You may recognize the shapes of this font - it's because it's my Universitet font, but this time it took some beating, and turned into a grunge font! The output was Zero Output! It has 5 different versions of each letter and of course multilingual support! Go ahead and grunge up your next project!

Kasih Putih is a modern calligraphy font. It supports common international characters and comes with a set of alternates and ligatures. It is suitable for multiple projects from printed to digital products. It is nice to be printed on billboards, bottles or cups as well as for logos or design for apparel.

Hallo Jack is a funny, bold and cute display font with a sharp corner. Get inspired by its unique feel, and turn to add a lovely charm to any crafts project, this font suitable for any project about kids, children, or Student, like, book Cover, kids shirt, baby shower poster, and etc.

Introducing Galvitra Display Typeface! A modern display typeface take on a grotesk style, comes in 5 weights and it has opentype features. Galvitra typeface have unique shape and serif on selective characters, that's sure make your design stand out. Use Galvitra for most any aspect of graphic design, from logo to display designs.

Hi everyone, this time we created a new font in retro style. An adaptation of the life of the design industry in the 80s and 90s. We made this so you can reminisce in a classic style. This font looks classic, but a modern and elegant impression is still embedded in it.

Vendor JNL is Jeff Levine's take on the popular ribbon font of the Victorian Era, but using a vertical type (Trade Journal JNL) rather than skewed letters. End caps for the ribbon can be found on the left and right parenthesis, and a blank panel is on the hyphen key. Limited character set.

Billboard is a swinging family of six fonts. The all-caps letters are soft and round but the letter shapes will keep your layout in order. The font has class-based kerning and automatic OpenType ligatures. To access the ligatures you only need to use an OpenType-aware application and write in CAPS.

Adagio is a spontaneous, casual kind of font but don’t be fooled into thinking just because it’s all uneven and painted that it’s a pushover. There’s a bold brush pen at the heart of the design as well as a full set of alternate lowercase characters if you’re looking for something extra.

Glamost is a minimalist and elegant serif with many ligatures that will make your project more stand out. You can use this font for any purpose, such as branding identity, logo, magazine, quotes, etc. With simple steps, you can get an aesthetic touch in your design. This font also support multi language.

Kongress is a typeface that includes all that is needed for building a proper corporate identity. The design relies on the use of straight lines and a squarish structure for the characters, which provides the text with a compact appearance. This feature helps to save space when required by the typographic composition. The design is also defined by wide counterforms and clean cuts for the strokes. All of this helps the shapes to adapt better to digital environments. Nevertheless, Kongress is not another techno typeface. The slight modulation of the strokes—especially in the italic letterforms—and the large apertures for most characters result in what we will call a techno-humanist style. The squarish structure of a techno-font blends with the calligraphic modulation of a humanist sans serif typeface.

Bleek started its life as a logo for a rock band with the same name. This makes sense as it has distinct roots in classic rock logo design. Any rock band name set in VLNL Bleek looks instantly cool – profi logo quality! Of coarse Bleek will serve an awesome purpose as a headline font as well. Or gig flyers and posters. Or band backdrops. Just turn it up to 11! DBXL expanded the original logo into the full Heavy weight and added Light and Medium cuts. VLNL Bleek is an all caps font with uppercase and lowercase variations for maximum effect. It has a number of Open type features, like and alternate F, mirrored A and O and a TT ligature to spice up your designs. VetteLetters says: Rock on!

Hisham is a modern Arabic headline face, designed by the Lebanese calligrapher, Ahmed Maged, originally for Linotype-Hell Ltd. The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype’s Arabic headline fonts. This OpenType font includes Latin glyphs from Optima Extra Black, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Hisham incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Neutral and universal are two words that could describe a kind of perfection. The search for neutrality and universality is part of history in type design; it was specially important in the so-called Swiss Style. Samplex is a typeface that joins this particular search. The design gets rid of unnecessary elements and stays away from style conflicts. The large and slightly condensed body of lowercase letters makes Samplex a good choice for long paragraphs, and especially appropriate for screen devices. Letters with a blocky appearance give shape to a text in perfect order, ideal for grid lovers and layouts with a strict structure. The design of Samplex is clean and efficient. The diagonal cuts are reserved to the italic letterforms, setting some distance between the solid upright characters and the dynamic oblique forms.

Panforte Pro is the basic ingredient for any tasty visual feast: a prime-cut font family, deliciously readable online and offline, space-saving and organic, appealing to hipster consumers and seasoned gluttons. Hand drawn in easy big strokes, its a very condensed typeface that allows you to typeset easily long texts. Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, spiced with hand-picked diacritics and comes also with a tasty side dish of greek and cyrillic characters. For all the nouvelle cuisine open type chefs, it features a set of proper small case character set and alternate oldstyle numerals, as well as a set of repeating letter ligatures to avoid that metallic taste of repeating double characters.

Designed by Enrique Hernández V. Isidora is a modern geometric design based on the classic typefaces of the early 20th Century with a contemporary and functional touch. In spite of its strong and rational structure, the font also looks friendly and expressive, thanks to its rounded terminals. In addition, its diagonal terminal cuts give it a softer and more rounded appearance. Isidora consists of two 7-weight subfamilies: one (more classic) Regular and one Alternative (more contemporary and for display use). Both subfamilies come in italic version, giving a total of 28 fonts. Isidora is the perfect font for headlines, logotypes, branding, packaging, publishing and web use. The family contains a set of 438 characters—supporting 207 different languages—and also includes an alternative character set, which allows for more versatility when composing text.

Probably one of the most unusual applications of a stencil took place in 1964 when Union Carbide [then-owner of the still-new line of "Glad" brand plastic wrap and storage bags] sponsored a $100,000 contest to match up a stencil of their logo in order to win a prize. The magazine ad told of how one thousand lucky participants would win $100 by simply taking a die-cut stencil of the brand name to the store and overlaying it on the logo printed on the food wrap box to see if it aligned perfectly. The hand-lettered title proclaiming "match the stencil and win" was done in a casual sans design and reflected the cheerfulness of many typestyles found in ads during the late 50s and early 60s.

A unique kind of type by Michael Herold: The 14 cuts of Corner are equally distributed to the two style variants A and B. From Thin to Extra Bold, variant A comes with technical and pure forms while B appears with a soft, more personal character. In combination, the two variants add up to a highly versatile family which is very well suited for branding purposes, thanks to its diverse forms of expression. Eine besondere Schriftfamilie von Michael Herold: Die 14 Schnitte der Corner sind auf die beiden Stilvarianten A und B verteilt. Von Thin bis Extra Bold kommt die Corner im Stil A mit technischen, reinen Formen und im Stil B mit weichem, persönlicherem Charakter. Als Kombination ergibt sich eine sehr vielfältige Familie, die sich mit ihren verschiedenen Ausdrucksformen besonders fürs Branding eignet.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then.

Charles Gibbons' Fleischman BT Pro revives J.M. Fleischman's quirky and elegant text faces of the 1730s. Born in Germany, Fleischman worked in Holland, primarily at Enschedé en Zonen where he cut dozens of faces. His types represent some of the earliest examples of the Transitional style, predating and influencing the work of Fournier, Baskerville, and Bodoni. They were wildly popular in their day, used for everything from newspapers to currency, and Fleischman himself has enjoyed a renaissance of late. Fleischman BT Pro preserves the feel of the printed metal types while expanding the original to include four OpenType fonts: roman, italic, bold, and bold italic. They all include small caps, old style and lining figures, discretionary and historical ligatures, ornaments, and superiors. Fleischman Pro also supports Western, Central European, and Eastern European languages.

Sabon was designed by Jan Tschichold and released in 1967. Sabon was created in response to the specific needs of a group of German printers who wanted a typeface that would be identical in form when produced by three different metal-casting technologies. Named after Jacques Sabon, a sixteenth century typefounder whose widow married another typefounder, Konrad Berner, who is credited with issuing the first typefounder's specimen sheet. Several types on the sheet were attributed to Claude Garamond, and one of these served Tschichold as the source for Sabon roman. The italic was based on another face on Berner's sheet, cut by Robert Granjon. Tschichold's skillful adaptation of these old style faces has produced an elegant and workmanlike book face. The Sabon font family is a popular choice for setting text.

Scriptissimo is, as the name says, very much of a script! It is in the best American tradition. A script that could have served for writing the Constitution with, if only they would have had computers at that time. Scriptissimo consists of three different scripts that are meant to be used together. One is the script with the more or less plain characters. Two is the version for characters to start a word with. Three is the cut that has the characters for the end of a word. Ligatures is used for, well, ligatures and some glyphs like Ltd., GmbH, and so on. Scriptissimo is a very elegant and versatile script. It can be used for chocolate bars as well as stock certificates. I really enjoyed designing it. Yours scriptissimo, Gert Wiescher

Graphie is a modern geometric sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 16 style: eight weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the clear-cut-corner, vibrant straight lines and large x-heights give them legibility, readability and keenness. The basic skeleton of their letterform was designed geometrically and optically corrected. The sophisticated geometric design gives them universality, neutrality and sense of unity and make it possible to be used across a wide range of applications in all medias, all purposes. Graphie supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

Unzial typefaces consist of letter forms of the Capitalis Monumentalis and the majescule cursive. The origins of Unizial faces date back to the 5th century. The Neue Hammer Unziale was developed from the Hammer typeface, which was designed by Victor Hammer in 1921, cut by A. Schuricht and appeared with the font foundry Klingspor in 1923. In 1953, American Unizial was expanded to include some new figures, also designed by Hammer, and was rereleased by Klingspor with the name Neue Hammer Unziale. The forms are based on old scripts in books of antiquity and the early Middle Ages and the font is a new variation of a classic. Neue Hammer Unziale has been a favorite for certificates and diplomas and is recommended for headlines and shorter texts in a point size of 12 or larger.

Quiza Pro is a geometric display sans with added playfulness created around a single dot. Its peculiar rounded diamond shape has inspired many additional details such as similar cuts in diagonal strokes, or occasional serifs in ascenders and capital letters. Its low x-height together with friendly character makes Quiza Pro an interesting choice for packaging and branding purposes. Additionally, its balanced rhythm allows paragraph typesetting in corporate editorial projects – making it a real workhorse for an identity designer. Quiza Pro comes in 8 weights + matching italics each supporting numerous Latin-based languages as well as major Cyrillic languages. It is packed with OpenType features like ligatures, small caps, 6 sets of digits, 3 stylistic sets, superiors and inferiors, fractions, ordinals, respective punctuation varieties including all-cap punctuation, as well as language-specific alternates.

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

Chorus is a collective effort to sing in harmony. Similarly, each letter is designed to reflect harmony when used together to form a letter, sentence or paragraph. Letters like B, D, P and R have curved stroke (instead of straight line) while joining vertical stem. Letter K, k, and R have similar disjoint point in middle and unique plus stylish curve at foot. Letter C and G has distinct horizontal cut at top as compared to other letters in typeface e.g. S. Letter like b, h, m, n, and p have consistent stroke joint style with vertical stem. Ink traps in various letters are designed such that they blend with the letter form at certain degree instead, getting emphasised. The family comes in various styles in weight and width.

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

Black Ridge is a strong and rugged typeface, supplemented by its tall x-height, angled cuts, and quirky curves—all giving it a unique touch of character. It was inspired by the bold, modern, and condensed sans-serif typefaces created by typographic pioneers such as El Lissitszky, Herbert Bayer, and Jan Tschichold of the early twentieth century. This typeface is intended for display headlines and comes with a customary set of Latin characters, including diacritics, accents, symbols, mathematical glyphs, and more. Black Ridge comes in five styles—thin, light, regular, bold, and black—and supports over 80 different languages. Each weight contains a set of alternate glyphs and discretionary ligatures specially designed for better spacing and aesthetic enhancements for the more awkward character pairs such as fi, fl, rv, TY, FT, and more.

Are you looking for a modern, athletic sports font? Popular typeface Bamen is appropriate for contemporary designs, including sports, vehicle commercials, and headlines. This dynamic typeface provides your title’s speed and power with its cool cuts and wide strokes. This typeface was made with speed in mind because it was created primarily for use in the fast-paced world of sports. It has a fantastic overall vibe that exudes speed, strength, and power while still maintaining its distinctive beauty. What’s Included : - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

We created this with vibe of real hand lettering. This is Perfect for your BRANDING not just branding you can do design, wedding, funny logos with this font. These typeface work well for many different aesthetics. this typeface work well with Liquor Labels, Signage, & any type of signature-styled logo. Signaline is handwritten signature script with a natural & stylish flow. This collection of scripts is perfect for personal branding. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Signaline also includes full set of uppercase and lowercase letters, multilingual symbols, numeral, punctuation. This font would be perfect for all types of printing techniques *you can embroidery, laser cut, gold foil etc.

Inspired by the sleek lines of consumer electronics and the bold shapes of automobile design, Toxigenesis is the ultimate typeface for conveying a sense of scientific and industrial power. With its wide, plastic letterforms, Toxigenesis commands attention and exudes confidence, making it the perfect choice for any high-tech design project. Whether you’re designing the next generation of consumer electronics, presenting cutting-edge scientific research, or creating sleek industrial products, Toxigenesis is the font you need to make your message stand out. Available in five weights and italics, Toxigenesis gives you the flexibility to create powerful, attention-grabbing designs that convey your message with clarity and style. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Versatile EP is a powerhouse of 9 fonts that make design and logo creation effortless. While other sans-serif fonts tend to be rigid and cold, Versatile stands out with it's warm and natural feel. It's generous x-height aids in its legibility and function, and the forms are classic yet modern allowing this font to live up to its name as a truly versatile workhorse for your next design or layout. Use it by itself, or in combination with Versatile 7 layer font package (Sold Separately.) https://www.myfonts.com/fonts/charlesborges/versatile-bold/ Versatile EP contains 3 body styles, and 6 shadow fonts including striped and solid in different weights. Versatile EP is not just for the Graphic Designer. It's well suited for the Sign Maker, Cricut and Silhouette users, and anyone else who uses a vinyl plotter. It weeds beautifully in cut vinyl. Its different layers allow the user to stack multi-colored vinyl to create one a kind signs and displays. Versatile EP is ideally suited for advertising and packaging, logo, branding and creative industries, poster and billboards, signage as well as web and screen design. What's included: 9 Fonts included in for one low price: 3 body fonts and 6 different shadows. 1,462 Glyphs (Characters) in each font for a total of 13,158 Glyphs per style pack. Over 200 Languages supported including Cyrillic, Bulgarian Cyrillic and Greek. A massive library of Alternate Characters: Latin, Extended Latin and Cyrillic Alternates including their Diacritic and Small Cap counterparts. Superscripts, Subscripts, Numerators, Denominators, and Scientific Inferiors. Small Caps in Latin, Extended Latin and Cyrillic include Numbers, Punctuation, Diacritics and Alternates. Extended currency symbols including Bitcoin. Fun assortment of speech bubbles. Unlimited fractions. PUA Encoded Versatile EP makes designing fun!

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014