Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, §) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions.

SK Paragrapher™ is a monumental geometric typeface whose structure was inspired by the paragraph glyph. The entire typeface is built on a rhythmic composition and a black-to-white balance. Each character corresponds to a grid, and all its characters are monospaced, so the typeface looks harmonious and complete, despite the complexity of perception of its appearance. This typeface has both uppercase and lowercase letters, as well as a capital! The typeface supports a multilingual layout that includes: extended Latin and Cyrillic characters, additional characters, and Hebrew. This typeface also includes more than 10 currency symbols, as well as 4 fonts: Solid, Outline, Rounded, Sharp! As a result, SK Paragrapher is a multilingual, monospaced geometric monumental typeface that contains almost 1000 glyphs for your any design work, be it a poster or a website!

Ravensara Serif - elegant high contrast classic serif. Style of the typeface originates in a classic Didone but took a step to simplify some letter forms and make Didone feel more contemporary. Ravensara Serif is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Stencil. Ravensara Serif, despite its ancient roots and due to simplified and smoothed forms, can be used in a variety of different styles. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc. It is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Ravensara Serif extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

Wasabi is one of the key ingredients in the Japanese kitchen. Also known as japanese horseradish, it is an extremely spicy condiment made out of the graded root of the Wasabi plant. Its spiciness is different than that of a chili pepper though, more like a hot mustard. The spicy taste shoots right through your nose, but does not last for long. Wasabi is traditionally used in sushi and sashimi dishes, soba noodles, and in a number of Japanese snack foods. Equally sharp and stingy, VLNL Wasabi Turbo was designed by Donald Roos. Despite its japanese outward appearance, the font has its origin in lettering found on a German book. It is hot, and edgy like a samurai sword. Wasabi Turbo will stand out as headline and logo!

"Enter Cromix" is described as a futuristic display font that comes with multiple styles, including bold, italic, and outline. Fonts with a futuristic design often feature sleek and modern letterforms that convey a sense of innovation and cutting-edge aesthetics. The different styles—bold, italic, and outline—provide versatility in creating various typographic effects. The bold style emphasizes a strong and impactful appearance, the italic style adds a dynamic slant, and the outline style creates a distinct and open character structure. "Enter Cromix" is suitable for a range of design projects where a futuristic and dynamic typographic style is desired. Its variety of styles allows for creative exploration in conveying different visual elements within the text.

Are you ready for a scream? Gore Girl is your one-stop font for all the horror your heart desires. Inspired by teenage horror novels from the 90s, Gore Girl will keep you on the edge of your seat. Unleash your creativity and give your designs an unforgettable look with Gore Girl! Our Doubles Elimination feature is great for vintage posters, t-shirts, logos, and more - with menacing letterforms and spooky numbers that are sure to make a statement. Get ready to bring some horror to your designs - Gore Girl is here! Give your projects the splatter of life your fans love. Step into the darkness and show off your love for horror with Gore Girl today!

Starsigns is a unique set of zodiac symbols with a handmade feel. This font includes twelve astrology symbols: Aquarius, Pisces, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, and Capricorn. Additionally, it features a moon and a sun symbol. The symbols were created from watercolor originals, giving them a warm and fluid quality. To utilize Starsigns, simply install it as a regular font. As you type, instead of letters, you will see the corresponding zodiac symbols. For accessing the symbols, type any lowercase letter on your keyboard between 'a' and 'm'. Most design software, such as Illustrator, InDesign, and Photoshop, provide a glyphs palette where you can select the desired symbol precisely.

"Vandal Blow" is a 3D layered graffiti font that includes solid, shadow, and inner shadow styles, providing the tools to create a three-dimensional appearance in your text. Fonts with layered styles like this are commonly employed in graffiti art, street art, posters, and other designs where a dynamic and eye-catching 3D effect is desired. By utilizing the solid, shadow, and inner shadow layers in "Vandal Blow," you can enhance the visual impact of your text, creating a sense of depth and dimension. This font is particularly suitable for projects where you want to infuse a graffiti-style aesthetic with a three-dimensional twist, making your text stand out and grab attention.

The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley's "Craftsman" Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916. It is an All-Caps font, with condensed and closely-spaced characters, specifically designed for titles and headlines. The "Craftsman" font is available in two versions: "Craftsman Regular" and "Craftsman Outline." Each is two fonts in one, in the sense that the capital letters are contained in a hand-drawn box (as on the cover of "The Craftsman" Magazine). Lower-case characters are identical, but without the box. Thus, the two may be used separately, or in combination, to achieve a desired effect.

CamingoMono is a modern monospaced typeface family of seven weights with matching italics, from ExtraLight to Black. Predominantly humanist in character, the typeface also has a technical feel thanks to the fixed proportions, while its semi-condensed width means CamingoMono is a great space saver in long passages of text. The default figures are noticeably lower than the uppercase letters, making them clearly distinguishable from one another. The typeface’s additional features include three different figure sets, slashed zeros and currency symbols, arrows and a handful of stylistic alternates. It is ideal for any technically-flavored text where an individual touch is desired, from advertising to corporate design. With CamingoMono, private and commercial correspondence alike will look neat and credible.

It seems that after the 1960s, very few display typefaces were being produced that had the desirability to transcend generations, as did many type designs of the past. In 1970, a local television station embraced a lettering style for its logo that was a cross between round point pen nib lettering and the modular, techno look complete with squared characters in a futuristic "space age" style. News Crew JNL was inspired by the few examples found of this particular font [in use by the station at the time] and was pretty much created from scratch in order to capture the 1970s era of experimental typography. It is available in both regular and oblique versions.

Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design. The name Endurance lends itself to the reality that the typeface was designed to work well under extreme conditions from billboards to mobile phone screens. Endurance Pro was designed with on-screen legibility as a key attribute, and with careful detailing for a more polished appearance in large sizes. Endurance Pro has an wide-ranging character set with WGL support (Greek, Cyrillic and Eastern European characters) to meet the needs of multinational companies and creative professionals who desire OpenType's typographic features (with old style figures, proportional figures, fractions, superiors and a slash zero).

An offbeat not-quite-slab, not-quite-bracketed serif. And its extreme weight and width. Richard Dix started as a surgeon and turned out an actor, one of the lucky few who made a successful transition from silent film to talkies. In 1929 he made the movie western, “Redskins,” and his name appeared on a brilliant poster promoting the film. “Richard DIX”; four upper case and six lower case letters. The font Dix is derived and extrapolated from impressions of those 10 letters. Inspired by the poster for the 1929 film, “Redskin,” and a desire to create a black Edwardian font with an offbeat serif. Usage recommendations Western movie or 19th century-style advertising posters.

Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

A bit of happenstance and accident are always full of possibility — Richard Lipton’s Dunhill Script is based on observations of the work of his left-handed calligraphy students and then from a small detail generated by his own freehand sketching. Like his other script typefaces, Dunhill was born from the desire to achieve a certain visual drama. Many details show the pen at work, like the terminal shapes and the caps and ascenders. Dunhill also has a range of alternate stylistic glyphs and contextual features that can transform it into a connected script. It’s a great choice for editorial display or advertising and branding settings on its own or paired with a Roman sans or serif.

Stencil Round Ends, is just that, a stencil typeface with rounded terminations to each line rather than the squared terminations found in your typical stencil font. This design was developed while designing a typeface for engraving. The end mill tools used to engrave a font are round, thus the lines will all end with a rounded edge. While designing the engraving font I also designed this font to make sure that the single line version will have the desired aesthetic. Unlike many stencil fonts that have a limited range of glyphs I made this to contain the majority of letters, accents, ligatures, and mathematic symbols commonly used in most latin based languages.

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.

Experience the charm of Bluebird Melody, an exquisite font duo that combines a script and sans serif with a delightful handwriting style. The script font exudes elegance and grace, while the sans serif font adds a touch of modernity. This versatile duo is perfect for various applications, such as branding, logos, packaging, invitations, and more, where a blend of organic and handwritten aesthetics is desired to create a warm and personal touch. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

We count three inspirations for the László font family. The upper case was inspired by Yomar Augusto’s amazing font Unity, used on last year’s German World Cup Team jerseys; the lower case from a few letters a poster for a Bauhaus show. The name László is an homage to László Moholy-Nagy, peerless Bauhaus designer and teacher. The László type family is stripped down to the typographic core, lean, clean and definitely machined, at home in either a formal or casual setting, i.e. you can take László anywhere. Inspired by watching the World Cup and the German Team’s jerseys. Very clean, simple, Bauhaus-style design, European and highly legible. Usage recommendations Automobile ads, anywhere a European feel is desired.

The Momentum family of typefaces is not for the faint of heart. Although difficult to spot at small point sizes, the glyphs are nothing but dot-to-dot letterforms raggedly, haphazardly placed for a chunky appearance. Brazen and bold in its appearance, Momentum may be EXACTLY WHAT YOU ARE NOT LOOKING FOR in a font family, unless you desire a chiseled, flat, cut-out look. Originally developed for package design requiring a grunge appearance, the Momentum family of fonts creates controversy and speculation wherever it is utilized. Momentum is a modern, chiseled typeface designed with a sense of humor. Perfect for large and small display alike, the extended character set allows flexibility on the fly.

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.

XOVA Base, Color One, Color Two, Color Three and Color Four, is a 5 font system that can be layered in different ways to create infinite title effects used commonly in poster and 3D logo design. XOVA’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-place to create layers of different weights/styles to build out your desired effect. XOVA works great in any graphics application that allows you to utilize layers or 3D effects.

HS Alhandasi is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy, that support Arabic, Persian and Urdu. This font was created in the beginning as regular weight in 2007 for use in technical and engineering company. The company tends to follow the geometrical shape with equal dimensions in both vertical and horizontal storks. There is also a tendency to make all characters to be similar to oval shape with the impression that they are all geometrical and clear. I followed that with two other weights in 2011, thin and bold.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Mezalia is a one of a kind typeface. Its shapes were strongly influenced by bastarda scripts of high medieval times. Unlike most fonts sharing similar origin, Mezalia is not just another blackletter but a fully functional text typeface, blending medieval poise and character with modern sensibilities. Stroke widths, imitating a broad nibbed pen of a scribe, fluctuate constantly giving paragraphs a characteristic vibrating texture. Despite it's strong character Mezalia is very legible and will be an excellent choice for a book or an elegant magazine. Mezalia has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in seven weights, from thin to black. Each weight contains a set of old-style figures, lining figures, small caps and ligatures. A separate style containing drop-cap initials is also available.

Nosta is a modern text typeface. It was designed to be easily legible and therefore expressly suitable for setting sizeable lengths of continuous text such as magazine articles, books and essays. It achieves this through, amongst other things, finely balanced proportions, optimal character spacing and an adherence to predictable letter forms. Despite this, however, Nosta manages to retain a contemporary look and feel by using a variety of modern type design devices such as the efficacious wedge serif. The italic avoids using too many of the cursive elements that are often found in traditional italics and has only a modest slant, giving it a modern look that does not overly disrupt the text while still providing emphasis. While designed for continuous text, Nosta can also be used as a display face, making it a good all round typeface, suitable for many applications.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

The initial inspiration for CA Spotnik was the opening title of an early Andrei Tarkovsky movie. There was this very unconventional hand drawn “s” which drew my attention. Despite its strange shape, it felt totally natural in that context. So we made a few screenshots and started to sketch some more letters in order to catch the spirit that attracted us so much. The result is a grotesque typeface with a slight contrast, the proportions are rather wide with a large x-height. The bolder the weight, the wider it gets. In case you find the swirly “s” uncomfortable, there is a standard s included as well. The general atmosphere of the typeface, which could be described as “nerdy but friendly” doesn’t depend on this detail. It’s rather the sum of details derived from the original inspiration.

Ginder – Bold Serif Font: Striking and Versatile Bold and Commanding Presence: Ginder – Bold Serif Font stands out with its strong, bold character. It’s perfect for titles and posters needing a powerful impact. This font captures attention effortlessly. Ideal for Titles and Posters: With its robust design, Ginder excels in creating striking titles and posters. It enhances visibility and readability. This font is a top choice for impactful visual designs. Adaptable Across Mediums: Despite its boldness, Ginder is surprisingly adaptable. It works well in both digital and print formats. This versatility makes it a valuable tool for various design projects. User-Friendly for Designers: Ginder is designed for ease of use, suitable for all skill levels. Its compatibility with multiple design platforms adds to its appeal. It’s a favorite among graphic designers for its simplicity and impact.

What do you get when you mix iconic Cooper Black from 1922 with an even older font, equally iconic Windsor from 1905? Well of course, you get Manchego! Manchego combines the best of both: the plump features and serifs from Cooper with seriously bold forms, such as the oversized bowl of R, peg-legged N, pinched U and leaning a, h, m & n giving it an adorable retro-appeal. With these distinguishable features Manchego works extremely well with illustrations or can actually be used as an illustration per se. Despite its vintage charm, Manchego is fully equipped with modern OpenType features. Standard ligatures help with certain difficult character combinations. In addition Manchego sports Swash, Titling & Stylistic Alternates that can be deployed for more original look. Try Manchego with a bit tighter kerning for more 70s feel.

When designing AM Sans One, it was a great challenge for me to develop a modern sans serif, which despite the large number of existing fonts in this sector has its own unique character. Starting point for the design concept was the cap O, designed as a rectangle with rounded corners, and not as usual as a circle or oval. The O should form the basis for the whole alphabet. Another feature are the characters with oblique starting and end strokes such as "A, V, W". These have not exactly straight, diagonal lines, but have a slight curvature. Thus, these letters do not look too geometric. Also the cap K deviates slightly from the usual shape which makes AM Sans One different from other already existing fonts. I could well imagine applying this font for areas such as engineering or architecture.

Once upon a time, Mestre Patau, the «Black» magician, concerned about children´s typefaces historical ugliness, decided to settle the matter and using his vector powers, made letters embellished to be used in that stories so that they were according with the great genius all children have inside. Well done face but happy, goodness is not incompatible with joy. A solid construction, smooth, rounded, vibrant, generous curves and even more generous x-height and general proportions, give to the letter the vitality and freshness needed for use in projects where formality is not a requirement. Naughty but welldone, although not heeding the overshoots or the formal alignments, no symmetry in the horns is, despite this, or because of it, a fresh, cheerful but perfectly legible type. A full menu of freshness in your tales and stories!

Inspired by the streets of Brazil, Just Pixo is a display typeface that mimics pixação, Brazilian graffiti. In his book Pixação: São Paulo Signature, François Chastanet says, “This alphabet, with its vertical inscriptions axis, is to be directly classified in the king-size, monumental category; the systematic use of capitals, meticulously aligned and justified, their extreme verticality, are symptomatic of this architectural dimension”. As such, we designed Just Pixo for monumental type sizes and vertical alignments—a family with seven weights, alternate glyphs, multiple ligatures and is provided as a Variable Font too. Unique decorative serif capitals and lowercase sans serif versions make Just Pixo the perfect option for large displays, strong headlines, urban logos, and contemporary concepts. Despite its controversial use on the streets, this often politically charged style will typeface will take your next project to the next level.

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged. The font family contains 8 styles The font is equipped with a Variable file with two axes (weight and slope) Supports languages ​​of central Europe and some languages ​​of eastern Europe Contains small uppercase letters Contains tabular figures There are several alternates in the font The font has more than 1700 kerning pairs

Magoat – Modern Clean Bold Font is the perfect choice to infuse a contemporary and bold touch into your graphic design projects. With its distinctive All Caps style, Magoat has the ability to capture attention with clarity and courage. Each character is designed with precision, showcasing the cleanliness and modernity that define this font. With its bold shapes, Magoat is well-suited for titles, logos, and other design elements that require a strong and clear presence. Despite its bold appearance, the clarity of each letter is maintained, ensuring that your message is conveyed with precision and readability. With Magoat, your design projects will gain a fresh, contemporary, and professional touch, bringing a clean and bold look to various visual platforms. If you have any questions please don’t hesitate to contact me Follow my Instagram: @fkryall Thank you

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

The Verdana™ Family of fonts was created specifically to address the challenges of on-screen display. Designed by world renowned type designer Matthew Carter, and hand-hinted by leading hinting expert, Tom Rickner, these sans serif fonts are unique examples of type design for the computer screen. The generous width and spacing of Verdana's characters is key to the legibility of these fonts on the screen. Despite the quality of the Verdana font family at small sizes it is at higher resolutions that the fonts are best appreciated. In the words of Tom Rickner, ‘My hope now is that these faces will be enjoyed beyond just the computer screen. Although the screen size bitmaps were the most crucial in the production of these fonts [their] uses should not be limited to on screen typography. Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish).

Inspired by pointed pen calligraphy and modulated sans serif typefaces used for advertising in the 1920´s, Bologna is a high contrasted sans serif with a modern and fashionable look. Bologna comes in three weights: Regular, Bold and Black. The Regular and Bold weights are, despite of their high contrast, also build for body texts. Whereas Bologna Black, with a more expressive look and sharp angles, is specially designed for large and striking headlines, packaging or identities. Overview: 3 weights - Regular, Bold, Black Regular/Bold: 657 Glyphs Black: 871 Glyphs Lining, tabular and old style figures Ligatures: fl, fi, ff, ffi ffl, Unicase Letters: a, e, m, n, r Alternative Guillemets Case Sensitive Arrows Bologna Black: hairline accents and interpunctations Fractions Extended Language Support Stylistic Sets: ss01 = Alternative Guillemets / Alternative y ss02 = Unicase glyphs ss03 = Numerals in circle ss04 = Numerals in black circle ss05 = Hairline Accents and Interpunctations (Bologna Black)

Elpy is a friendly rounded sans serif workhorse family inspired by all things music! Spanning 22 Condensed and Regular weights with true italics, Elpy will fit right in with your record collection and your font collection! The Elpy family includes language support for Western and Eastern European languages, Greek and Cyrillic. Ian Lynam dreamt up Elpy one day when he visited a record pressing plant outside Tokyo, watching vinyl pellets being melted down and a fresh batch of 7-inch records get pressed. Despite the smell, a seed was planted that would be extruded into Elpy's rounded forms half a year later... Elpy Light and Regular function as highly readable text typefaces, while the bolder and lighter weights are perfect for display work. Elpy's rounded terminals make the family perfect for screen-based work, as well as for print conditions of any resolution—from offset to Risograph.