This 8-bit pixel font is designed with respect for 80s game designers and the pixel font pioneers in middle 90s. And for the calligrapher H.P. Behrensmeyer & Charles Paxton Zaner. Use at size 20 pixels or multiples of 20 and anti-alias off is recommended. List of our Pixel Font Project. ·Flat10 Antique ·Flat10 Artdeco ·Flat10 Arts&Crafts ·Flat10 fraktur ·Flat10 Holy ·Flat10 Holly ·Flat10 Segments ·Flat10 Stencil ·Flat20 Gothic ·Flat20 Headline ·Flat20 Hippies ·Flat20 Streamer ·Behrensmeyer Vigesimals ·Civilite Vigesimals

Old Buddy is an elegant handwritten script font. Get inspired by its unique shape and character! Great and It will turn any design project stand-out!

Keshya is a modern script with line textured and is perfect for all your designs project, event and more. Feature Uppercase Lowercase Number & Symbol International Glyphs

The Mathematical Pi font family contains six mathematical Pi fonts, with Greek, blackletter, script and open capitals, together with a range of mathematical signs and symbols.

Strong Enough is a beautiful and authentic modern calligraphy script that feels fresh and unique. Use it for any design project that requires a charming appearance!

Friskily is a soft bold script font with a retro and simple vibe. It will look great on headlines, magazines, logos, branding and so much more!

Phyllis was designed by Heinrich Wieynck in 1904. The Phyllis font has a suite of alternative initials that provide a flourish to an otherwise modest script.

All-caps script with swashes in upper case, and ligatures. And outline with same metrics, so the oulines fit snuggly on top of the book-variant.

Raffish is a display typeface with its formal base in Dutch type designer Henk Krijger's seminal typeface Raffia - the most decorative and handsome of script typefaces.

Dragtime is handwritten script font with signature style. Suitable for design, element design, wedding, event, t-shirt, logo, badges, sticker, and awesome work, and many more.

The words “Benny Goodman & His Orchestra” on an appearance poster for the band from 1936 were rendered in a beautiful semi-script style of hand lettering.

A typeface with characteristics of roman and italic, fat face and stencil, modern and script. It was designed by Hans Bohn for Ludwig & Mayer in 1936.

Yoon Backjae is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

AZ Claire was inspired by hand scripts, but with the necessity for a bolder look. This font was designed for use as a fun bold headline.

The Bathilda is a monoline script font with an elegant style. It has good readability and is perfect for logos, invitations, wedding, signatures, and much more!

Phyllis was designed by Heinrich Wienyk in 1904. The Phyllis font has a suite of alternative initials that provide a flourish to an otherwise modest script.

Indulge yourself with the luxurious Galisha script. This font is harmonious and is suitable for high-end branding, logo design, product packaging, design, invitations and more.

Chalk Board is a handmade textured brush font, inspired by the chalk. This unique script will add a serious and sincere feel to any design idea!

Yoon Gogooryo is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

The Miller’s is a modern and casual script brush handwritten font. It’s casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile.

Pinkalova is handwritten script font with love and unique style. Suitable for design, element design, wedding, event, t-shirt, logo, badges, sticker, and awesome work, etc...

Quirina is a very elegant joining Script that has – because of its high and open lowercase letters – excellent readability. It has a fat twin called Quiana.

Algaida is a beautiful modern script font with beginning and ending swashes, All characters that add more beautiful and aesthetic fonts to perfect your extraordinary project.

Solomonk is a hand-drawn script with extended latin. • All European languages are supported. • Basic alphabet has alternates. (a→α) • Solomonk can be connected and disconnected

Quiana is a very elegant joining Script that has – because of its high and open lowercase letters – excellent readability. It has a slim twin called Quirina.

Introducing Rustic modern script typeface, using style hand made with brushing. Rustic a beautiful for wedding card design, logotype, website header, fashion design and any more.

Zoe is a hand-drawn script that has a very even flow and is readable down to very small sizes. In big sizes it is elegant.

Lingerhend is a classic handwritten script font. It’s the perfect font for wedding invitations, stationery, photography, social media posts, product packaging, greeting cards, and much more!

Bochill is a sweet and charming script font that’s perfect for adding a sweet vibe to your next design idea. Get inspired by its unique style!

Motena Golden is a elegant pair of script and sans serif font. It's suitable for any project purpose such as invitation, logotype, packaging, branding and more

The Mathematical Pi font family contains six mathematical Pi fonts, with Greek, blackletter, script and open capitals, together with a range of mathematical signs and symbols.

YD Yoonche is a geometric sans serif consisting of 4 weights. It supports up to 13 different languages such as English in Latin and other scripts.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Features The Spitzkant Head and Text family has a total of 2 optical sizes, 5 weights and 20 styles, from thin to bold and matching italics. With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/spitzkant-variable/

Vox Round is the softer version of the Vox family. The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days.

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Originally released in 2008, Stern is the only typeface to be produced and marketed simultaneously in digital and metal. In the twenty-first century, no less. It is also the last typeface Jim Rimmer ever completed. The process he used for its design and manufacture is the stuff of legend, and can be seen in the Richard Kegler documentary, Making Faces: Metal Type in the 21st Century. The design is a delicate upright italic named in memory of Chris Stern, the late artist and printer from Washington State. In 2013, Canada Type remastered and expanded the design's offerings to a glyphset of over 1200 characters, updated programming. Now Stern Pro includes the following features: - Small caps. - Caps-to-small-caps functionality, useful for setting mid-height caps alongside lowercase. - Tall caps. - Historical forms. - A wide variety of alternates for both uppercase and lowercase letters. - Plenty of ligatures. - Seven types of numerals, enclosers, cojoiners and currency symbols. - Automatic fractions. - A complete set of lowercase ordinals, from a to z. - Case-sensitive forms. - Language support for Greek and over 50 Latin languages. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.