. The design was developed by Eugene Bunin and Beginskaya Christine.