A high lower-case x-height geometric sans with open counters, Regulator Nova is extremely legible at text sizes and in extended settings while the range of weights also make it suitable for headlines. The stoke terminals are all cut at close to 90 degrees, lending a sharp precision to the characters. Alternate versions of the g, j, r, w, K, R, W, # and ampersand are available in both upright and italic, and can be toggled on and off in the Opentype panel or the Glyphs palette. Clean, elegant and legible, Regulator Nova has a classical proportions based on a circumscribed circle and square, and shares structural similarities to early sans serifs such as Rudolf Koch’s Kabel, while adopting more British forms for the M and R. Regulator Nova is an extension and reworking of Regulator, now with extra weights, reweighed italics, Opentype-savvy alternates and a full European character set.

Designed with help and inspiration from legendary tattoo artist Dustin Horan. This beautiful time saver was designed specifically for skin application. Short words and initials can instantly be turned into seamless tribal style tattoos. Each glyph links with the next allowing letters to flow endlessly around limbs and in circles. Respecting the rhythm and geometry principles laid forth by American pioneering tribal artist Leo Zulueta, Scribal makes flowing text shapes that disguise themselves as design. When mirrored back to back and rotated vertically, Scribal becomes well-crafted tribal pattern. Typeface wise, Scribal breaks the mold. While a script font, Scribal was designed to be written in all capitals. Each capital is a mono-spaced glyph, providing even spacing. The shape influences are also vast, ranging from scripts, to blackletters, to romans. Making Scribal a very "Americanized" font, reflective of this "Americanized" style of Tribal Tattooing.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Geometric, stylish, and not quite a stencil face: Glance Sans is the urban alter ego of Glance Slab—a strong-willed sans-serif with no frills but a few unique character traits. Glance Sans follows the design principle of nonjoining parts that made Glance Slab successful. Some strokes may not connect to their stems, creating visible gaps and thus, a dynamic impression of balance and movement. However, Glance Sans has a calmer appearance due to the lack of detached serifs. If Glance Slab’s home territory are large, crowded stadiums and massive sports events, Glance Sans prefers streetball courts, well-used skate parks, and underground clubs. It also adapts to urban work environments from finance to high-tech. Whenever a more toned-down look is called for while retaining the elegance of an athlete, Glance Sans is ready to roll. In the city environment, versatility is key. That’s why Glance Sans sports 7 weights as well as a complete set of italics. These are not just sloped romans but individually drawn letterforms, subtly referencing classic italic construction for more effective emphasis. Among the 600+ glyphs of Glance Sans, you’ll find goodies such as six sets of figures, circled numbers, circled arrows, and all kinds of currency symbols in two stylistic versions. Glance Sans is a great tool for industrial and high-tech branding, for wayfinding systems in contemporary or modernist architecture, for corporate identities in arts, crafts, medicine, culture, and education, and for all kinds of sports-themed design. Both members of the Glance superfamily are easily and effectively combinable; both are able to stand on their own feet. With its powerful italics, you might opt for Glance Sans as your text typeface and use Glance Slab for headlines. Or you set large, clean, display-sized lines in Glance Sans and spice them up with a bit of sportive Glance Slab. It’s up to you to decide how to bring out the best in both of them.

Proudly present Peronas a new display font Inspired by American circus and carnival typography. 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 the 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!

Core Magic Rough is a textured version of Core Magic which is a layered type family consisting of seven 3D effect layers, eight 2D effect layers and one shadow effect layer. Uppercase and lowercase letters are separated by such features that counters are opened or closed. Core Magic provides other closed counter styles such as numbers with opentype feature (Stylistic Alternatives). Using Core Magic Rough with Core Circus Rough could make your works more charming and special with endless combinations (at least 262,551 kinds). This family is really nice for book titles, headlines, logotypes and any artworks.

Eckhardt Informal JNL was found in a Dan Solo alphabets book under the name "Circus Wagon". This hand-lettered design with a playful inline is reminiscent of the show cards of the 1940s and 1950s. The Eckhardt series of typefaces is named in honor of the late Al Eckhardt, Jr. - a good friend of type designer Jeff Levine whose talents in hand-crafting attractive lettering was appreciated by many. His work, like the others before him is fast become a lost art in today's technology-driven world. Eckhardt Informal JNL is available in it's regular (inline) version and also as a solid version.

The lettering for Stencil Box JNL was found on the packaging of a children's toy stencil set circa the 1940s. Popular for years, Pencil Stencils were a series of "connect the line" stencils where a series of dashed lines were traced from the cutouts and the lines connected to complete pictures of animals or other subjects. Although the packaging itself was often updated to reflect the current times during the life of the product, it was this hand-lettered example of stencil-meets-Art Deco from the 40s that proved worthy of saving as a digital typeface.

Phosphate Pro is an all-caps sans serif font family with an inline weight, and was created by Steve Jackaman (ITF) and Ashley Muir in 2010. The original Phosphate was published by International TypeFounders, and the family was based on the ‘Phosphor’ typeface created by Jakob Erbar for Ludwig and Mayer, circa 1922-30. Jackaman created a condensed variant, 'Phosphate Condensed Pro,' in 2017. Phosphate Pro has incredible presence, and its power shines in display format. Apple, who is notoriously selective about their software choices, included Phosphate Pro in the system fonts for Apple’s OS X 10.10 Yosemite.

Peter Schoeffer was a printer who was apprenticed to Gutenburg and after leaving Gutenburg in 1455 he set up shop with Facob Fust. His son, Peter the Younger, moved to Mainz and carried on the trade. This particular font is based on a typeface of Peter the Younger that was cut circa 1509-1520. This font has over 900 characters. While there are only about 80 in the historical exemplar the rest have been developed for modern usage. This font is based on Typ.7:146/148G also known as Gesellschaft für Typenkunde plate no. 258.

Ammurapi was the last king of Ugarit, which was destroyed circa 1200 B.C. Back then all writing was done by hand and all that has been preserved is on clay tablets many of which were fired in the very destruction of the cities that enabled these documents to withstand the rvages of time. Ugarit unlike the other cuneiform scripts has a very limited number of glyphs. It is somehow exotically attractive. This font has been encoded in the appropriate unicode block to permit ease of use for scholarly purposes, but would also make a fine use as a decorative element.

Inspired by the lettering on Koloman Moser’s poster design for Fromme’s Calendar (circa 1912), Nouveau Calendar JNL is available in both regular and oblique versions. According to Wikipedia: “Koloman Moser (30 March 1868 – 18 October 1918) was an Austrian artist who exerted considerable influence on twentieth-century graphic art and one of the foremost artists of the Vienna Secession movement and a co-founder of Wiener Werkstätte. Moser designed a wide array of art works, including books and graphic works from postage stamps to magazine vignettes; fashion; stained glass windows, porcelains and ceramics, blown glass, tableware, silver, jewelry, and furniture.”

It is a cute font that imaged a circle that was popular among young Japanese girls in the 1970s and 1980s, plus elements of the current round character as well. The momentum of the circle fads of the 70s and 80s back then seemed to have been great, and it seems that there were schools that prohibited the use of the round letters as students were all writing, too. In addition, a circular letter contest was held, and it seems that the work selected from many entries was released as a phototype. I tried to round up to the limit while incorporating the elements of that circle and the elements of the round letters that the current Japanese girls would write. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think that it is an eye-catching design although it lacks a little on readability, so it is also recommended to use it point-wise. The name "Hachimaru" is a thing that touched "80" in the 1980s. The 80s is one of my favorite times. I think that the power to young girls 'Kawaii' such as circle letters, fancy goods and idols was a very strong era. I hope I can express even a little "Kawaii" culture of that unique and unique 80's Japan. ＜「はちまるポップ」紹介文＞ 1970年〜80年代に、日本の若い女の子の間で流行した丸文字をイメージし、現在の丸文字の要素もプラスしたかわいいフォントです。 70〜80年代当時の丸文字の流行の勢いは凄かったらしく、学生さんもみな書いていたそうで、丸文字の使用を禁止する学校もあったそうです。 また、丸文字のコンテストが行われ、多数の応募から選ばれた作品が写植書体としてリリースされたこともあるそうです。 その丸文字の要素と、現在の日本の女の子が書くような丸文字の要素も取り込みながら、極限まで丸っこくしてみました。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応しており、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）しているので、使い勝手も良いかと思います。 可読性には少々欠けますが目を引くデザインだと思うので、ポイント的に使うのもオススメです。 名称の「はちまる」は80年代の「80」をもじったものです。 80年代は私の好きな時代の1つです。丸文字をはじめ、ファンシーグッズやアイドルなど、若い女の子の「かわいい」へのパワーがとても強い時代だったんだなぁと思います。 その個性的で独特な80年代日本の「かわいい」カルチャーを少しでも表現できてればいいなぁと思います。 ＜スタイルカテゴリー＞ 手書き風、丸ゴシック

Are you looking for a firm, prominent font for your design? Have a try on our unique, eye-catching display font. This is Grass Jelly, a somewhat circled display font to produce artistic, creative, fun nuances. It has thick, strong contrast lines to attract attention and to leave a strong impression for big text sizes to be easily legible. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Grass Jelly fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Mainsail is a handwritten brush script font. It is casually written with dry brush pen, so it has this nice texture and flow. Mainsail has lots of alternates to make it look more like real handwriting; four sets of lower cases and two sets of upper cases. Mainsail is great option for logos, headlines and packaging. You can also use it in longer texts where you need this casual handwritten look. It will also combine well with sans and serif fonts. Mainsail has OpenType features that automatically makes text look more authentic. Discretionary Ligatures replaces other of two identical letters following each other. Contextual Alternates will unleash the full cycle of the alternates. It will cycle all four lower case sets to make the text look as natural as possible. Mainsail has also underline strokes in separate font called Mainsail Swash. It includes combined 52 different underlines, strokes and circles. With these you can add the final punch to your design.

Haakke (or Håkke) - a casual, hand drawn (Stabilo OH pen, Fine) font with 4 alternates to all upper and lower case letters (a-z + å ä ö) as well as numbers for a realistic hand written look and feel! “Ligatures” have been created for double letters (TT, tt, ff, ll & LL (open type version of the font and open type compatible layout application required). Of course it holds all(?) the special characters that you will ever need. 451 glyphs... Haakke also includes symbols. Zodiak signs (letter a-l, upper case A-L write the corresponding name of the sign), planet signs (m-z, upper case M-Z write the corresponding name of the planet) triangles, squares and stars (from pentagrams (5 pointed) to Dodecagrams (12 pointed). (Write a 4, or shift-4 ("euro-sign", european keyboard, or "dollar sign", american keyboard) before your star or triangle and you will get a circle around it).

Capital is a multifunctional super family with modernist roots. It is comprised of two distinct subfamilies: Gothic and Serif. Both share the same structure and proportions and come in seven weights – thin, light, regular, bold, extra bold and black, along with corresponding italics. Both Capital families are equipped with a full set of Cyrillic characters, making them a versatile choice for multinational use. All Capital fonts come with the following Open Type features: Small Caps, Old Style Figures, Fractions, Numero-sign & Ligatures.  Features specific for Gothic roman versions only are Circle Numerals, Titling alternate for the R character and Arrows. The Gothic italics have a Titling alternates feature where the true italic forms are omitted and replaced with simpler stroke endings. Both Capital gothic and Serif families are true workhorse fonts that can carry out almost any typographic task. Combine them both for the best results – multi-pack available for a no-brainer price.

PDF Epillox is a modern, contemporary, geometric typeface, with a strong personality and more unique with maximum emotional. It is inspired by modern contemporary display sans typefaces. We spent a lot of time, especially in the italic, to draw with high-quality compensation for all circles and strokes to become fresher and cleaner from the geometric point of view. As an OpenType family it includes 51 alternate characters and ligatures, plus extra characters. The most interesting is about Stylistic set (ss02) have a more powerful characters the combination of original and wide characters. Epillox also supports other OpenType such as: Ligatures, Discretionary Ligatures, ordinal numbers, case sensitive, fraction, supscript, superscript, ss01, ss02, ss03, ss04, ss05, ss08 Epillox contains 695 characters supports over — 200 Latin-based languages. Other Essential sets are composed of alternative glyphs. its great in headline, titles and short paragraphs (Poster, Signage, Logo, Branding, cover and etc) A Variable Font is also included in the family.

Époque Seria is that kind of person who looks really cute when angry. This font was derived from the Époque family. She is the little sister to Époque - a little shorter with her smaller x-height and — how do you say it in the typographic circle — your eyes are also smaller (and you know you squint when things get serious, isn't it?). The genealogy of these font face is undeniable, but Époque Seria has a ‘personality’ very different from her older sister. The reduction of the x-height also shakes somewhat with the cap that had crossbar. To accompany the package of standardization, the letters that don't have their straight axes were changed, which brought to the set more Cs and Gs contemporaries. In addition, other measures were taken as a greater softness in the variation of the weights and the abandonment of the black weight, being considered too heavy for this version.

You are looking at the friendliest, happiest and most faithful of puppies. It comes to greet you as soon as your eyes see it, radiates its joy, wags its tail, jumps in circles, and begs to be played with. Showboat is a very unique bragger of a font. Its bouncy metrics and whimsical shapes are a sure formula for attention. People will soak it in and feel happy while they do. How can anyone greet such happy letters with anything other than a smile? No matter how many fonts your design box has, you can be sure that none of them is this radiant, lively or cute. This happy camper comes in four fonts: two weights and a large number of corresponding ligatures and alternates. Showboat can be used in a vast number of design applications; flyers and webs for parties, pre-teen and teen events, scrapbooking, candy branding, posters, children's publications and web sites, pet stores and products, toys, and many many other things.

Probeta is an exclusive Sans Serif typeface family, condensed in proportion into three styles: Regular, Italic & Small Caps. Each family consists of 7 weights (Extra Light, Light, Regular, Medium, Semi Bold, Bold and Extra Bold). Plus three bonus fonts: Circle, Cube & arrows • Includes a bonnus font with the purchase of each style! After defining all the proportions of the new typeface, and starting from the drawing of the lowercase letter «o», in an exercise of minimalist construction, I have built all the characters, contributing with this technique, morphological coherence and a balanced reading. I have put special interest in defining the width of each character, depending on the relationship with others, then the configuration of the metrics and the exhaustive definition of Kerning, provide maximum readability in paragraph texts and titles. The use in graphic design, editorial or advertising guarantees originality and difference. Very versatile fonts for billboards, video games, movie titles, logos, publications, etc. They include the symbol of Bitcoin and other Cryptocurrencies.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design. Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design. Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

Cy Grotesk is the result of combining the clear forms of mid 20th-century European neo-grotesks and the expressiveness of the 19th-century grotesques. It is display typeface with an eccentric character and a special rhythm. Symbols have sharp long angled spurs and large wedge incision between the bowl and the stem, diluting it with smooth curves and the tight aperture. Built like a multifunctional workhorse that has a wide range of font uses. This type family consists of 27 styles that are adjustable in weight and width. Or one variable font with 2 axes. From pure thin to radically black. From roomy key to catchy grand. All styles include an extended set of Latin characters and a basic Cyrillic. Features: – Total glyph set: 676 glyphs; – 27 styles (3 widths x 9 weights) + variable; – Support 210+ languages; – Latin Extended; – Cyrillic Basic. OpenType features: – Uppercase, lowercase; – Proportional, circled, tabular numerals, superiors, inferiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic sets (ss01-ss10); – Ligatures; – Case-sensitive forms.

Pusia is a versatile font family with a lot of character and warmth. It is a professional, contemporary sans serif with original letter forms, friendly and dynamic feel. Its subtle curved shapes and attention to details give Pusia a very distinctive look. Its proportions and optimized kerning make it a very clean and legible in all sizes. Pusia is a great choice for all kinds of design work, both print and on-screen. It is perfect for display use in headlines, advertising, logo design and branding as well as long and short paragraphs of text. Pusia consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

Tosia is a modern, geometric, clean, elegant and versatile font family designed with neutrality, beautiful proportion and excellent legibility in mind. This professional, contemporary sans serif has slightly condensed dimensions, which make it a great typeface for situations, where space saving is needed. Tosia’s broad variety of weights makes it suitable for headlines of all sizes, as well as for long and short paragraphs of text. It is excellent for on-screen use, for web applications, user interfaces, as well as for all kind of print purposes, like branding, packaging and editorial design. Tosia consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

“Sympathetic Font” multi-purpose use is an open designed font. It is possible to produce unlimited designs using this font. “Sympathetic Font” is made up of 24 different forms. Hearts, square, triangle, circles, moon and stars, horizontal and vertical lines, sloping inner lines and wavy lines. Shading and decorations are also available. Ideally suited for advertising and packaging, logo, branding, slogans and creative industries, poster and billboards as well as web and screen design. You can create unique designs using fonts in layers. TECHNICAL: Sympathetic provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Sympathetic” has 24 different forms and italics total 48 types. The family contains a set of 321 characters. Stylistic Alternates, Localized Forms and Old Style Figures just one touch easy In all graphic programs. Sympathetic is the perfect font for web use. You can enjoy using it.

Novel Display is the humanist sans serif typeface family for headlines and display sizes and the latest addition to the largely extended, award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 10 weights in combination with 4 widths enable designers to create fine display typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Display [788 glyphs] comes in 50 styles and contains an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Fungis is a somewhat �brother� of Fungia. These two typefaces were conceived simultaneously as an experiment on designing typeface based on natural shapes. In both cases it was mushrooms. Of course the main theme of these typefaces is not mushrooms itself (it was just a start point) but the interaction between form and counterform. In spite of unquestioning individuality the font has some associations with wood typefaces from wild west, typefaces from circus posters of 19th century and even slight feeling of gothic. The font can be useful in different cases: posters, titles, book covers, billboards, street signs, magazine spreads and all situations that demand expressive typography.

The letters and numbers of a home movie titling kit from circa the 1950s or 1960s called the Magna Tech Titler Number 312 were die-cut from cardboard with a magnetic backing and were styled after Futura Bold. The user of this set composed the desired title or phrase onto a metalized board and the result was photographed with their 8 or 16mm camera. Because the dies of the characters were handmade, very slight variations in the shape and stroke width of the lettering would occasionally occur. These variations were incorporated into the design of the digital type face. Intermediate JNL is available in both regular and oblique versions.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

A set of transfer patterns for sewing decorative monogram initials on clothing was manufactured by Women's Day magazine circa the 1940s. Designed by renowned Copenhagen-born industrial artist and letterer Gustav Boerge Jensen [April 8, 1898 - June 27, 1954], these initials have been redrawn into a digital font entitled Danish Script Initials JNL. Large initials are on the uppercase A-Z keys, while smaller initials are on the lower case a-z keys and are centered to the larger cap height. An ornament is provided on the asterisk key, and can be placed between the small initials and the larger initial for decorative effect.

Introducing Le Cirque - Parade Type, created by ikiiko. A circus vibes with a touch of vintage stye. Le Cirque has both modern and retro look. The perfect one to create layout design in 60s or 70s design projects. This font have unique stylistic set, alternates and swashes that to give to your brand logo, poster, unique & vintage stuff, and another project to a have unique or vintage look. What's included? Uppercase & Lowercase Number & Punctuation Complete Stylistic set Swashes & Alternates Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Inversion is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book. What was the inspiration for designing the font? I found the base lettering years ago in a specimen and scanned it. I've used it perennially for assorted metal bands' logos, and finally decided to digitize it. What are its main characteristics and features? It is a spidery bit of lettering that would work well in Harry Potter movies or on album covers. Usage recommendations: Display type for use in materials that are meant to have a hand-wrought look circa the turn of the century.