Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer. The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography. The FDI version of Krimhilde offers both original styles (regular and bold) as “version A” with a full Latin 1 character set. “Version B” has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes. In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

FF Casus was drawn for print – but is also as natural for textual content in interactive design. It brings warmth and a subtle, handcrafted quality to pages in books and periodicals as well as banners and informational copy on large and small screens. It pairs flawlessly with a wide range of sans serif typefaces to create inviting and easy to read text copy. Drawn by Eugene Yukechev, FF Casus is a fresh take on the robust serif typefaces produced early in the 18th century. The FF Casus™ typeface family takes advantage of slightly narrowed proportions, moderate contrast in stroke weight and an ample x-height to achieve high levels of legibility and efficient use of space. Born in Novosibirsk, Russia, in 1980, Yukechev earned degrees in philology in addition to editorial and graphic design. He also graduated from the British Higher School of Design in Moscow, studying type and typographic design. Yukechev now runs the Moscow-based studio “Schrift Publishers” and the online “Type Journal” with his colleagues. The six weights of FF Casus – each with an italic complement – are available as OpenType® Pro fonts with an extended character set supporting most Central European and many Eastern European languages. Looking for something new – with the panache and warmth of an old book face? FF Casus may be the perfect choice.

Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.

The German designer Emil Rudolf Weiss originally created Weiss Rundgotisch for the Bauer typefoundry in 1937. In their catalog for the typeface, Bauer began with this quote from Leonhard Wagner: The round gothic (rundgotisch) script is the most beautiful kind of script; she is called the mother and the queen of all the rest." While designing Weiss Rundgotisch, Weiss was inspired by Renaissance types cut by the Augsberg printer Erhard Ratdolt. Ratdolt had spent some time in Venice, which is most likely where he became familiar with round gothic letters. This sort of letterform was never as popular in Germany as Fraktur or Gotisch may have been, but round gothic types were used there for centuries to represent arts and craft feelings, as well as old-fashioned handwork. For a blackletter typeface, Weiss Rundgotisch is very similar to normal serif and sans serif designs, especially its uppercase letters, which seem to have some uncial influence in them as well. Therefore, Weiss Rundgotisch is more legible for contemporary readers, making this an excellent choice for anyone looking to set text, logos, or headlines with in blackletter. Weiss Rundgotisch was apparently quite a difficult typeface to design, even for a master designer like Weiss. He began work on the face in 1915; Weiss Rundgotisch's development took over 20 years to complete."

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in a magazine from the Otto Maier publishing house, Ravensburg, which was issued sometime in the years shortly before WWI. The magazine is entitled ”Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete“ (Collection of scripts for technical specialists: reduced scripts of the most significant alphabets) and published by Karl O. Maier. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. The characters have been scanned, digitized and greatly magnified. Special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch. Especially worthy of note are the Jugendstil forms characteristic at the turn of the19th century. In comparison, many alleged ”ultramodern“ font types of today suddenly look quite old-fashioned. Maier’s Nr. 21 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

In isolated Eastern European states, atop cold castle towers, nefarious nonbelievers are discussing their diabolical devises with their minions, acolytes and sweet little Yorkshire terriers! Evil Doings is a font that gives form to the softly spoken schemes and terrifying tweets of these psychopaths, sociopaths and just plain naughty boys and girls. Will Good Triumph and Defeat the EvilDoings of EvilDoers?! Only if we listen to the cries of the oppressed proletariat and quash the devilish dreams and evil schemes of Fascist Dictators EVERYWHERE! Features: Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters. Includes Western European international characters.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Sans is a modern sans serif with a geometric touch. Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Sans 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Sans" comes in 5 weights with matching italics plus "Trakya Sans Alt", also 5 weights and italics so a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one easy touch in all graphic programs. Trakya Sans is the perfect font for web use. You can enjoy using it.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Slab is a modern slab serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Slab 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Slab" comes with 5 weights and italics; "Trakya Slab Alt" also comes with 5 weights and matching italics, giving a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just with one touch, easy to access in all graphic programs. Trakya Slab is the perfect font for web use. Enjoy using it.

About Sf Article font family: Sf Article is An Arabic and Latin typeface for desktop applications ,for websites, and for digital ads. The main types of Sf Article font family weight are regular and bold. The regular weight is perfect for reading, it is helpful during long reads, Bold Sf Article styles are designed to draw attention to short phrases. The Sf Article font family is characterized by short heights and dynamic stretching of letters through the paragraph, where the space In the line is automatically filled. In Sf Article font family, we have developed two italic fonts: regular and bold, to help with the diversity of stylistic expression in the Article, document and research work. Sf Article typeface comes with many OpenType features including stylistic sets. Designer: Sultan Maqtari Design date: 2021 Publisher: Sultan Fonts

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing Black Dope is a bold brush font, it has a strong character. Inspired by the bold lettering found in classic show-cards and advertisements, it will add character to any design. This font is a blast from the past and a step into future. It’s bold, it has a strong character and it is full of life. Works perfectly in small size and large size. Eye-catching details show the temperament of the font. especially if you need to put a unique and strong character designed for your posters, headlines, T-shirt designs, labels, signage nameplates, brands etc. A Million Thanks www.colllabstudio.com

Introducing Intimate Summer Font Duo, featuring a strong and bold sans font alongside a casual handwriting-inspired script font. This duo is a perfect combination that brings harmony and versatility to your creative projects. The bold sans font exudes strength and confidence with its clean lines and thick letterforms. It commands attention and adds a modern and retro touch to any design. Complementing the bold sans is the casual script font, which mimics the relaxed style of handwritten text. This script font brings a unique and free-spirited atmosphere to your typographic compositions. Together, this font duo offers an ideal balance between strength and casualness, making it a versatile choice for a variety of design applications. Whether you're designing logos, branding materials, invitations, or editorial layouts, this font duo is a captivating combination that adds an irreplaceable casual touch to your projects.

Rasheda is a beautiful italic font. Inspired by classic cursive calligraphy from the Renaissance era in the 8th Century. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with script, sans, or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Inspired by both turn of the century neoclassical forms and Dutch Fleischmann Type, Garvis is designed to bring the character of those typefaces into more modern times by increasing the sturdiness of the forms without losing their character. At display sizes, this typeface displays the subtle inconsistencies commonly found in traditional metal type printing. This detail is designed to virtually disappear at text size so as not to become distracting while still giving the text a warm, human quality. Garvis includes support for all contemporary (and many historic) Latin orthographies as well as complete IPA support.

Plantain Stencil is based on Plantain which in turn is my interpretation of Plantin Adweight, which was one of my first commissioned projects (by Smarter Image, long before they went bankrupt). Plantin Adweight is one of the most beautiful designs of the Plantin family, which is a modern revival typeface, cut under the direction of F. H. Pierpont in 1913, who based the design on that of a famous 16th century printer, Christophe Plantin, for whom Pierpont’s font was named. The stencil cut of Plantain adds a bit of sparkle to the design. Supports most European languages that use the Latin alphabet.

Linotype Brewery is part of the Take Type Library, chosen from the contestants in the International Digital Type Design Contests of 1994 and 1997. This text font is available in six weights from light to black and was designed by Gustav A. Grinberg. An outstanding characteristic of the font is its light stroke contrast and its constructed forms. Its tiny, triangular serifs first become noticeable in very large typesizes, much like the Dutch fonts of the 17th century, Copperplate, for example. Linotype Brewery is cool and elegant and well-suited to middle-length texts and headlines.

In its characteristics Xtra Sans is a combination of modern grotesks/grotesques and traditional calligraphy. Its upright and compact letterforms generate a sturdy effect as in the early 20th century grotesks Nobel, Kabel or Erbar. On the contrary, dynamic inside forms (counters) give the characters a fluent appearance. As a result, Xtra Sans stands out in large size, while remaining highly legible in small and long text. In 2007 Xtra Sans received a Certificate of Excellence in Type Design from Type Directors Club, New York. In 2002, still unpublished, it was awarded a bronze prize at the Morisawa Awards, Tokyo.

The new Declaration font set from P22 features two lettering fonts based on the Declaration of Independence of the United States of America. A script font that features the look of classic 18th Century penmanship, with a slightly irregular edge, as found on documents made with ink quill pens on vellum or parchment. The accompanying Blackletter font is also derived from the Declaration of Independence as it was used for emphasis and of course the famous document title itself. A third font, which features the signatures of the signers of the Declaration of Independence, is also included.

A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as "Sju petit fraktur nr 2". This digital font is designed for rather large sizes, at least 30 points. The font includes accented letters for all Western languages, as well as a long s and the usual Fraktur ligatures, e.g. ch, ck, st, tz. The font can be used for logos, packaging, posters, restaurant menus, beer and wine labels etc. associated with traditional German and Scandinavian culture.

The type design for Impecunious JNL comes from the 1939 sheet music for "You Don't Know How Much You Can Suffer (Until You Fall in Love)". The name comes from another piece of sheet music, 1899's "Impecunious Davis" [a piece of late 19th century tripe demeaning Black Americans]. However, the word "impecunious" was intriguing. According to the website Merriam-Webster.com, the simple definition of impecunious means "having little or no money". Since we've all been in that spot at one time or another, it became a perfect font name. Impecunious JNL is available in both regular and oblique versions.

The Sign Painter – a layered type system with a lot of decor stuff. Inspired by Victorian era signs of IX and XX century. Traditional sans with moonlike script are cool pair to give you really vintage touch, especially with Decoration, which one you find inside. Simple layered system give you easy way to get really cool result. You will get many variations of your inscription with layered system (PDF "How To Use" instruction inside). The Sign Painter script has stylistic alternate with swashes for each letter (Initial, Middle and Final) so you can have swashes for any length of your inscription.

Paestum is a Latin typeface inspired by Greek inscriptions of the 6th and 5th centuries B.C. Its name comes, suitably, from the Latin name for Poseidonia, a former Greek city south of Naples whose two remaining Doric temples have been on antiquities tours since at least the 1700s. Others have scanned this terrain before, of course, but earlier designs failed to supply a lower case. Although Paestum includes complete upper- and lowercase alphabets, diacritics, numerals, and essential punctuation, it does not have many unhistorical glyphs -- such as currency symbols and the @ sign. Paestum comes with three weights: light, medium, and heavy.

The 1960s was the most tumultuous decade of the 20th century. Sixties Symbols JNL collects twenty-six icons and phrases from that time of change and unrest including the peace symbol, a dove, a daisy—even the militant 'power fist' that signified rebellion against mainstream society. There's also a blank lapel button on the Y/y keys and a blank protest poster on the Z/z keys for your own special message. For the more daring, the left and right brace Keys {and } have the 'one finger salute' the radical hippie factions displayed generously. Use that one with discretion!

Giuconda is an elegant and modern sans font. This font provides a cleaner, more geometric look, preserving the essence and structure of an early 20th century sans classic font but with a fresh, clean and contemporary look. Giuconda consists of two subfamilies of 8 weights, ranging from Thin to Heavy, with matching italics, giving a total of 16 fonts. Giuconda is the perfect font for publishing, titles, books, magazines, and corporate designs. Its Alt version is ideal for logo types, branding, packaging, and use on the web and TV. The family contains a 355 character set that supports 207 different languages.

Informal does not have to mean aggressively modern or casual. Helenium is inspired by some hand drawn capitals that I found added to a 19th century map. It's a great font for informal titles and headings that still keep an air or regularity and ever so slightly period elegance. It manages to be formal and casual all at once, as well as classical and modern. Helenium's range of different weights and drop shadow effects make it useful for hierarchical titles and headings. Helenium miniscule adds greater flexibility by extending the family with a fun range of rounded lower case forms.

»Typewalk 1915« is a vintage and slightly quirky Grotesque branded by history. It is a homage to European sign painter and lettering traditions of the early 20th century. »Typewalk 1915« also speaks in the proto-rational and graphical language of the »Werkbund Objectivity« which was used around 1915. »Typewalk 1915« works great for cultural, editorial and branding purposes. Speaking with its unique voice, it is well-prepared and versatile for all sorts of web and print projects. »Typewalk 1915« has 11 distinct weights from thin to heavy in upright and italic. »Typewalk Mono 1915« is its fitting Monospaced Version.

Elastica is a new handwritten type system created by Resistenza, it is based on humanistic sans serif fonts of early 20th century. Irregular handwritten strokes that gives a D.I.Y feeling perfect to get a close sense of communication. When using all caps, It features three different sets of capitals which combine together randomly, creating an elastic random effect with infinite combinations. OpenType features offers also the opportunity to use the three different capital sets separately. Its optimized legibility, simple structure and low contrast was made to perform excellently with e-books and mobile apps in mind. We recommend combining Elastica with ‘Beach Please’.

This decorative tech typeface is inspired by the printed circuits boards of the twentieth century. Its default character set suggests commercially manufactured circuits while the OpenType alternates give more of a home-brew feel. The font is ideal for technical decorative titles in subjects as diverse as computers, techno music, ham radio, or “maker”-culture communications. It works well in large-type posters, logotypes, video games, album covers, or advertising. The OpenType font contains nearly 100 discretionary ligatures to give a varied appearance, along with several alternate cuts of common characters and ten electrical components (accessible as OpenType stylistic alternates).

Mistafelga is an elegant Silky italic font designed for editorial use and inspired by calligraphy in the middle century. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Pseudo-Hellenic is a font based the Greek typeface of Firmin Didot. The original Greek typeface became standard during the Victorian era and remained popular until the last part of the twentieth century. Pseudo-Hellenic seeks to create an environment reminicent of the many Greek texts and is meant to re-create their ethos while communicating with a non-Greek speaking audience. Pseudo-Hellenic with full punctuation, a character 221 glyph character set that allows the user to type in most Western European Latin alphabet languages. Being a decorative font, it works best at larger point sizes.

A font drawn in a rounded rectangle looks modern – if we do not mind that it was in vogue mainly in the 80s of the last century and was created in the fifties, when various Italian designers noticed that the outline of a glass TV screen is actually the letter “o“. Since then, this progressive idea has undergone many improvements, which can be summarized in the notion of “popular-scientific typographic revival”. The present incarnation called “Superscience” has the advantage of having extreme variations and nicely simplified letters, as well as the usual repertoire of OTF functions and playful variations.

Belfast Grotesk™ 9 weights, 18 uprights and Oblique. Each typeface contains over 700+ glyphs with latin extensive Western, Central and Eastern European language support, Free updates and feature additions. Belfast Grotesk™ influenced by the grotesk typefaces developed in the early 20th century. Attempts to follow the best traditions of Grotesk typefaces. A good amount of contrast between the stroke thickness of each weight. Belfast Grotesk™ was developed with unique glyphs to offer best flexibility. a good legibility in short texts. OPENTYPE FEATURES Including tabular figures, alternate characters, ligatures, fractions, case-sensitive forms, superscripts, subscripts etc.

Noir is a sans serif font family of 12 fonts with contemporary aesthetics heavily influenced by early 20th century geometric typefaces. While having its geometric structure it carries organic personality with touch of warmth injected to each form. Noir font family ranges from light and elegant weights perfect for small text, to extremely heavy and masculine weights suited for large display sizes. Noir has a rich arsenal of Open Type features for highly professional use and extended Latin, Cyrillic and Greek language support. Noir is delivered as Std and Pro version. Cyrillic and Greek are available in Pro package only.

Monckeberg is an expressive font with a strong personality which is based on 15th century classic Venetian typefaces. High contrast between thin and thick strokes, calligraphic features and diagonal stress are its most striking characteristics. Monckeberg is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. Monckeberg consists of 2 subfamilies of 9 weights, from Thin to Heavy, with matching italics, resulting in a total of 36 fonts. The basic family is classic and elegant while the alternative version allows for greater design freedom. Monckeberg contains 511 characters that support over 200 Latin-based languages.

Calypso I (Italian) draws its inspiration from type founders' plentiful show-off-letters, which were typical on title pages and lithographs in the early 19th century. It borrows luscious details from these but inherits a stiff modern backbone from its parent, Calypso E (Egyptian). Within the Calypso type family all fonts share the same dimensions and work together consistently. Calypso I supports many languages and includes, for example, four sets of basic numerals, circled numbers, alternative characters, case sensitive forms and dingbats. Give it a go on drop caps and headlines or even set short paragraphs with it. It loves colour and effects.

Romantic, decorative Adios Script is one of Alejandro Paul’s most elaborate and technically refined faces to date. Inspired by designs in “how-to” commercial lettering guides of the 1940s, it has been refined and brought into the 21st century through a huge variety of ornate swash letterforms. The lowercase “h” alone offers 43 variants. Hundreds of ornamental ascenders and descenders allow a beautiful interplay of strokes and combinations, while avoiding overlaps or conflicts. Adios Script features a mind-boggling 1,470 characters in total, in OpenType format. Adios Script received a Certificate of Excellence from the Type Directors Club.

Sheet music for another one of those songs from the early part of the 20th Century with a wonderfully wordy hand lettered title was the model for the Art Nouveau flavored Go Home JNL, which is available in both regular and oblique versions. 1908's "I Used to be Afraid to Go Home in the Dark (Now I'm Afraid to Go at All)" is comprised of eighteen words. It may have been a mouthful to request from the local sheet music shop, but the lettering on its cover made it a great candidate for preserving as a digital typeface.

Montigny is a contemporary calligraphic font with classical roots, based on an 18th-century roundhand script. It is carefully designed, with a special emphasis on the connection of the letters, with high ascenders to give rise to the ornaments of the different letters. There is a special search for high readability. This font contain 585 glyphs, in addition, a wide selection of alternates and ligatures is included, to preserve the qualities of handwriting, in order to accommodate various design aesthetics. These alternatives are automatically applied through an advanced programming scheme or manually through several OpenType features.

TOMO Radix gracefully merges the enduring charm of mid-century modernism with the captivating allure of pronounced inktraps. Inspired by the clean lines and geometric aesthetics of the Bauhaus movement, as well as the distinctive lowercase forms of Futura, this typeface embodies a harmonious fusion of classic and contemporary design. Featuring seven (7) weights, Radix showcases an extensive collection of spurless characters that delicately embrace and enhance the inktraps, resulting in a visually captivating and balanced composition. Complementing its versatility, the typeface offers alternate glyphs accessible through opentype stylistic sets, further expanding its expressive potential for any design project.

RF Marshall was inspired by an 1883 tombstone, tucked away in a pioneer cemetery. The 4-sided marker is sparsely adorned with homespun carvings of a handprint, two tulip poplar leaves, and these words: "RF Marshall died 1883 Aged 72 years." The font faithfully reproduces the stone's hand-carved lettering and artwork, as well as artwork from other 18th and 19th century American headstones. It was drawn with calligraphy nibs dipped in walnut ink and delights in a range of end uses including period films, rustic decor, Halloween decorations, historical logos and branding, and on the pages of children's books.