This font was inspired by music from the band Mae.

Flexor is an isometric display font inspired by impossible objects.

American Text is a condensed American blackletter published by SoftMaker.

An original design by Malcolm Wooden of DTP Types Limited.

A fun and creative font by Jillustration for the holidays.

An original design by Malcolm Wooden of DTP Types Limited.

Another font idea inspired by a public transport information display.

An original design by Malcolm Wooden of DTP Types Limited.

This font was inspired by music from the band Asteria.

a digitization of a classic blackletter by german typographer Schneidler

This was created by hand, scanned and digitalized for quality.

A revival design by Malcolm Wooden of DTP Types Limited.

Custom designed letterforms for the Hagada, published by Gad Ulman.

Inspired by horror movies, this font will deliver the trill!

Century PS Pro is a serif typeface published by SoftMaker.

Bombastic is a distressed grunge font developed by Michael Browers.

One of a few quirky display types by this designer.

This font was inspired by music from the band Silverstein.

Based on the typeface Vesta by Albert Augspurg, circa 1926.

Pergamon is a sans serif decorative typeface published by SoftMaker.

An original informal script designed for ATF by Emil Klump.

F. H. Schneidler’s ‚Kontrast‘, released by Weber in 1930, revived.

Century Schoolbook Pro is a serif typeface published by SoftMaker.

Broadway No2 is a decorative 1920s font published by SoftMaker.

Organ Grinder is an art deco typeface published by SoftMaker.

Loosely based on Dorsey, an English typeface by Alan Dempsey.

Palette was designed by Martin Wilke for Berthold in 1950.

Beale Charming is an Art Deco font published by SoftMaker.

Openface No2 is a decorative serif typeface published by SoftMaker.

This typeface was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. Because of its formal characteristics, recalls the popular Cooper Black and probably was the reaction of Linotype to counter the popularity of this font distributed by the "American Type Founders" was acquired. It's a heavy typeface, ideal for headlines or for use in creating logos, rounded shapes and gestures evoke dynamism and make it perfect to highlight specific words or phrases.

The letterforms are based on Inserat Cursive, a bold script popular in the late nineteenth century; the treatment was suggested by cover artwork for Graphic Styles from Victorian to Post-Modern, written by Stephen Heller and designed by Seymour Chwast. Included in the font are several handy ink blots (section mark and superior numbers positions), a stylish tailpiece (florin position), and a couple of ink bottles patterned after those on the bookcover (bar and broken bar).

Designed for ParaType in 2007 by Isabella Chaeva. The type is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva. It was developed for primers and the first level school textbooks. An early sans serif ('Grotesque') with half-closed static letterforms. For use in book and magazine typography, advertising and headlines. Also may be useful as screen font.

Louis is a faithful digital rendition and expansion of a design called Fanfare, originally drawn by Louis Oppenheim in 1927. Redrawn digitally by Rod MacDonald, and engineered in-house by Canada Type, Louis includes the many alternates that came with the original design, and then some. It was also expanded into three variations, including a soft-cornered style, and a rough woodcut one. And of course, the codepage support covers the majority of Latin-based languages.

This font, as indicated by its namesake, was designed and started by the late Bob Alonso. It represents the first of his unfinished work to be completed by friend and colleague John Bomparte, following Bob's passing in December of 2007. It is a font that speaks with a distinctively robust voice; and would be a great choice for a wide variety of uses. Central European languages are supported through OpenType, and Windows/Mac OSX TrueType versions.

Aesop was developed from some book jacket lettering drawn by Michael Harvey for an edition of Aesop’s Fables by a master Japanese Artist. It is based upon a pen-drawn script, and is characterised by a lively sense of movement and grace. Aesop Plus, being an OpenType font, contains many alternative characters and additional ligatures which can be automatically substituted to enhance the liveliness of set text, where the application in which it is used, permits.

BRIGNELL BIG is a two font family designed by Ian Brignell. Bold and honest, it approaches like a dare: Go Big no regrets. A bold, personable sans serif headline font characterized by a stylized and geometric structure. Creatively, Brignell Big was born in 2011 and was inspired by lettering designs Ian was working on for CO Bigelow packaging that harkened back to early 20th century modern sans serifs. Recommended for headline use especially on packaging. Extended Latin set.

Sketch Block is a hand-sketched headline font. The family contains a light and bold weight; both complement each other perfectly. The mundane, constructed basic forms of the egyptienne typeface get their charming touch by the handmade hatching. Impressions of dominance and warmth are equally created. Created solely by me from sketch by hand and then digitized, Sketch Block makes a perfect font to create the hand-made character look, or to supplement illustrations with typography.

Inspired by a former Hermann Zapf design, Hanse Textura was completely redrawn and redesigned as an English-style blackletter font with a calligraphic touch. It comes also with the historical long s which can be reached either by typing [alt] + b or by using the OT feature historical forms. I strongly recommend to activate both OT features, standard and discretionary, to access all ligatures built in the font. The keys pi and product are occupied with beautiful border elements.

This crisp and constructed Ludwig Wagner, Leipzig, blackletter font in textura style had been originally designed by Berthold Wolpe. Freshly redrawn and redesigned, it adds now to the treasure trove of historic typefaces. This font contains a bunch of useful ligatures, and it is recommended to activate Discretionary Ligatures too. By typing 'N', 'o' and period plus activating Ordinals you get an oldstyle numbersign. As usual in my blackletter fonts, the # key is occupied by the 'round' s.