The typeface of Quan Slim is based on the successful Quan font family by font foundry Typesketchbook. Font designer Chatnarong Jingsuphatada created Quan Slim as a condensed version to Quan. Both type families consist of eight weights plus obliques and additional rounded versions. Quan Slim’s typeface has a clean and modern sans serif appearance. This modern geometric font is very legible and can be used for headlines as well as small and long text.

I wanted to combine a classical antiqua with corners and edges. I was convinced this combination would create a new, a fresh design of types. At the beginning I used the forms from "Goudy Old Style", later I modified the sizes, the widths of the letters, the x-height and their forms in general. At the moment the Easton Family consists of 3 styles called Easton Serif, Easton Semiserif and Easton Sans.

Tuna Salad is a handcrafted, multi-weight, ALL CAPS font with a playful, authentic feel. Type in lowercase to explore alternate characters for each letter! It's perfect for: logos, branding, greeting cards, posters, quotes, magazines, social media, planners, shirts, prints, and more. FEATURES: Alternate characters for each letter to give an authentic, handwritten feel for each word Light and bold to create emphasis and hierarchy in your work Multilingual accents + characters for the global designer

Welth Catritz Serif Typeface is a stylish font It has both Classic Modern look. Comes with alternatives and ligatures, helps to create stunning logos, quotes, posts, blog posts. branding projects, magazine imagery, wedding invitations, and much more. WHAT YOU GET: Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word Fully accessible without additional design software. To generate all ligatures, please open Adobe Ilustrator/Photoshop - Type - Glyphs.

Felicity is a tightly cut heavyweight display serif. Felicity has strict kerning and it creates strong looking words just by typing - but if you need even more try any of Felicity’s many OpenType features: Discretionary Ligatures, Stylistic, Titling or Swash Alternates. Felicity has also a small selection of ornaments you can from the Character Window. Felicity is also equipped with Contextual Alternates and Standard Ligatures that prevents letters from colliding. Both features are automatically on.

Prana Pro is a modern, young and fresh slab serif created by Christoph Ulherr during his studies with Prof. Gertrud Nolte at the faculty of design of the Hochschule Würzburg under the direction of Volker Schnebel, URW's type director. Prana Pro is an excellent headline and display font while, at the same time, very well readable at small sizes. It can be used for any kind of publication including posters and book covers.

After creating the all-caps version of Supper Club JNL, a conversation between Jeff Levine and fellow font designer Ray Larabie brought forth the idea that one of Ray's freeware fonts had a lower case that would perfectly fit Jeff's design. With Ray's permission, Jeff adapted the lower case to his capital letters and the final version of Supper Club was born. Two separate ideas become one stylish Art Deco type design.

French type designer Xavier Dupré created this script FontFont in 2002. The family has 5 weights, ranging from Light to Black and is ideally suited for advertising and packaging, festive occasions as well as sports. FF Jambono provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Noble Jungle is an urban-style hand brush font, with a unique brush texture. It is the best choice for creating eye-catching logos, branding, headlines, apparels, and quotes. The font Noble Jungle contains 204 glyphs. Supporting more than 66 languages, from English to Zulu. It is also PUA encoded, multilingual, and has open-type features such as ligatures. Noble Jungle is cool, casual, and carefree.. Handcrafted with passion and love for your awesome projects.

Inspired by that iconic sign in the Hollywood Hills, this font is a must for film buffs, movie lovers and designers who want to bring a bit of big screen glamour to their projects. It’s a caps only face, but by using the upper and lower case keys type can be set above or below the base line, thus creating the signature stagger effect. See also Jazz Age and Tea Dance by Studio K

Masky is a unique and very elegant font for branding and logo designs Elegant serif typeface combined with a classy and modern style. This type of font is very suitable for your various needs such as branding projects, logos, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project, created with high level of readability. you will not be disappointed if you buy this font!!

Invertigo is an experimental font mainly for designers who love to play with type as you will see in my examples. There are many alternate letters for you to work with, and I will be creating new characters which I will add to Invertigo from time to time. If you purchase Invertigo, you will receive updates at no additional charge. It also makes an interesting looking setting somewhere between contemporary and futuristic.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Since 2010 I started my research and experimentation in layered fonts, and I immediately understood that the future of creative graphic fonts is precisely the exploration of it. Over the years I have tried different expressions on the use of the layered system ... but I realized that my propensity to use colors in the font led me to the creation of BILYA. The real creative cue of BILYA is the wonderful childhood memories where nostalgia for them generated the creation of it, which I dedicate to all lovers of glass marbles classic game and beyond. BILYA Base, Outline, Color One, Two, Three, Four, Five and Color Six is a 8 font system that can be layered in different ways to create infinite title effects used commonly in poster and logo design, in flat gradient color style for spectacular 3D emboss styles or realistic 3D logos design projects. BILYA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste in same position to create different layers styles combinations to build out your desired effect. BILYA works great in any graphics application that allows you to utilize layers or 3D graphics effects.

The concept behind Meridiana Pro was to create an amalgamation between a rounded sans and a monospaced font in order to obtain an extensive and usable variable type-system. This typeface encapsulates a symmetrical and balanced rhythm due to the unique blend of different sources of inspiration. Proportions are precisely adjusted with smooth contours and subtle contrasts. These forms give the font an eye-catching look without compromising elegance and minimalism, ensuring that each glyph will work well in any graphic design purpose. The focus was to create a versatile type family with range of alternates, ligatures, and symbols, including the extensive language support of most European languages. Meridiana Pro design space includes two axes, weight and italic and is available as a variable font or as a separate OpenType family, including weights from Thin to Heavy plus their obliques. Specifications: - Version included: Meridiana Pro Variable, Meridiana Pro Static - 8 weights with matching obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features (Superscript and Subscript Numerals, Fractions, Ligatures, Alternates) Thanks for reading, Unio.

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

Woodmark JNL is a rough and somewhat irregular in letter form wood type based on some examples of William H. Page's "New Process No. 507". The eccentricity of the letters is reminiscent of many of the 1800's wood type designs, and is perfect for a rustic look within any retro project.

Harpagan is an experimental type family characterized by scalable construction from mono linear grotesk to display bold. I’ve designed this typeface after my trip to Kyrgyzstan, Uzbekistan and Kazachstan, where i’ve been impressed by the impact of arabic script in Asian style Cyrillics. The Harpagan type Family consist of 5 futuristic styles.

HT Trattoria is a lovely brush script with authentic and organic feel.It works best for packaging, magazines, marketing, labels, film and clothing. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Pyragy is a display font with a classical vibe. It has beautifully crafted nine swashes. It’s genuine, interesting, and perfectly fits different design works, such as posters, book or album covers, digital spaces, or any other media. It supports various Latin-based languages and comes with powerful open-type and true-type features.

Amador. Designed in 2004 by Jim Parkinson. Originally released as a Type 1 font, Amador was refreshed (version2) and re-released as simple Open Type in 2012. A blackletter designed in the spirit of the Arts and Crafts movement. The works of Frederic Goudy and Rudolf Koch are also reflected in this design.

Walter Tiemann’s Fichte-Fraktur, released by Klingspor in 1934, has come to life again. This font contains the traditional long s which can be accessed by either the OT feature historical alternatives or by typing [alt] + b. Two framing elements can be reached by typing [alt] + shift + p and [alt] + p respectively.

You will see this in the old type catalogs as Dainty. Late in the nineteenth century, type founders developed a number of fonts with a "pen-drawn" look. They wanted to complete with the work of the hand lettering artists who were coming into their own, thanks to the new art of photoengraving

Better Wednesday is a handwritten script with brush textured. This type of font perfectly made to be applied such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose Features : - Uppercase & lowercase - Numbers and punctuation - Alternates & Ligatures - Multilingual - PUA encoded

Do you like fat fonts? Well here is a free one from me. Regular & Italic both free. Fat is a caps only font. Because of that if you type something with caps on, as you can see is typing in Greek I decide to make it like this since there no lowercase letters.

Octagonist JNL is based on ‘Octagon’ [which was introduced in the George Nesbitt 1838 specimens of wood type] and is available in regular, oblique, solid and solid oblique versions. The font’s name is partly an homage (to the original type name) while at the same time making a pun on the word ‘Antagonist’.

This is a monoline script without descenders. Its tail gives us cute and lovely impression, but it is also methodical and punctual. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

I'm thrilled to present you a new futuristic typeface. Smooth humanistic forms and elongated proportions, modern trends dictate a new fashion in type design. Perfect for science research posters, modern futuristic logos, automotive type design and more. Check how it works and let me know, I am always glad to hear your opinion.

Wondrous with some new ideas with fonts that are perfect for all types of your project with alternative fonts both upper and lowercase and several types of underlines, such as advertising, branding, quotes, wedding designs, graphic designs, logos for online or offline business, photography, and more. . -other. Make your business more memorable!

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.

Alesand A new contemporary font family designed with balance and versatility. The addition with outline and extrude font styles, makes it very simple to coat these fonts together perfectly. Simply duplicate the "Extra Bold" layer and change the setting to "Outline, Extrude", and the type will be automatically offset for you! And supports international communication extending to Western languages. Perfect for displays, headers, invitations, save the dates, weddings, brand creation, graphic design and so much more, Alesand will become a playful staple in your font library!

Strong Beast is a BOLD AND STRONG ALL CAPS organic hand-drawn typeface. This item consists of 7 FONTS in various styles which you can play around with it. NOTE : Please Check the Help File first and for all the characters are also available, accessible in the Adobe Illustrator Glyphs Panel, or in Adobe Photoshop Character Open Type Panel. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

Tasty and sweet, Absolem is a sleek high contrast serif type with. Absolem is excellent for headlines, packaging, posters and any other display use conveying an elegant impression. I invite you to familiarize yourself with the preliminary images and hope that you will be imbued with my vision of this creative font, which, I am sure, will be suitable for all the interesting projects you are working on. Fonts can be opened and used in any software that can read standard fonts, even in MS Word.

Broger Display belongs to the "twisted shape" category with beautiful ligatures, it's a little hard to read in small sizes but very awesome when in large sizes, that give any headline an elegant appearance. Broger Display presents luxury, glamour, exuberance, and beauty. It works perfectly for creative project such as logo, T-shirt / apparel, badge, invitation, packaging,headline, poster, magazine, greeting card, and wedding invitation. You can access the open type features and multilingual on mostly Adobe programs, such as Adobe Indesign, Adobe Illustrator, Adobe photoshop etc.

Candu is a strong bold sans serif, with solid lines, paired with bold yet soft rounding. Opium will turn any creative idea into your true work of art! It's perfect for logotypes, signage, branding, apparel, posters, social media, headlines, titles, large format prints and more. FEATURES: 4 Font weight Uppercase & Lowercase Alternative Numbers & Punctuation Characters with accents Supports Multiple Languages This type of family has been the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it!

May I present to you: Tacky Shoes. Actually there's nothing tacky here - just liked the sound of that :) Just like the letters may look quite straight-forward, but here and there the lines are a bit off, which enhances the handmade look - which makes it great for work like posters, invitations, flyers, stickers or something that has to do with creativity. Each letter has 6 variants (in all 6 versions!) which makes the text look more natural and random - because these variants cycle as you type!

It starts with the idea that different things can be mixed infinitely. Robolt comprises four designs with multiple options to add variety and playfulness. Battery and Machine have a retro touch which reminds one of toy labels from the '80s, while Vintage is rendered a Didot style with different textures to choose. Streamlined Handdrawn style is nicely put in contrast with the solid types. Elements are also available to complement the letters. The set is made up of 29 letters of four families to serve your creativity.