Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Smudger, from designer Andrew Smith, is oriented toward a young generation who does not want to mind the rules. The font invites unconventional and playful use. The figures seem to be almost coincidentally shaped. Letters alternate between thin and thick strokes alternate and give the font the smudged look that inspired its name and gives the font its unmistakable character. Smudger is a font that just cannot settle down. It is best used for headlines and short texts in point sizes of 12 or larger.

This curly, swirly antique offering is based on a Victorian-era typeface called "Fillet". Opening and closing flourishes can be found at the brace and bracket positions, and the ribbon effect can be carried between words by using the underscore character in place of a space. Due to the highly ornate nature of this font, it does not contain math operators, fractions or superior numbers. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Elegance meets accident. A sturdy distressed all caps typeface that gives you the feeling of the happy little incidents that may happen when you print with silkscreen or letterpress. A whole bunch of alternative letters embedded in a pseudo-random OpenType feature does the magic. Get yourself surprised CA Mystery Girl speaks a lot of languages, at least all those covered by the extended Latin character set. Which means you can travel to Iceland, Turkey, France or Poland, this girl will always be your interpreter.

Stylish, elegant, and alluring, Sekhmet got its name from the lion-headed war goddess of ancient Egypt. And the typeface does possess a kind of feline, forward-directed energy - a result of its calligraphic detailing combined with a very slight slope in the roman. Sekhmet is essentially a display face; still, it's as carefully crafted as any of the designer's text fonts and so also works well in reasonably large text blocks, especially at larger point sizes. Comes with a book-weight roman and calligraphic italic.

Some years ago we developed a monospaced 12 pitch sans serif for a client. We also created a 10 pitch version that was later discarded. PropTen is the 10 pitch version modified to proportional widths. The name PropTen refers to 'Proportional 10 Pitch'- which is a technical impossibility. It does have a slight 'its time to vote' twist to it. You know, after you pick your candidate you also need to vote yes or no on the following Propositions, don't forget Prop10, the team needs those uniforms.

In English folklore (in particular that of Yorkshire and Lancashire), Grindylow is a creature that dwells in rivers and lakes and is said to grab children who come too close to the water’s edge and drown them. It is thought the name Grindylow may be connected to the monster Grendel. Grindylow font does not grab children; it is a rather messy handmade brush font. I used a cheap brush and Chinese ink to create the glyphs. Comes with discretionary double letter ligatures for the lower case.

The unmistakable brush of Angel Koziupa does its unique work again, this time with the elegant strokes made for branding or packaging projects that entail the use of many design elements, and so require clear and simple artistic alphabet to represent the brand elegantly, without clashing with the overall design. Methodical and disciplined, Sinfonieta accentuates the collage just enough to convey class and comfort, art and elegance. Sinfonieta includes alternates that come in handy to help with the precision usually required for logotypes and wordmarks.

Who says Werewolves don't exist? Well, they do here! LD Werewolf looks like it was clawed and scratched into the very paper it's printed on. Adds a nice touch to a spooky Halloween Party invitation or accompanying fun memories!

This is Solotype's alternative sans serif version of the once popular caps-only font Atlanta issued by the Central Type Foundry in St. Louis in 1885. As we often do, we have created a lowercase, adding to its versatility.

Gallard is a two weights family that contains the display type of the great cartoonist and illustrator Miguel Gallardo. In addition, as we usually do for this kind of author fonts, there is a collection of drawings called Victims.

Designing SoftTimes has been easy on my nerves after the strain of HardTimes. The harder the Times are the more do we need some soft typefaces, this one is the soft counterpart for HardTimes. -Your softspoken typedesigner, Gert Wiescher

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Venice Initials are my redesign of a 15th century venetian original by an unknown calligrapher. Unfortunately only parts of the letters existed, so I had to design about half of them myself. Of course I enjoyed doing that. Yours Gert Wiescher

Dortmunder Ecke ("Dortmund Corner") is a clean, all caps font inspired by Cubism. It really has nothing to do with the city in Germany, but the name stuck and I kept it that way. Comes with a square amount of diacritics.

I had a cramp in my hand doing this font! Contains authentic scribbling! :) Comes with more than 80 different ligatures, to make it look more like real scribbling! You will need to use OpenType supporting applications to use the autoligatures.

Barracuda has this sharp, sharky look and I do a lot of diving with my best friend. What else is there to say? If you see a shark say hello from me. Yours from under the Red Sea, Gert Wiescher

Misty - a two weight wild west style serif with numerous alternatives, swashes and irregular alternatives for numerous characters in SC style. Interchanging regular characters with alternatives and vice versa, it allow you to do slightly strange inscriptions. Plus deco style.

Brian Strysko, a graphic design student at California Polytechnic State University, came up with an idea for a typeface crafted from everyday gadgets and tools. After much poking around in do-it-yourself" books and friends' garages, Brian created Toolbox."

The other day, I was cooking a curry and I suddenly realised that we, as a family, eat a lot of meat. At home we do like meat, but given the state our world is in right now, we cannot continue eating meat like there is no tomorrow. As a result, I am hunting the internet right now for good vegetarian recipes (if you have one you’d like to share, then please contact me!). Tournedos is a beefy font family: a chunky all caps set of fonts - and a leaner set to counter and complement this rather heavy dish. And do eat your greens!

Aneisha Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more. You need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) If you have any questions, do not hesitate to contact me by email: hello.mrletters@gmail.com. Happy designing :-) Thank You for your purchase!

Geiger is a geometric typeface inspired by type found in the intros of Commodore 64 games, its attention to the grid and its limited set of building blocks. The design of Geiger respects these criteria to create a sturdy alphabet without diagonals, and loosen its grip on the classic limitations to produce a complete character set worthy of today`s high-resolution displays with a retro touch. The properties of classic computing platforms, like their limited memory and low-resolution displays, required that the designers and programmers of the time devise and use certain techniques to produce interesting visual results. These platforms offered limited sets of default building blocks from which to build more complex graphics and type, and some skilled coders would work around these limitations to produce the unexpected. One of the areas that saw experimental digital type flourish is the Commodore 64 intro scene. The Geiger family includes four styles (regular, oblique, bold and bold oblique), all include common ligatures (fi, ff, ffi, fj, fl, jj, tt, Th, TT) and a few stylistic alternates (K, L). A particular attention was paid to the pattern created by the vertical stem and negative spaces of tightly set text, especially for Geiger Bold. Geiger produces good results at a size of 30pt or more, but we suggest using it at higher display sizes.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

CHARACTERISTICS A state-of-the-art OpenType-Feature (like Contextual Alternates (calt) and Stylistic Alternates (salt)) of “Hand Scribble Sketch Times” is, that each uppercase and each lowercase letter has automatically alternated two variations to bring humanly-random characteristics of handwriting to life. The cha­rac­ter of the rough, ruggend and raw hand­written classic serif type­face is a very uni­que warmly atmosphere. An pro-version of the font “Hand TIMES”. APPLICATION AREA warmth, love, handmade. For support of human warmth. Of cooking recipes, menus in the restaurant across party flyer, music cover Art to logo (word marks), headings in magazines and websites. TECHNICAL SPECIFICATIONS ? Font Name: Hand Scribble Sketch Times ? Font Weights: Regu­lar, Rough, Invert ? Font Cate­gory: Grunge Serif Dis­play for Head­line Size ? Font For­mat: OTF (Open­Type Font for Mac + Win) ? Glyph cover­age: 601 ? Lan­guage Sup­port: Basic Latin/English let­ters, Cen­tral Europe, West Euro­pean diacri­tics, Bal­tic, Roma­nian, Tur­kish ? Spe­cials: Alter­na­tive let­ters, Standard & Discretionary Ligatures, extras like sym­bols, ding­bats, Old-style Digits, Lining Figures, accents & €, incl. OpenType-Features like Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (onum), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Stylistic Set 01 (ss01), Stylistic Set 02 (ss02), Stylistic Set 03 (ss03), Slas­hed Zero (zero), Lining Figures (lnum), Tabular Figures (tnum), Old Style Figures (onum), Proportional Figures (pnum) ? Design Date: 2013 ? Type Desi­gner: Manuel Vier­gutz

Introduce Bomjites font. Calligraphy fonts are made by hand in detail on each letter character so that they can be combined with various kinds of writing design needs. This font is designed to produce lovely and beautiful words and sentences, creating beautiful writing has never been easier. Not limited to that, the bold calligraphy font is designed to keep paying attention to the beauty of each letter, there are alternate options for the letters which are certainly easy for you to access, so you can automatically customize the letters you want to enhance the visual appearance of your design project. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. ============================================================================================================ What’s Included : File font Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish Thank you for your purchase! Hope you enjoy our font!

MT Bleu Feelin — is a display font with a monospace typographic feel. Please pay attention to Small Caps, Oldstyle Figures, and Alternates. Good for music album covers, posters and magazines. Inspired by the electronic band from Bandung, Bleu House, which has a light and edgy electronic pop experimental music character, the idea emerged to create a font that changes from sound to visual language, namely font. The use of the design for this font is for Display, and while it is issued one regular weight, in the future will develop multiple masters and other experiments. The design concept of the MT Bleu Feelin Mono Regular font is to take a 45 degree diagonal and geometric cut technique. also every corner is rounded which gives a dynamic impression like electronic music. I created this font design because I like visual experiments, and applied it to the character of the font. By using monospaced font characters have an even width. This is a unique feature in that most fonts are 'proportionally' spaced with characters varying in width. While monospace is perfect in certain ways, it is a proportional font that reigns supreme. Proportional fonts are faster to read. however, the MT Bleu Feelin Mono Regular font is intended for display fonts. MT Bleu Feelin Mono Regular supports language settings - Western Europe - Central Europe - Southeastern Europe - South American - Oceania - Esperanto

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Korpen Tag is a cool and edgy graffiti font that captures the essence of street art and urban culture. With its tag-inspired handwriting and paintbrush strokes, this font brings an authentic and vibrant touch to your creative projects, making them feel dynamic and alive. Ideal for streetwear branding, album covers, posters, and other projects that require a cool, contemporary vibe, Korpen Tag is an uppercase font that adds a raw, energetic touch to your designs. Its distinctive style makes it a great choice for projects that need to stand out and make an impact. The Korpen Tag font family includes four high-quality styles to suit various design needs: Regular: A free-flowing, paintbrush-inspired graffiti style Upright: A more controlled, vertical version of the regular style Bold: A heavier, bolder version for more impactful designs Bold Upright: Combines the boldness of the bold style with the structure of the upright style Built with advanced OpenType functionality, Korpen Tag ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.