Modula was the first high resolution headline face that Zuzana Licko designed with the Macintosh computer. In 1985, the computer was very crude as far as being able to produce subtle curves, but it was outstanding at producing perfect geometric elements. As a guide, she used the proportions of her earlier Emperor Fifteen bitmap design and applied the precision of the computer's geometric elements. See also Modula Round and Ribbed. Greek version by Dimitris Arvanitis.

To meet the burgeoning demands of commerce, type founders in 1830s London introduced a plethora of new fonts which abandoned the traditional nib-informed model. Most radical were bold, capital-only designs with almost no stroke contrast, stripped bare of serifs. To all intents and purposes these minimal expressions of utility were identical to 20th century functionalism. Recontextualizing one of the original sans fonts, Shinn offers an alternative proposition to the myth of modernism.

The initial inspiration for Technical Standard VP came from examining precisely machined labels on tools from cameras to cars, which need to be legible at all sizes. The streamlined look such processes achieve was reinterpreted and refined - the resulting font at the same time being robust and stylish, universal and unique, with its ten distinct styles offering great versatility. With 1120 glyphs in each style, it guarantees full support for all Latin languages.

The mysterious Spooky, an alphabet to frighten even the bravest, was created by British designer Timothy Donaldson. The figures line themselves up, irregular and with uneven outer contours, and conjure up thoughts of ghosts, bats, vampires and darkness. Spooky is the ideal font for ghost stories with happy endings, a parody on horror and romance. As an added bonus, Spooky includes illustrations, from black cat to spider to witch - everything needed to earn its name.

Introducing Paneur – Expressive Serif Typeface Serif Playfulness Paneur – Serif Typeface is far from your typical, formal serif font; it introduces a delightful touch of playfulness to traditional design. Informal Strokes Notably, Paneur’s strokes take on an informal quality, adding an expressive flair to your projects while steering clear of the formality usually associated with conventional serifs. Endless Expressivity What sets Paneur apart is its ability to offer endless expressivity. It’s the perfect choice for those who wish to break the monotony in design, infusing each project with an invigorating energy and dynamic spirit. Never Boring Design Indeed, Paneur is the antidote to boring and conventional design. Its informal serifs guarantee that your creations are never dull, but rather lively, captivating, and bursting with personality. In Conclusion In summary, Paneur – Serif Typeface is the font of choice for non-traditional expressiveness. It introduces a playful and informal touch to your projects, breaking free from the constraints of traditional serif fonts. By choosing Paneur, you ensure that your designs are engaging, full of life, and far from mundane.

Bayside Tavern is a weathered version of our Tavern Alt font family. With its straight sides Bayside Tavern fits better in tight spaces and reads better at smaller point sizes than the regular Bay Tavern version. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. While our original Tavern Alt font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bayside Tavern family are meant to be layered behind the Bayside Open fonts, if you're using Bayside Open select Bayside Fill, if you're using Bayside Open L select Bayside Fill L, if you're using Bayside Open S select Bayside Fill S and so on.

Jonhson Black Script New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! It's so wonderful for invitations, greeting cards, branding material, business cards, quotes, posters, and more. Jonhson Black Script comes with 330 glyphs. Alternate characters are divided into several OpenType features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. OpenType features are accessible by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code), so that all alternative characters can be easily accessed by craftsmen or designers.

Siberian is a geometric unicase sans-serif. It was inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script). The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. And varied of course, as the snow too (according to a legend snow has more than 100 names in the north Siberian people’s language). So, every letter in this typeface has 7 stylistic alternates. And you can choose how cold your typography should be today. Siberian was initially designed for the I'm Siberian project (the tourist branding of Siberia).

Michela Script New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more. Michela Script comes with 612 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers.

We've created a lively antiqua that is perfect for short emotional inscriptions. Coats will warm you up on a cold day and add a little kindness and easiness into any layout. Lines typed with this typeface start “trembling” in long texts, so be careful to use this family for special occasions and in small amounts. Imagine: on a cold day, you've just arrived home from a frosty walk to be rewarded with a cup of hot cocoa topped with marshmallows. We call this feeling the Coats effect. Add to your collection this unique font family that works perfectly in the contemporary digital age.

Mellinde is new, fresh, & modern with handmade calligraphy, decorative characters and dancing lineage! Wonderful for invitations like greeting cards, branding material, business cards, quotes, posters, and more!! It comes with 472 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code) so that all alternative characters can be easily accessed by craftsmen or designers.

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

I wanted to create a custom LED font, so I did, making sure to check for errors... It is useful for many things. (Electronically and in Real Life) (e.g. Documents, coding, signage, games, LED signs, calculators, etc.)

HeiS ASC Medium is a Simplified Chinese font supporting GB2312. The HeiS ASC Medium font is a sans serif style typeface with consistent strokes. HeiS ASC Medium font character Set: Latin-1, Simplified Chinese (code page 936).

Cool doodads from the cold war...spaceships, moderne coffee pots, boomerangs, cocktail glasses, etc. A must for decorating your cyber-bachelor pad; a requirement for the retro lounge crowd. Don't be a square, daddio, get Satellite today!

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Gungsuh™ features a mincho (serif) stroke style with proportional Latin characters. This Gungsuh font file is 6.9 MB in size. Gungsuh is a trademark of the Microsoft Corporation. Gungsuh Character Set: Latin 1, Korean code page 949

HF Monorita is the first monospace we have created. It is perfect for coding, display and design. The subtle curves on the diagonal strokes create a friendly vibe and can create a better reading flow for the users.

Impakt is the work of British designer Leonard Currie, a cold, condensed typeface inspired by the Soviet Constructivist movement of the 1920s. Impakt's powerful geometric appearance makes it an ideal choice when a commanding, masculine effect is required.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

This is the kind of font which is up to trouble. Not trouble in a bad way, but trouble like when you are in no way prepared what is going to happen. The font is handmade and playful - and to help that playfullness come to live, the 5 different versions of each letter helps! Watch your words change while you write with Budskab! And, by the way..."budskab" is message in danish...just thought you should know!

The San Jose type family provides an array of variants representing a simplified, bay area slant on traditional Chicano American street scripts. The styles in this set can be used in all caps for the most authentic appearance or in a more typographically traditional small caps format. This set also includes latin supplement support and a robust character set in six styles. 3 Stroke variants: Regular, Rough & Bold each have a leaned back, traditional slant variant.

In 1903, faced with the welter of sanserif typefaces offered by ATF, Morris Fuller Benton designed News Gothic, which became a 20th-century standard. In 1995 Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign. Cyrus Highsmith reviewed News Gothic, and with the Font Bureau studio expanded it into Benton Sans, a far-reaching new series, with matched weights and widths, offering performance well beyond the limits of the original; FB 1995-2012

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

Introducing The Shensie. The Shensie Font, is a classic thin font with an italic style. Here you will get beautiful classic fonts. this font is available in several modern swirls that can make your work look elegant, sweet and perfect. With this style, this font would be perfect for logos, branding projects, household designs utensils, product packaging, mugs, quotes, posters, shopping bags, logo, t-shirt, book cover, business card, invitation card, greeting cards, and all your other beautiful projects.

I don't know what is it with me and bad copy machines these days...my previous font also had that look, like it was made using a poor copy machine! :) Basic Choice comes in a regular, solid and distressed version - use these versions as they are, or play around and use them as layers. Each letter has 6 different versions, and they automatically cycle as you type. It makes the text look scrambled and random at the same time!

Hi...Thank for your visit :) Effendi Modern Calligraphy Fonts are font designs that are made for various vector designs, printing such as digital wedding invitations, blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... Effendi is equipped with complete alternates and very beautiful ligature, so it can make your product look elegant and attractive, and also Multilingual support!!! Happy design ...

Meetha Script is modern calligraphy script font. This is a beautiful script font with italic style. Made gently and danced to give the character of modern writing that is sweet, simple, stylish and firm. With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Abitare Sans was originally commissioned by the group Rizzoli Corriere della Sera. It’s a typeface of 30 weights designed to be used in Abitare magazine. The request of the president Mario Piazza was a new CP Company with some redesigned glyphs, but the result is a radical evolution of its concept being intended to be used as a font for text far more readable. In Abitare Sans the geometric structure was kept without neglecting the numerous editorial requirements.

Ribbonloops is a sans-serif display typeface. The design has a far-reaching appeal by mixing a subtle elegance with clean lines. Perfect for branding, titles, logos, packaging and much more. Ribbonloops is available in Light, Regular and Bold weights. The outline style provides a light and airy alternative. Both Regular and Outline are also available in Oblique. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

"Goblin Monster" is a font with a monster theme that is perfect for your Halloween celebration. This font is very easy to use and each letter is decorated with bats and spider webs which will add to the beauty of this font. The shape of the letters and the character of the letters is very unique and different. This font can also be used for book covers, movie or book titles, logos, posters, stickers and more.

Atze, a handwriting script font, was designed by Ralph M. Unger for the profonts Library. Inspired by frowned-upon Comic Sans, Atze is much more pleasing, much milder and more natural. It cannot and should not only be used for Comics and children?s books but for literally all situations where a friendly, soft, casual and relaxed atmosphere is required. However: Especially for Comic books, Unger created a set of very funny Atze Bats: AAAAH ? BOOOM ? BRRRR!

Introducing Correa Script! This is a modern font script. This font is slanted, luxurious, and elegant. Contains 456 glyphs! Use it freely as you see fit. Please try it out and I hope you enjoy it! With a style like this, this font will be suitable in use for lettering logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Shows Gracious is taken from the word luxury that underlies this font, a classic theme with a subtle touch in every node of the alphabet, although classic, this font is highly recommended for designers, because of the classic design trend but not too far from ancient when used today. has several ligatures and alternatives that can add to the uniqueness of your design, very suitable for use as logos, branding, headlines, magazines, wedding cards, and others.