Bowdon is a warm, Bodoni-inspired English Modern, influenced by the 1930s lettering of designer Barnett Freedman. Slightly rounded corners give characters a printed-look softness, and hairlines are thickened a little to increase legibility at smaller sizes, reducing the harshness and dazzle that can afflict Didone typefaces. Bowdon is supplied in three widths – Regular, Wide and Narrow – and each width is accompanied by a utilitarian oblique rather than a fancy italic. Each font includes a full Latin Extended-A character set and additional oldstyle numerals.

The inspiration for Mimosa comes directly from the packaging for “Moulinard Jeune”, a line of French toiletries from the 1920s. I created the 240-odd glyphs needed to make up a complete font based upon the style of a handful of hand-lettered characters that were used on the original items. Mimosa is a mono-weight, connecting vertical script with a fairly regular set of lower case and slightly more decorative upper case glyphs. As with any decorative script, if you set copy in all caps, you will be tracked down and severely punished by the type police.

Cartwheel, a super bold and playful display font designed by Tom Censani was inspired by the imperfect beauty of hand-lettered signs at theme parks and the bouncy cadence of text inside comic book bubbles. Cartwheel is a fun attention-grabbing font.

Loew is a geometric sans serif font influenced by the methods of the early industrial designers. Pure mechanical shapes are carefully adjusted to give the characters the right form, function and usability. These subtle human touches combined with the technical detail provide great readability at both large and small point sizes. Loew is a versatile sans serif font with simple and honest geometry aimed at a wide range of modern applications. Details include over 800 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, manually edited kerning and Opentype features. For additional non-latin language support in Cyrillic, Greek and Arabic, visit Loew Next and Loew Next Arabic.

Trencher JNL is based on hand-cut stencils spray-painted onto a vintage 1947 Cleveland Trencher acquired by the Marine Corps Mechanized Museum at Camp Pendleton, California. Restoration volunteer Brian Platzer supplied to Jeff Levine the images of the stencil markings - and they were quickly re-drawn and turned into a digital type face.

The chamfered block style of lettering has been a workhorse for years. From the early signage of the 1800s to military markings to the techno fonts of the 1980s and beyond, its clean and simple look gets the message across easily and boldly. Industrialist JNL and its oblique partner were modeled from the title on a piece of sheet music from the 1940s.

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.

Tassista means taxi in Italian. It suits this typeface well as the source of inspiration is the closing credits from the film Taxi driver, directed by Martin Scorsese in 1976. The typeface is designed to perform especially well in smaller sizes and makes it suitable for various credit copy, footnotes etcetera, nearly always presented in minor sizes. During the designs process it seemed more logical to make small caps instead of traditional lowercases.

Sheet music for another one of those songs from the early part of the 20th Century with a wonderfully wordy hand lettered title was the model for the Art Nouveau flavored Go Home JNL, which is available in both regular and oblique versions. 1908's "I Used to be Afraid to Go Home in the Dark (Now I'm Afraid to Go at All)" is comprised of eighteen words. It may have been a mouthful to request from the local sheet music shop, but the lettering on its cover made it a great candidate for preserving as a digital typeface.

Rotato is a lowercase only geometric slab-serif typeface that brings versatility to any design. This minimalist but distinctive font is defined by its crisp composition and modern elements — designed for optimal legibility at all sizes. Out now in all lower case, Rotato leaves an understated impression of elegance & futurism. Currently available in three standard weights, more coming soon: Rotato Light - Clean and classy Rotato Regular - Elegant and elite Rotato Bold - Strong and classic FEATURES Three (3) Font Weights + Italics Numbers and Punctuation New (v2): Extended Ligatures & Nordic Character Set Special Characters Rotato is a dynamic font that works great across various applications: from branding & logos to technology & fashion — whether in a giant heading, or paragraphs of body text. Thanks for checking out Rotato; we hope you enjoy using it.

Toiban is a classy modern sans serif font. Each Toiban glyph has been modernly drawn and designed for this expansive new edition, which maintains the Swiss mantra of clarity, simplicity and neutrality for the demands of contemporary design and branding. The larger View version is drawn to show off Toiban's subtlety and is spaced with the headline in mind, while the Text size focuses on readability, using strong strokes and comfortable loose spaces. The Toiban struggles to be legible at a small size because of its compactness and closed aperture. The Toiban Micro's design is simplified and exaggerated to maintain impression in small, loosely spaced type, providing excellent legibility at microscopic sizes and in low-resolution environments.

Odradeck is a typeface that originated from the idea of creating a tall, but narrow font, while combining brutalism and technogenic. The difficulty was not to go to extremes and make the font moderately neutral in order to significantly increase the range of font applications. Odradeck came out with a strict, industrial, geometric, but moderately neutral semi-mono font with two axes of variability: height and slant. To all this, + 300 glyphs were added and, as a result, support for +80 languages. The structure of the font allows you to use it in a limited space, and its flexibility will allow you to fill and use this space to the maximum. You can apply it in a very wide range of designs. Whether it's a logo, packaging, banner, title, text, poster, merchandising, identity, branding or product design. Language support: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

Anlinear is part of a series of constructed typographic experiments from the young Swiss designer Michael Parson. In the Anlinear family, which contains three separate weights, Parson has successfully created a fabulous display of alphabets out of the sole arrangement of lines at right angles to each other. The letters in this face virtually groove with the beat as you set them in text. Like a musical score, they provide a fantastic look just right for your next flyer. This family of fonts looks best when set in larger point sizes, in headlines or other display settings.

Saral, meaning simple in Hindi, is a monolinear design supporting most Devanagari based languages. Derived from the older Linotype typeface Rohini, it has been greatly expanded into three weights and a wide character set. Saral Light, Regular, and Bold are made to coordinate with the respective weights of Helvetica. This design works well in many environments, such as corporate designs, advertising, packaging, signage, and especially for bi-lingual texts. The OpenType font format accommodates hundreds of pre-composed conjuncts, accurate placement of vowel signs, and supports varying length matras. Saral's Unicode encoding guarantees your text is rendered correctly and is compatible across different software and computer platforms. Please note that due to current operating system and application limitations the OpenType features in complex scripts such as Davanagari are not universally supported. Saral is designed to be rendered correctly in Microsoft Word on Windows running the latest version of Uniscribe. If using a Mac or Adobe products such as InDesign then many features may not function as expected. This is including glyph reordering, substitutions, and mark positioning. In the case of small passages of text, alternate input methods can be employed. Apple's character palette and Adobe's glyph palettes are two readily available options that can be used to manually insert glyphs as needed."

The font accelerates the process of adding inscriptions and eliminates the need to redraw the same letters every time. The lettering is based on a simple felt-tip pen. The lines have minimal contrast and are not meant to be perfect. A simple and uncomplicated design goes great with a happy holiday mood. The font is suitable for small postcard texts, social media images, invitations, branding, mockups, packaging, ads, and captions. The TS Remarker typeface consists of 4 fonts: 2 upright (normal for regular lettering and alternative for a more colorful impression) and 2 italic.

Spectrum font is based on a design by Jan van Krimpen, who worked on his font from 1941 to 1943 for use in a Bible of the Spectrum publishing house in Utrecht. The bible project was later cancelled but the font was so beautifully formed and universal that the Monotype Corporation in London completed it. Distinctive are the reserved elegance and unmistakeable beauty of form. The italic was kept fine and is a wonderful complement to the other weights, making it perfect for emphasis in text. The form of the lower case italic g is reminiscent of van Krimpen's italic for Lutetia and Romanée. A similar font in form is the Perpetua from Eric Gill. It displays not only similar forms to those of Spectrum, both fonts also have uniquely designed old style figures. The 7 is particularly unusual with its slanted horizontal stroke and marked bend to the left in the lower third of the form. Spectrum is an extremely legible font even in smaller point sizes and is just as suitable for headlines as for long texts.

Batchelder Ruff is a "battered" version of the typeface used for titling in the catalogs and advertising of the Batchelder Tile Company in Pasadena, California in the 1920s. The original source characters were smoother, but they were also handlettered, so that every character was different. This digitized version contains uniform characters, but its "rough" quality preserves the hand-drawn look. It is designed primarily as a headline font, and thus is best used in All-Caps in larger sizes.

Sella Sionisa is an elegant smooth script font. With bold contrasting strokes, a playful character with a bit of binder and alternatives. To give you extra creative work. This font is great for logo esigns, Social Media, Movie Titles, Book Titles, short text even long text fonts and is great for your secondary text fonts. Create stunning masterpieces with the Sella Sionisa font. contains a full set of lowercase and uppercase letters, a wide variety of punctuation marks, numbers, and multilingual support. Alternative characters are divided into several Open Type features such as ,Alternative Style. The Open Type feature can be accessed using intelligent Open Type programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop version of Corel Draw X, and Microsoft Word. And this Font has provided PUA unicode (custom coded font). so that all alternative characters can be easily accessed in full by a craftsman or designer. Thank you for your purchase.

Introducing Andhibath Bold Script Font, a captivating script typeface that exudes elegance and versatility. With its bold strokes and graceful curves, this font is perfect for adding a touch of sophistication to your design projects. Whether you're creating invitations, branding materials, packaging, or any other creative work, Andhibath will elevate your designs with its unique charm. The Andhibath font features both uppercase and lowercase letters, allowing you to mix and match different letterforms for a customized look. It also includes numbers and punctuation, ensuring that your compositions are comprehensive and well-rounded. With multilingual support, you can effortlessly incorporate various languages into your designs, making it suitable for projects with a global reach. One of the standout features of Andhibath is its PUA encoding. This means that accessing the font's special ligatures and glyphs is a breeze, giving you even more creative possibilities. The ligatures add a natural and handcrafted feel to your text, enhancing its visual appeal. With its script style, Andhibath captures the essence of handwritten elegance. It is ideal for a wide range of design applications, from wedding stationery and logos to social media graphics and advertising materials. The versatility of this font allows you to adapt it to different themes and moods, whether you're aiming for a classic, modern, or whimsical look. Experience the beauty and versatility of Andhibath Bold Script Font. Let its graceful curves and bold presence make a lasting impression in your designs.

Faktum is an exploration into the geometric sans genre, inspired by Mid-century modern architecture and interior design. Especially the combination of clear lines, organic curves and geometric shapes, highly popular among designers and architects of the second third of the 20th century, gave the impetus for a design with clear modernist roots and a strong contemporary finish. The family comes in 8 weights plus matching italics, featuring a wide range of alternate characters and opentype features like discretionary ligatures, case sensitive shapes, different number sets and many more. Due to its clean lines and slightly organic structure, Faktum functions great in many sizes and surroundings, working either as a restrained supporting font in long paragraphs, or as a main actor in powerful headlines.

A decorative and fancy slice of the gay '90s (1890s that is). Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Bucktooth is a cartoony typeface, inspired by vintage funny-animal comic books, suitable for children's entertainment, packaging or movie titles. Fancier and more upscale than your usual toon font, Bucktooth is fun with a touch of class.

fracaso is an experimental font and was inspired by abstract / cubism artworks. My initial goal was to made it have a rather surreal and fancy mood. I painted the glyphs with seamless strokes and achieved an unusual style by developing an individual form for each glyph. So, due to contrasting various letter height and form each word have a unique, catchy, surreal rhythm. You may want to have fracaso font if you need to make a design with an abstract, surreal look for music / art subject. Great fit for posters, covers, clothes prints, packaging, logos, and everything you want to grant a fancy artistic mood. Features: Carefully tuned kerning (preview above doesn't always show it correctly) 3 Font styles each fits better for different design style Stylistic Alternates for each small letter and digit (mostly for the "original" and "dirty ends" style) Contextual Alternates for small letter and digit pairs; for punctuation depending on a glyph height 10 Standard and 7 Stylistic (Discretionary) ligatures for most common letter pairs Wide Latin language support (Western European, Central European, South Eastern European) If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using fracaso!

The Dellena Handwritten Font is a captivating and versatile typeface that combines the charm of natural handwriting with a contemporary aesthetic. With its flowing letterforms and clean, legible design, this font offers a wide range of creative possibilities for your projects, from branding and invitations to social media graphics and more. Features: Handwritten Elegance: Dellena Handwritten Font exudes the elegance and authenticity of a handwritten script. Its graceful letterforms offer a personal and human touch to your designs, making it ideal for projects that require a blend of elegance and approachability. Clean and Legible Design: Despite its handwritten style, this font maintains excellent legibility. Each character is carefully crafted to ensure readability at various sizes. Whether it's in print or on a digital screen, your text will remain clear and accessible. Versatile Application: This font is incredibly versatile and well-suited for a variety of design projects. Use it for branding, invitations, social media posts, blog headlines, and more. Its adaptability makes it suitable for both personal and professional use. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing creative flexibility for your designs. You can mix and match cases to create visually appealing typography that suits your project's needs. Punctuation and Symbols: In addition to the alphabet, Dellena Handwritten Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. Easy to Install and Use: Installing and utilizing the Dellena Handwritten Font is straightforward. It is compatible with both Windows and Mac operating systems and can be easily integrated into popular design software, including Adobe Photoshop, Illustrator, and InDesign. Elevate your designs with the elegance and versatility of the Dellena Handwritten Font. Let its flowing letterforms and clean design add a touch of personal and human connection to your projects. Whether you're crafting branding materials, invitations, or digital content, this font offers a stylish and readable solution for your typographic needs.

I must admit that I am not a big fan of the Art Nouveau style. However, I found this particularly beautiful alphabet and decided to use it as the basis for this new font. Very graceful, elegant, and dare I say, organic. Includes some intertwined ligatures. Complete uppercase, numerals, basic punctuation. Supports most Western European languages.

Optimum readability in small bodies with scarce interlining, under poor printing conditions such as in newspapers, where velocity and bad quality’s irregular surface papers, truly distort strokes was the challenge taken. Pobla was designed with this in mind, hence Patau present a hybrid between the conventional strokes of a serif’s classical roman type and markedly “fractured” forms inside, providing a unique personality to this typographic family, where calligraphic’s humanistic axis is visibly broken with the straight axis of the fabricated letters. Subtle details in the serifs, give it a modern look to a classic skeleton. Very pronounced ink traps get the shapes rounded in the printed product to artificially increase the average medium-eye and promote reading in the small sizes it was designed for. An absolutely handwriting look for the italics, where the rupture of the stroke marks a white’s subtle change to only whisper in the printing surface a slight difference, but without fuss and so not to break the rhythm of reading. And as we are used to, a complete set of OpenType features, where you will find small caps, fractions, ligatures, old numerals and tabular, discretionary ligatures and support for 220 languages; and all available in twelve weights to meet the needs of any newspaper printing.

This font has been especially designed for Mostardesign Studio by Olivier Gourvat. Created in 2010, this font family has been designed to serve sectors like financial services, modern industries, business and many more activities who needs a modern aspect in their communication. Its square proportions make the design very readable at a wide range of sizes. Shapes give the face a unique futuristic look and is a very practical choice for modern headlines, branding, text and web fonts work. The family contains also an alternative set with simplified letters designed especially for text and a unique stylistic set for titles and branding. UNicod Sans is available in 5 weights with corresponding italics and 2 styles.

Scary Sign is inspired by scary novels and is styled as a rough font. It's perfect to place in your project which has horror, scary, dark, or spooky themes. But this font also perfects for other themes according to your creativity. You will get a free 12 swash bonus to complement the Scary Sign font.

It's just downed a Cortado in one gulp, it's shaved the sides of its head and its grown a magnificent beard groomed with the very best beard oils. Turn around and you'll find that it has illustrated today's specials in chalk on the wall sized blackboard behind the espresso machines it's Quigglesmith! Penned by Comicraft's very own Chattanooga Barista, Sarah Hedrick, with a foam art finale by Swell John Roshell, it's sure to dye its hair purple by the weekend. Quigglesmith is as variable in its weights as your soy/almond/oat/hazelnut milk choices at the coffee bar, and is sure to bring customers back for more. Have a Biscotti on us. Quigglesmith contains an alternate version of each upper and lowercase letter which automatically cycle for a natural, hand-drawn appearance. Each weight contains 538 glyphs and supports 220 languages.

Tricky is a modern and dynamic design which is enhanced and supplemented by Tricky Tracky following soon.

A text face in 4 styles Before the arrival of Phototypesetting, each font size had a specific design. Le Monde Livre, designed by Jean François Porchez, along with Le Monde Journal re-establishes this practice. When Le Monde Journal was developed specifically for use at small point sizes (below 10 points.) Le Monde Livre works beautifully for book typography, magazine settings. In comparison to the italics in Le Monde Journal, Le Monde Livre’s italics are of a totally different design, closer to the models of the Renaissance. The families match well together on the same page, Le Monde Journal for small sizes settings, Le Monde Livre for large settings. The verticals metrics and proportions of Le Monde Livre are calibrated to match perfectly others Typofonderie families.

Inspired by show card lettering and the more human side of art deco, I wanted this font to retain the casual unevenness of informal hand lettering. As decorative as the font looks, I do envision it being used for text more than display. Obviously not a workhorse, but rather a quirky niche font. I find it makes dense philosophic texts more friendly to read.

Andron Ornamente contains a set of about 48 fancy classical typographic ornaments. You can embellish pages, headings, memos, invitations or title settings … you can compose lines and borders and even rich graphical textures. The Andron ornaments perfectly match the timeless classical mood of all Andron typeface fonts. (Note that the glyphs contained in this font are identical to those ornament glyphs in the Italic and Scriptive fonts of the Andron 2 series as well as the Scriptive font of the Andron 1 Latin family.) For the ease of use the glyphs of the Andron Ornamente font are double-coded and also mapped to the keyboard-friendly a–z and A–Z positions. If you like fine ornaments you should also have a look at Arthur Ornaments, Behrens Ornaments and Leipziger Ornamente.

This is my first fontrelease in 2021, and it's one of those "things will get better soon" kinda fonts (Here I am thinking about 2020, which was a year I am glad we just left!) Anyway, the first thing I ate in 2021 (not counting the "kransekage" after midnight) was a delicious and lovely tuna sandwich - or as I called it: Party Toast! Heh-heh! :) Well, it is a playful font with it's jumpy and slightly quirky letters. I've added 5 different versions of each letter and they automatically cycles as you type. I cross my fingers for a 2021 where everything gets back to normal!

Green Raven is a typeface that speaks for itself, with personality and impact, wide lowercase and imposing uppercase. Generous counter forms make it highly readable in small sizes but always defending their strength, aggression and character.

Baskerville Display PT is a type family intended for large and extra large point sizes. It was inspired by the faces of John Baskerville and designed for expressive display typography. Two weights of Baskerville Display with matching italics are much lighter than the existing text versions of Baskerville. Each of them is an ideal partner for ITC New Baskerville. A good addition to the family is Baskerville Poster which will look great in very large sizes. The font was designed by Arina Alaferdova under the supervision of Dmitry Kirsanov and released by ParaType in 2016.

We really enjoy going for long walks in the park in autumn, and the beautiful colours and shapes of the fallen leaves inspired us to create this font. We Love Nature Autumn Leaves is a picture font consisting of 52 highly detailed, hand drawn illustrations. The illustrations can be used on their own to create beautiful designs, or in combination with other illustrations in the We Love Nature font collection.

Handlettering on a 1934 WPA poster promoting skating in Central Park provided the pattern for the uppercase letters of this typeface, while the lowercase letters take their inspiration from Paul Renner’s Steile Futura. The result is a warm, friendly face that is both quaint and modern. Available in Roman and Italic versions. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Zodor JNL is modeled from the packaging for injection-molded plastic letters used as a teaching toy for youngsters in the early 1960s. The hand-drawn alphabet on the sides of the package was quirky enough to merit being made into a digital font.