In the advertising industry, I was often asked to supply the art directors with ideas for a san serif type design that was not the standard Helvetica or Univers. They wanted a fresh new approach, something with generous proportion, like Avant Garde perhaps, but not as uniform in proportions. A font that would lend itself well to wide and long columns of text with lots of leading. So, I rolled up my sleeves and designed a font that meet all their criteria. Contax is the new 'Univers' for the 21st century.

In its beauty, Comicraft's Fairytale font is without rival in the heavens, the earth, or the stuff of men's dreams! A wee thing it may be, but 'tis like a star pulled from the sky. Luminescent. Radiant. Perfect. Yes! PARADISE can be yours...from the pages of "Captain Stoneheart and the Truth Fairy," comes a font that might very well change your life forever... it's a dream, a myth, a neverending story, it's a FairyTale! Words by Joe Kelly & art by Chris Bachalo from Captain Stoneheart and the Truth Fairy

Whether your subject is scary, or just ancient, this font can help get the right feeling across. PR-Cauldron has capitals based on Uncials, and lowercase based on Celtic Minuscule. “Potion” has a rough finish, and “Curse” has the same letters dripping with gore, suitable for Halloween. Letters are size matched in both fonts, so you can put in as much, or as little messiness as you like. Combines well with: PR Bramble Wood 1, PR Bramble Wood 2, PR Hallow Doodles 01, PR Hallow Doodles 02, PR Swirlies 01, PR Swirlies 05

Hollister is a modern script font created with a natural brush. This font is very beautiful when combined with era now design concepts. Hollister comes with OpenType features such stylistic alternates, stylistic sets & ligatures which are good for logotype, poster, badge, book cover, t-shirt design, packaging and much more. Features : Character Set A-Z, Numerals & Punctuations (OpenType Standard), Accents (Multilingual characters), Ligatures, Swashes. There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question.

»Brute Sans« is a classic Sans typeface that looks like it has been designed by a chainsaw. »Brute Sans« looks really crude only in big sizes, the smaller the font gets the more it looks like any other Sans typeface. »Brute Sans« prints very fast, because there are no curves to compute, but that is just a side effect. »Brute Sans« is the typeface you should use if you need a really different look, since Sans typefaces tend by design to look very similar. This one is different. I always wanted to do this font, but then other projects crept up so I pushed »Brute Sans« to the end of the line. Enjoy!

The typeface Open TECH Neue is designed from 2018—2021 for the font foundry Typo Graphic Design by Manuel Viergutz. 6 font-styles (Sans Serif, Invert, Outline, Slab Serif, Stretch, Box Puzzle) + 1 icon-style with 1097 glyphs (Adobe Latin 3) incl. 400+ 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 (6 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Open TECH Neue ■ Font Styles: 6 (Sans Serif, Invert, Outline, Slab Serif, Stretch, Box Puzzle) + Icons + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 1097 glyphs (Adobe Latin 3) incl. 400+ icons (decorative extras like arrows, catch words, dingbats, emojis, symbols) ■ Design Date: 2018—2021

introduce Glowing Shine with beautiful handwriting style. Equipped with 300+ glyphs. Glowing Shine is perfect for branding projects, home appliance design, product packaging, use in business cards, invitation cards, etc. Just like a stylish text overlay to a background image or anything else that needs a touch of elegance. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use the font style set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Thanks for checking! I really hope you enjoy it. Regards Nk Studio

This type crept up the sense that it was made in Eastern Europe by poorly trained urbanites from a crippled nation, or that it is the remains of a contemporary gothic (like Eckmann) stencil. The choice of what this type signifies is up to the public. Lately I like the idea of 'putting on' (in McLuhan's sense) a genre of idea that is somewhat different from my tradition's beliefs, and fitting a core category of that toward a teleological/eschatological advantage. Therefore postmodernist/apocalyptic carelessness (which I may 'put on' by using this type) is how I abstain from the cravings of immortality, or more so that wanting it is pointless. It’s stands as memento morí; that I will have to die someday. I have to become less, He must become more. Of course, Interzone may signify a classic Joy Division track from Unknown Pleasures as well as the Cold Warish ongoings of conflicted eastern European life. I considered naming this Lunik 9.

Type designer Hannes von Döhren created Brevia, a soft sans-serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across as casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its large x-height, it also performs well in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in greater sizes. This contemporary type family is intended to be used in applications like Cosmetics, Service, Food and Advertising–basically everywhere a pleasant feeling should be conveyed. Brevia is equipped for highly professional use. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s “non-design design”, as well as its undeveloped character set. In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do. Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines!

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

Langston is an original design by Alex Kaczun. It’s part of a series of lettering experiments, manipulating body proportions, characteristic elements and spacing to achieve some dramatic visual effects. It is hard to characterize if Langston is an outline or inline font. The outline has the same thickness and proportions as the stems. And the inter-letter spacing is also visually similar. This creates a dynamic and interesting visual harmony throughout. Furthermore, certain design elements like the accents and punctuation symbols, break with the outline treatment, and morph into an interesting play between inline and outline. The overall effect is stunning and mesmerizing. Langston is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications.This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. A special version was created with decorative initial capitals to further enhance the possibilities. The large Pro font character set supports most Central European and many Eastern European languages.

I always like to make a heart swash font and this is my 7th. Winterfalls is a high quality, smooth, simple script font which is easy to read and ideal for anything romantic and loving. Use it on cards and notes for baby announcements, wedding stationery, birthday and thank you cards but most of all, anything for your Valentine. Winterfalls includes left and right end swashes and connecting swashes on the lowercase letters, and a set of alternate uppercase letters with heart swashes. There are a few alternate lowercase letters, such as the ‘i’ and the ‘j’ dotted with a cute little heart and many, many ligatures. As usual, this font also comes with a good set of international characters, which will come in handy when you want you entice your valentine with a little french, haha. If you use a program which doesn’t have a glyphs panel then it’s super easy to copy and paste the alternates and ligatures from Font Book (Mac) or Character Map (Windows).

STF Eclectic Two contains more of the useful and the sublime. Alarm clock time icons and many characters which connect add extra usefulness to this dingbat font. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Two almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcTwo features an complete architecturally-inspired alphabet, more of those smiley face variations, the eight ball, alarm clocks for the hours, the bouncing ball (with connecting dotted lines!), the paper airplane (flying and crashed!), the work dog, the chainsaw, Dorothy's slippers, the sideways arrows again, a handicapped symbol, chicken feet tracks, male/female symbols, gears, polynesian-inspired ornaments for patterns, a lighthouse, a torch, and more. Sounds twisted, eh? Make your own juxtapositionsof characters for funky borders. Available in Mac and PC formats. License it today!

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Introducing Kleptocracy: the compact industrial typeface that’s taking the design world by storm. With a sleek and efficient assembly line design, this font purrs where other factory-made fonts rattle and buzz. But don’t be fooled by its hard edges and utilitarian lines. Kleptocracy’s cursive elements add a touch of warmth and whimsy, bringing together the best of both worlds. From the gentle curves of the “g” to the playful loop of the “y”, this font is anything but stark and frigid. Available in three weights, three widths, and italics, Kleptocracy is the versatile typeface that can adapt to any project. Its compact design makes it perfect for small spaces and modern layouts, while its industrial roots give it a bold and confident presence. So whether you’re designing a logo, creating a website, or crafting the perfect brochure, Kleptocracy has you covered. It’s time to ditch those outdated fonts and upgrade to the sleek and stylish Kleptocracy. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Artist and calligrapher Daniel Reeve, well known for the lettering and maps in The Lord of the Rings films, is creating hand-crafted fonts of some of his writing styles - Kereru is the inaugural release, allowing users to emulate some of his much-admired calligraphy. Nominally a half-uncial style, clever arrangements of the stylistic sets allow Kereru to be set as full uncial or standard roman, as well as offering numerous alternates, ligatures, swashes and flourishes, ornaments, unlimited fractions, scientific inferiors and numeric superscript, all accessible via OpenType features. Cyrillic and Greek alphabets are included, in addition to the letters required for all the languages of Western, Central and Eastern Europe, Scandinavia and the Baltic. Kereru is very legible and easy on the eye, without sacrificing calligraphic flair. A pdf description of the Stylistic Sets and their usage is included with the font package, which comprises regular, bold and italic variations. Kereru Italic supercedes and improves upon its previous incarnation, Shire Regular. The name Kereru comes from New Zealand's Maori language - it is our native wood pigeon, a bird of generous and rounded form, like the font itself.

Perfora is the typographic antidote to our relentlessly anxious and uncertain times. On one hand, Perfora is heavy, monospaced and brick-like. It feels secure, permanent, reliable. On the other, Perfora is extra variable—stretching taller or growing wider as needed—so all your words can fit perfectly together. And this seeming contradiction is the sweet spot we’ve all been missing: sturdy but not rigid. Named for its punch-hole shaped counters and eyes, Perfora is a flexible powerhouse that’s easy to use, stack, and click into any shape. Use it to assemble everything from dynamic logos to posters and festival lineups, from seamlessly responsive titles to instantly recognizable product lines. Perfora features two uppercase styles—rounded and angular—punctuation, numbers, latin diacritics, and stylistic alternates for a subset of characters. It also includes 19 ornamental glyphs to compose with flair and add some rhythm to your copy. It’s available (and recommended) as a variable type (.ttf) for designers using compatible platforms. It’s also available in opentype format (.otf) as a set of 25 static fonts, spanning 5 widths and 5 heights. Perfora was created by In-House International, designed by Alexander Wright and developed by Rodrigo Fuenzalida.

The spirits have spoken! Introducing Gurkner—the bouncy, round display typeface with two distinct personalities. Say hello to well-behaved Gurkner—the ghost that always follows the rules and marches in a straight line like a row of obedient Caspers. But beware, because there’s also a mischievous side to Gurkner – a poltergeist on crack that loves to play pranks and bounce around like there’s no tomorrow! What sets Gurkner apart is its customizable pairings that automatically swap to create unique combinations for a more natural, springy look. It’s like having your very own ghostly friend who’s always up for a good time. Whether you’re designing for Halloween or just want to add some spooky fun to your project, Gurkner is the perfect typeface for adding a playful touch. So don’t be afraid to let loose and embrace the silly side of Gurkner. After all, who doesn’t love a font that’s equal parts mischievous and well-behaved? Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hey there, looking for a typeface that screams “I’m spontaneous and creative, but also a little bit messy”? Look no further than Markerfield. This typeface is like the lovechild of a whiteboard and a permanent marker—it’s got that super-satisfying squeaky texture that you can almost feel in your fingers. But wait, there’s more! If your program supports OpenType ligatures (which, let’s be real, it totally should), Markerfield will automatically swap in custom pairings to make it look even more like you just scribbled this message on a whiteboard during a brainstorming session. And let’s not forget about the most important part—the message itself. With Markerfield, your words will have an instant aura of authenticity and urgency. It’s like, “Hey, I may not have spent hours crafting this message, but that’s because I’m a busy person with important things to do!” So if you want to inject some playfulness and spontaneity into your designs (or just make your coworkers think you spent all day brainstorming on the whiteboard), give Markerfield a try. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Nexus (2004) consists of three matching variants – a serif, a sans and a slab – which makes it a highly versatile typeface. Nexus started as an alternative to Seria, a typeface Majoor had designed some 5 years earlier. But soon the design developed into a new typeface, with numerous changes in proportions and in details and with a redrawn italic. Besides the three connected versions (Nexus Serif, Nexus Sans, Nexus Mix) Majoor designed a monospaced version called Nexus Typewriter. The Nexus family is a workhorse typeface system like Scala, with features such as small caps in all weights, four different sorts of numbers and an extensive set of ligatures. All fonts in the Nexus family come in regular, italic, bold and bold italic. Free bonus: there are more than 100 elegant Swash italics and dozens of arrows and other icons. The Nexus family was awarded the First Prize at the Creative Review Type Design Awards 2006.

Now check this, Underware’s blockbuster type, Bello. Bello Pro is a brush typeface for headline point sizes - it’s big & beautiful. Bello has lots of ligatures and start and ending swashes. They are automatic in Bello Script Pro, which is a cross-platform OpenType font with many OpenType features. Bello has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). After a period of hand sketching and lettering, Bello got two main styles: Script and Caps. These two fonts create a strong typographic contrast - while Bello Script Pro is flourished and flowing, Bello Caps Pro provides upright and sturdy capital lettering. As sturdy as brush lettering allows, of course. Careful spacing and kerning ensures* that Bello appears like fluently written handwriting. However, that’s not enough for a hand-lettered feel. Therefore Bello comes with a set of 64 ligatures. Some of them are typographic, some made simply to create a more intimate, natural impression. For the same reasons we have added a few ornaments and a set of snap-on beginning and ending swashes which attach to the lowercase letters of Bello. With Bello Words Pro you can add some two-color words in your text by the pre-designed word logotypes. Trust the brush! *So take care: use ‘metrics’, not ‘optical’ as a spacing setting in layout apps.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Like Refused said in their song ”The Shape of new Punk to come”, Oblik could be “The Shape of new Fonts to come”. We present to you our uprising star - Oblik - that could shine in your monitors. Modern family, stylish and secure, with its own personality (it’s photogenic, too), available for all kinds of use, even if you're a doctor or policeman or butcher or truck driver or maybe rock star, this font will rock your world.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Neo Phalanx is a rectangular, circular & curvy modern display sans inspired by Ancient Greek mass military formation. The difficulty of make this font is balancing rounded corner & sharp edge. There are letters like "M W A H R N K S Z" provides a unique personality in the title display. Numbering and punctuations also designed in unique styles to deliver different visual language. This font is suited for variety of applications from poster to branding, advertising, digital.

The typeface was designed after seeing a photocopy of some News Gothic text where the ink had faded on the bottom of each character. As character recognition is generally based on the top half of a character, readability was never compromised. Rather like Antique Olive the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom this top heavy look is diminished.

Penicillin is a psuedo thematic/destructive typestyle, looking more like a grunge/deteriorated or stencil typestyle, but actually a typestyle made to look as if formed of bacteria cells. From the fungus that breeds the bacteria that heals, comes a highly readable typestyle to add a little offbeat degeneration look to any design. The end result, a little funky fungus of a font, easy to read and fun to look at...let Penicillin cure your design ailments!

The 'Alzheimer' font has a shape in which parts of the font have been erased as if memories are being erased. The remaining letters, which are minimal enough to be distinguished from other letters, create a different feeling, like an alien language. It is useful for creating titles or logos rather than expressing text. It was produced thinking of all of us adults whose memories are slowly disappearing. May they be full of health and love.

No, no fantastic story about how I came up with the name for this font. It was a Sunday when I thought up Sunday Thinker. It seemed like the right name and it wasn’t taken yet, so there you have it! Sunday Thinker is a thoughtful font, made with creativity in mind. Personally I think it’d look great on product packaging or book covers, but the font will adapt itself to whatever you think of! Just think happy thoughts!

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. When you type in this font, the typography looks like that small guards are marching in the street. This retro font is pretty, but it also has a punctual impression. PAG Demokratie is a perfect font for posters, magazines, product packages and all of your creations.

This clean looking (all caps) font has characters made of gaps, which form the stencil divisions, spaced evenly along the strokes. The letterforms have a well-proportioned constructional appearance. The characters look like they have been built from interlocking bricks, the stencil gaps give them both rhythm and texture. The sans serif typeface also has a sense of movement because of the way the stencil gaps follow the horizontal, vertical or curved direction of the stroke.

This font take inspiration by the Venetian famous typographers in 1500s. Is a font designed to perform better when used in high dimension like Headline in Ad, Titles in Magazines or Blogs, Logos, Naming, Packaging... Is easy to have great result using contextual & stilistic alternatives, ligatures and other SS alternatives, as show in the posters. Is highly raccomended graphic applications with OpenType tab, such Adobe Illustrator or Photoshop or Quark Xpress InDesign, for the use of OpenType Features.

Coin Ding Dong pixel Font inspired from 8 bit game with beautiful stylized pixelized, game machine really reminds me of my childhood, with coins you can play it, in my country machine games are called "dingdong", inspired me to create this pixel font name. Really Beautiful font to covering your Project, like For Game Names, Poster art, Magazine, Branding, Logos, and more your project design. - Unique glyphs - Multilingual Characters - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - PUA encoded inumoccatype

I am reading a great book by David Mitchell, called Number 9 Dream. One of the characters is called Buntaro, so I decided to call my new inky font after him. Like the book, Buntaro is quite unusual: it has no real baseline, comes with some strange characters, feels familiar, but surprises you nonetheless. It was made with a broken bamboo satay-skewer, Chinese ink and a lot of patience. Buntaro comes with a wealth of diacritics.

A Western Union telegram from 1951 provided the typographic inspiration for Message by Wire JNL, which is available in both regular and oblique versions. Unlike other available type fonts which emulate the ink ribbon-struck printed characters from the teletype machines, this version was redrawn to celebrate the actual type design itself. The typeface letter spacing has been equalized so that when in use, it looks much like the printed output of an old telegram messsage.