Mi negra is a funny and hilarious typography designed especially for children, thought and created by Isabel de Gregorio. It could be described as an original combination between a semi-handwright and semi sans-serif font. Thanks to its structure and nice endings "Mi Negra" is recommended for composing short texts (logotypes, packing, posters, etc.). It may similarly be used for illustrations and comics, as well as in printing press works for children from 6 to 13 years old for instance. Mi Negra has been conceived to be a useful support in all kinds of illustrations works (please note that Isabel, the type designer, considers herself primarily an illustrator). The font designer of Mi Negra tells that every time she needed to provide some text data (i.e. in children infographies) and needed to make them more understandable and suitable for children, she used this typography. The former idea was than to create a font who could be a second option to comic sans, but as the project started to reveal its forms, it was clear that it was revealing another connotation and its own character. In this way, Mi Negra went on modifying its forms and the more it developed, the more it was showing its new characteristics and concepts. The family is composed of three weighs: Light, regular and black. It provides also interesting functional ligatures. It also includes a dingbat with nice doggies. It has 434 characters and can work with 208 languages.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Of all student work produced in Joost Schmidt?s Bauhaus classes, Reinhold Rossig?s (1903?1979) alphabet designs are perhaps closest to his master?s teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig?s letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig?s design further away from Schmidt?s influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features.

A hand lettered emulation of a Roman stencil type face on the cover of the folio for the Stenso School Set was the basis for Eutaw Stencil JNL, which is available in both regular and oblique versions. The Stenso School Set (circa 1940-41) was comprised of three stencils – two lettering guides and a map of the [then] 48 United States. Developed and patented by Baltimore school teacher Ruth Libauer Hormats, her stencils were the first to offer a system for accurate letter spacing and ease of use. “Eutaw” (as part of the font’s name) is taken from Eutaw Place, the street where Ruth and her husband lived at the time of Stenso’s inception. To the Cherokee, the name means “Creek Indian”.

Cream is a retro soft serif typeface comprising 12 fonts. It can handle most typographic applications from branding to body copy with its range of weights and inherent legibility. Whatever you type will have a friendly message, but it really comes into its own when you start applying some of the additional ligatures and alternates that are built into this type family. You’ll soon be creating distinctive typographic compositions that are pleasing to the eye. There are 12 fonts altogether, ranging from Light to Black weights in both roman and italic. It has an extensive character set that covers all Latin European languages. Key features: 6 weights in Roman and Italic 75 Alternates 37 Ligatures Full European character set (Latin only) 730 glyphs per font.

Quite unusual, Musenberg started his Raldo design with the italic. However, he managed to preserve the temperament and vividness of the italic in the roman without questioning the stability of the individual characters. Raldo is a modern Sans Serif family already quite popular in Germany. The German IGEPA group chose Raldo as corporate typeface family. Now, Marc Musenberg redesigned and extended his Raldo typeface family. The new Raldo RE Pro comprises 10 styles, 5 roman and 5 corresponding italics. All fonts now include the complete Latin character set plus fractions, different sets of figures and fractions as well as small caps and small caps figures for Raldo RE Pro Text, Regular, Semibold and Bold. Raldo RE Pro has been chosen to be part of the URW++ SelecType.

The Narsinh Series (from the 1940 Gujarati Type Foundry of Bombay, India) is a modular metal font comprised of 32 basic shape pieces which would be assembled into any configuration to form various letters and numbers. Examples of the alphabet and numerals were set in an Art Deco, condensed sans serif and were the basis for this type revival. Strongly resembling a stencil design, the typeface was named after the revered 15th-century poet-saint of Gujarat, India Narsinh Mehta, and the foundry itself gets its name from the language and script of Gujarati [spoken by the Indo-Aryan residents of the Indian state of Gujarat]. Divided Highway JNL is the digital version of this design, and is available in both regular and oblique versions.

Millwright is a display typeface family inspired by spunky DIY attitude and Industrial era hardware… an exercise in rendering glyphs with a rudimentary, hand-cut flavour. The type family’s built in Open Type features allow for easy substitution of glyphs… creating plenty of diversification for letter combinations, and multiple glyph variations. Millwright results in designs that are packed with bold character and Do-it-yourself pizzazz. Millwright’s quirky letterforms lend itself to a multitude of graphic applications; from serious branding applications, to light-hearted packaging, to children’s book publishing, to hand-crafted DIY projects. Millwright comprises a family of 4 styles; the utilitarian “Regular” weight, a brash “Black” weight, to the art-deco inspired "Inline" and the accompanying “Inside” for layering multiple colours.

Kamerik 205 is inspired by the classic, geometric sans-serifs such as Futura and Avant Garde, but has shallower ascenders and descenders for a more compact look, and features a traditional double-storey lower case a and g. It's a versatile, modern sans, highly legible as a text font and with a clean, elegant look as a display font at larger sizes. It includes old style non-aligning (lower case) numbers, both proportional and tabular as well as accented characters for Central European languages. The Kamerik 205 family comprises of six weights, and is closely related to Kamerik 105. The most notable differences between the two variations, are the two-storey lower case a and g in Kamerik 205, where they are single-storey in Kamerik 105.

Nolan Next is a low-contrast humanist sans-serif with a large x-height and streamlined appearance. It is based on Nolan, but with a more compact letterforms and remastered curves. Designed to appeal to a broader audience due to its narrower width and subtle presence, Nolan Next is ideal for everyday usage. It is well suited for design applications ranging from branding and corporate identity to editorial and web design. Comprising of eight weights with matching italics, Nolan Next is easy to work with and accommodating to your needs. Designed to work as a universal typeface, it also stands its ground in headlines, presentation materials, logotypes, etc. Additionally, the typeface includes an extended character set supporting an array of languages.

Aabak is a sumptuous modern typeface family. The high contrast, super elegant, didone like shapes were infused with a little fluidity from 60’s psychedelic lettering, the results is a contemporary face that screams freshness. It is ideal for branding, advertising, headlines, posters, movie titles, and much more! This design deliberately sabotages a lot of white space to have that compressed punchy look. The tear drop terminals and the melting serifs create a surprisingly superb combo. Sharp joints were smoothen to convey a warm and subtle feeling. Aabak comprises a total of 18 styles, 6 weights in 3 different cuts: Upright, Italic and Swash. The Swash styles have also a terminal forms feature that gives that extra lush feel. Have fun playing with it!

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. F2F Mekkaso Tomanik is a font whose letters have had diamond holes punched into them. In fact, so many holes have been punched into the letters that one could ask whether this font is more letterforms, or more holes!

Raw herring is the Dutch sashimi. Every year at the beginning of the summer a new batch of freshly caught herring arrives at Holland’s quays. Fishing boats actually race each other to be the first boat bringing it home. The fresh herring is called ‘Hollandsche Nieuwe’ (Holland’s new). This typeface, designed by Donald Roos, is based on the typography of Dutch fish shops and stalls. Inspired by lettering from the 30’s and 40’s, infused with some ‘techno’ flavour, Hollandsche Nieuwe is the brand new fresh fishy type flavor on your computer! It is traditionally eaten with sliced onions and pickles. Simply pick up the fish by the tail, open your mouth and take a bite! Enjoy!

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

Ellida is a very elaborate and elegant script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer. I really enjoyed designing this script and maybe one day I will add starting and ending letters. Doing this script was extremely time- and brain-consuming, it is a huge challenge to make calligraphic letters work on computers so that they join perfectly. That's also the reason that this has become my most expensive font so far, but I think the price is fair for the incredible amount of work I put into the script. I really need a break from scripts now! Yours very exhausted Gert Wiescher.

Welcome to my Geometry Pair. Introducing two fonts Forma & Structure that will make you happy. One of them is a compilation of shadow-based symbols like silhouettes. Another one has a rock of glyphs that don't repeat each other, but looks in the same style. Surprisingly they fit to each other and you can mix them in your works, be it print or web design. Make your graphic works more stylish that highlight your uniqueness from other. Just wonder people who loves funky design and who respect tiny details. Now you have opportunity to grab them both at the same time! There are all caps fonts kerned with microscope with multi language support.

yLab is geometric typeface compose of 10 fonts (5 weights and oblique declination) Perfect for titles and text, yLab supports many languages (Latin pro..). 11 OpenType Features (Alternative; Fraction; Numerator; Denominator; Superior; Inferior; Tabular figure; Ordinals; Discretionary Ligature; Stylistic Set; Case Sensitive Forms). • Ordinal feature includes the Latin alphabet (Uppercase & Lowercase). • Five Stylistic set for “a”, “g”, "i" and "l", includes accents. • Discretionary Ligature includes “AE”, “IJ”, “OE”, available in lowercase. • Contextual Alternate includes ligatures for arrows : <- -> ^| v| <-> v^| Add parentheses around period, numbers or arrows, add n or d for numerator, denominator. Add n, d or +, for numerator, denominator or case arrows. All Case sensitive characters become after the uppercase and number.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography.

VLNL Wurst started as a final result in the Typographic Chinese Whispers project for Typeradio.org, in collaboration with the Type & Media master course. A soundtrack of festive Bavarian music accompanied by burping, followed by loud crunching and munching, inspired Alexandre Saumier Demers to create this typeface family. The fraktur letter forms were composed with sausages to form a recipe available in three flavours: Brat, Blut and Bier Wurst. This 'charcuterie typographique' is ideal for an established butcher shop, a local grocery store or a casual BBQ with friends. Wurst is so tasty, you can't get enough of it! A "Wurst Schreiber" script was developed to automatically draw the sausages around the skeleton.

The techno sound of the 1990s, a personal computer, font creation software, and some inspiration all came together to inspire the F2F (Face2Face) font series. Alessio Leonardi and his friends had the demand to create new unusual typefaces, which would be used in the leading German techno magazine of the day, Frontpage. Even typeset as small as 6-points, in nearly undecipherable layouts, it was a pleasure for the kids to read and try to decrypt the messages. Hearts, candles, bombs, and peace signs are just some of the great elements you'll find in F2F Simbolico. This collection of ruggedly drawn symbols is meant to bring a smile to the reader's face.

Ragtag is an adventurous display font that’s fun, graphic and loud. The font features three irreverent, geometric variations for each letterform, plus a few extra goodies like eñes and diacritics so it’s ready to use En Español. Ragtag creates harmonies from the fully interchangeable collection of letters. Each letter is unique and designed so it composes beautifully with all others — but can also stand on its own as an accent piece or as part of a design. Ragtag is inspired by the scattered crew of makers and designers from design studio In-House International--a fully remote creative home based in Austin, TX. The design of Ragtag was led by Alexander Wright and digitized by Rodrigo Fuenzalida.

Ride my bike Serif is a new version of successful handmade typeface Ride My Bike designed by Coto Mendoza. Inspired by street style and the new culture that moves pedaling around the city. Perfect for use in headlines, brands and fashion photography compose alternative, thanks to its leading characters, terminals, alternate characters and ligatures that you can find in the Pro version. This time with serif. The ‘Ornaments’ font in this family has 121 dingbats, very fun to compliment and accentuate the handmade design. If you do not want to ride so fast, you can find a version without OpenType features - Essential. Come! Get on it and let’s go ride my bike! Photography by Nico Alari.

Kardia is a versatile type family that lets you compose a wide range of texts, from extensive reading materials to striking, eye-catching headlines and titles. Features include ample proportions that have been revised to maintain similar line performance across all its weights. It also has an elevated x-height which facilitates reading in small bodies, in addition to help building solid headlines. Inspired by brush lettering, it takes many features from calligraphic strokes and the foundational style, adapted to a contemporary typographic language. It has 4 weights, all of them including their corresponding italics, small caps and character set that supports Central, Western and South Eastern European, Afrikaans and many more.

Featuring the latest font "Arthemis Handwriting Font" This font is made with original handwriting, with a quick technique so that the font looks natural and textured. Each letter has a character, so it looks different from a regular font. This font is very suitable for use as movie titles, branding, packaging, quotes, taglines, trademarks, logos, and other promotional media. If you are interested in buying this font for your design needs, then you will get 3 types of files that will be installed on your computer. The attached files are: Artemis OTF Arthemis TTF Artemis WOFF Opentype feature, including 5 Set Alternates, Ligatures, End Swash, and Underlines. PUA Encoded Foreign Languages Support: ÀÁÂÃÄÅÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ Happy Designing!

Selini Display is a font that incorporates the classic and the modern: “mathematical” curves, classic proportions, thin body, needle-like serifs. It brings the lightness and modernity present in the Didot style, with more classic and wide forms. It is composed of capitals and small capitals, and an extensive set of ligatures, initial and terminal swashes. It came in five widths: condensed, semi condensed, regular, semi expanded and expanded. Selini Display is a thin, elegant and light font ideal, for luxury-related designs, traditional events, fashion magazines and brands and any material that needs a delicate, light and refined touch. Its use is recommended for large sizes and short texts, such as titles, logos, banners and posters.

Printers Drawer JNL continues building on a library of letterpress illustrations, cartoons, ad builders, Art Deco ad panels, ornaments, embellishments, and general miscellany. The images are re-drawn from vintage source material, and this font is jam-packed with 89 images spread throughout most all of the standard keyboard positions. This is officially the 1000th release from Jeff Levine Fonts since its inception in January of 2006. Jeff Levine Fonts aims to preserve the almost-lost artwork and lettering styles of the past within a digital type format, and often recreates the designs complete with their evident flaws, idiosyncrasies and eccentricities; allowing for a “real world” and nostalgic look to the computer generated art projects of today.

Loncherita is a typeface created by Fabio Eduardo Godoy Angel and has 5 files: Fill, Fill Outline, Shadow 1, Shadow 2 and dingbats variables. Its purpose is to serve as a childish fantasy modular typography useful in logo design and merchandising. It is also recommended to compose expressive titles that need the option in which letters can be colored by layers. In that sense Loncherita is a typeface with logic italic vertical logical and its amount of contrast between thick and thin strokes is monoline, its antlers are mullets and rounded ends. It is also important to note that ii has 26 Dingbats designed to be point of attention and illustrate countless children and playful issues.

One of the first messy typewriter fonts to hit the market, Chandler 42 was compiled with forensic care from the voluminous output of a circa 1942 portable. All the eccentric personality of this particular machine is intact: a slightly angled "m," filled in gaps in the most-used characters; even the number "4" is reminiscent of gasoline pump numbers of its day. Chandler 42 features edges meticulously redrafted by hand, fully developed Western character sets and is available in 4 weights, plus obliques. Chandler 42 is everything you need to type a 1940s business letter, prep your own vintage facilities report or write that hard boiled novel you've been planning to start.

Brittes is a fontface inspired in a formally English round hand, also called anglaise or Copperplate script. The calligraphy was the dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper. In the mid-1800's, the Spencerian form of penmanship became a standard. An elegant handwriting was much prized. Today, in our computer age, a fine, beautiful, and legible handwriting brings a warm personal touch to your graphic design and visual communications projects. This font comes with three different kinds of capitals, regular and swashes to choose from, a full set of stylistic alternates, standard and discretional ligatures. Old style numerals ornaments and tails.

Samsekrat is an authentic serif typeface that exudes timeless elegance and sophistication. With its meticulously crafted letterforms, Samsekrat strikes a harmonious balance between tradition and modernity, making it versatile for a range of design applications. The serifs are distinct and refined, lending a classic aesthetic to the typeface, while subtle nuances in letter spacing and stroke weights contribute to its overall grace. Samsekrat’s authenticity shines through in its attention to detail, capturing the essence of traditional serif typography while maintaining a contemporary edge. This typeface is a testament to the craftsmanship and artistry behind authentic design, making it a compelling choice for projects that demand a touch of refined character and enduring style.

The three fonts in the Prescott series are re-creations of 19th century favorites with an Old West flavor. The town of Prescott was the capital of Arizona Territory from 1864 until 1912, when Arizona was admitted to the Union, and the capital moved to Phoenix. In 1986 Page Studio Graphics started its digital foundry in Arizona. The fonts are thoroughly pair-kerned, including all accented characters. Auto-kerning should be turned on in your application program. The font packages include both TrueType and PostScript versions, and are available in either PC/Win or Macintosh format. In order to avoid serious problems, be sure not to install the same fonts in both TrueType and PostScript on the same computer.

Thick is the perfect font for all your fun designs and also for Halloween decorations. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Thick, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs. Thick feature: - More than 350+ glyphs - Fully coded PUA for full access to all characters - 19 languages ​​support