This font was inspired by the need to create a graphic decal for a yellow sailboat.

The Symcaps Vario X3 typeface is a monospaced design created to give optically symmetrical message forms.

Created from real hand-painted letters, this font is designed to look like a painted sign.

This font was created by request and has a quirky tone that is playful and unique.

A rough and ready typeface created from a series of doodles that comes in uppercase only.

With Forest Dingbats you can easily create fast nature patterns or use the images as such.

Light and intuitive handwriting, makes this rhythmic font create that comics feeling, as well as romantic.

Cack-handed was created by writing with my left hand even though I am right handed.

GG Serif is a hand-drawn serif font created from the hand lettering of the designer.

The Symcaps Vario X2 typeface is a monospaced design created to give optically symmetrical message forms.

Mangkualam Is a Traditional Javanese Style Script Font Mangkualam is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background.

ITC Serif Gothic font is the joint effort of Herb Lubalin and Antonio DiSpigna. Its distinguishing feature is its uniquely designed serifs, combining gothic simplicity with traditional roman elegance.

Runik Futhark is a modern font incorporating the earliest Germanic-Norse runes, known as the Elder Futhark. It's a bold rendition ready for all your Viking raiding party needs!

Relish is a more traditional sans serif version of our Guildford typeface, with round punctuation. Relish contains all the high-end features expected in a quality OpenType Pro font.

Kemuning font is a traditional handwriting style font with thin and beautiful lines, this font is a reflection of naturalism, and the beauty that exists in the surrounding environment.

Letters to Santa are a highly anticipated holiday tradition. Use this fun font to add pizzaz and an endearing childish style to that letter or any creative lettering project.

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies. I'm proud to introduce: Galano Grotesque and Galano Grotesque Alt.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

The use of pattern is strongly integrated into African art, craft and culture. If you are creating designs which are to have an African look, then the African Pattern Fonts are an essential resource. The patterns vary tremendously -- either gently rounded in shape, or with a stark African angularity they reflect the ethos of Africa. Some of the fonts (African Patterns 01 and 02) have been inspired by the designs of Africa without regard for specific tribes or ethnic borders. They create a strong sense of "African-ness" without a narrow connection to any specific tribe. African Patterns 03 (Zulu and Ndebele) and 04 (Mali), in contrast, have been closely based on traditional patterns that are currently in use by the better known pattern-using African tribes. You can use the fonts as elements in graphic designs (using Adobe Illustrator, Adobe Photoshop, Adobe Freehand or equivalent programs). However, you don't have to be a graphic designer to use these fonts: you can easily make borders and patterns in word processing packages such as Microsoft Word. (See the Gallery Images for instructions). Each African Pattern font contains 52 different pattern units. You can combine these in a myriad of ways giving an almost unlimited number of patterns. You can even overlay one pattern with another, allocating a different color to each layer. Explore your own creativity -- experiment!