Futura is one of the best known and most widely used of modern typefaces. Designed by Paul Renner between 1924-1927 for the Bauersche Giesserei, it remains today one of the most successful typefaces due to its simplicity of features, perfect legibility, and meticulous finish of each of its letters. Its great variety of styles and weights makes Futura particularly fit for distinguished user interfaces, information displays, smart watches, e-readers, television apps, technical appliances, and internet-related uses. Futura is a Trademark of BauerTypes SL

Both fonts of the Remus family are complete redesigns of turn-of-the-century fonts. The regular style is based upon an inhouse design of Schelter & Giesecke in 1889, called Romanisch. This font was adopted by other German foundries and slightly modified and a bold version was added. Due to their proportions, these fonts fit perfectly into narrow columns, and still they are very legible. In January 2023, an Italic style was added. Here too it is recommended to use both ligature features Standard and Discretionary.

Osaca is a sans serif font family inspired by nature and it is composed of 6 weights, from extra light to heavy, including the matching italics. Osaca is a typeface that doesn't go unnoticed due to its particular design: its curves and lines mirror the typical motif of leaves. Osaca is ideal for large and medium headers and titles, but also perfectly suitable for short or large paragraphs as it creates an effect that is quite different from the classic sans-serif and definitely unique.

I don’t think I’m a capricious person, but right now, due to the enormous amount of renovation work on our home, I do get bad moods quite often! Capricious is a hand painted all-caps font: I used my favourite Chinese ink, a brush and very rough paper to get the desired ‘eroded’ effect. It is quite a heavy display font, so I wouldn’t really set a text in it, but it works really well for headlines, catching titles and products that need some pepper!

Agaste is a stylish and elegant serif font. It is suitable for a wide variety of designs due to its unique and cool style. Comes with some alternates and ligatures, so you can combine them to make a perfect typography design. It is ideal for your upcoming projects. Such as luxury logo and branding, classy editorial design, magazines, Packaging, poster, movie, cosmetic brand, fashion promotions, weddings, fashion, art gallery branding, and more. This font is PUA encoded, meaning you can access all of the glyphs.

Coluna is a friendly, handdrawn all caps font. Due to its playful, organic shapes it makes you think of cocktails on the beach and the earthy smell of the woods in the morning. It offers vast support for languages using the latin alphabet and comes with a couple of icons to make it even easier to complete the handmade look of your designs. Coluna is perfectly all sort of different use cases, such as birthday cards, packaging, children's books, branding, posters, menus and many more.

The Chrysler Building's decorative motif acted as the formal language that inspired the Linotype Spitz typeface. Linotype Spitz is a combination of pointed and semicircular elements that develop their own aesthetic value in their interplay. Neither the Chrysler Building nor the Linotype Spitz is designed on the basis of geometric rules; they both take account of optical phenomena in their design. Linotype Spitz is characterized by its elegant appearance, due to its exceptionally fine and pointed design. The font is ideal for posters and advertising.

Gemsbuck Pro is a typeface that was designed by Atok Khoirudin in 2022. It is a sans-serif font known for its bold and geometric design. Gemsbuck Pro features clean lines and a modern, industrial aesthetic, making it popular for various applications, including posters, headlines, and logos. The font family includes several weights and styles, ranging from light to bold, allowing for versatile use in different design contexts. Gemsbuck Pro has been widely used in print, advertising, and digital media due to its distinctive and impactful appearance.

Generisch Mono is a monospaced version of Generisch Sans. Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

Chevronne is good for any time when a clear and modern type is needed. Its futuristic and crisp looks, with a flavor of Art Deco, make it ideal for large signs or for eye-catching headlines due to its easy readability. Here is a typeface that won't deceive nonconformists, and is ideal for those who want to stand out from the crowd. Suitable for use in a logotype for an automobile or anywhere that clarity is needed. The Editorial and Press world would be delighted using Chevronne.

Gemsbuck 01 is a typeface that was designed by Atok Khoiruding in 2022. It is a sans-serif font known for its bold and geometric design. Gemsbuck 01 features clean lines and a modern, industrial aesthetic, making it popular for various applications, including posters, headlines, and logos. The font family includes several weights and styles, ranging from light to bold, allowing for versatile use in different design contexts. Gemsbuck 01 has been widely used in print, advertising, and digital media due to its distinctive and impactful appearance.

paintbrushdd was created using a real paintbrush. It is available in 4 styles including almost 3000 characters (Latin, Greek, Cyrillic, Coptic, symbols, shapes, mathematical expressions and so on). The main focus is on authenticity: The font literally looks like someone just painted it onto your artwork with a paintbrush! Just to name some examples, it is recommended for headlines, posters, t-shirts, computer graphics, and for any other purpose that need less than about 1000 words (due to the complexity of the font and the brush details).

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.

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

Four fonts entirely of decorative initials of which the uppercase basic letters of RMU Initials One are occupied by Walthari initials, the lowercase ones by Eckmann initials, both released first by Rudhard’sche Gießerei, Offenbach, Germany, about 1900. RMU Initials Two consists of Jubilaeumsinitialen in the uppercases and Augsburger Initialen in the lowercases. RMU Initials Three comes with floral ornaments, whereby the lowercase initials can be colorized by yourself due to non-joining elements. RMU Initials Four consists of hand drawn initials by Rudolf Koch and letters of a former Klingspor font called Queen.

Plastilin type family of two weights obtained its name due to the soft, curved, stroke terminals of characters (J, K, L, R and others) and the little pointed serifs, as if extruded from stroke plastic mass. The character set has a lot of additional Latin and Cyrillic ligatures, as well as several alternate letter forms. Plastilin was designed for ParaType by Oleg Karpinsky in 2005. It is for use both in display setting and short text passages. In 2008 the author added two weights (Light and Black) and improved letterforms of some characters.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Albers draws on early grid-based attempts by Josef Albers, in 1926, to design an alphabet by reducing the forms to purely geometric elements – the square, triangle and parts of a circle – and in the process creating an unusual stencil effect typeface.

Another jewel of the vast treasure of historical font designs was digged out and brought to life again. Due to the courtesy of the Quay Brothers, London, who yielded to me an age-old brochure of Albert Auspurg’s ‚Miami‘, released by Schriftguss in 1934, I was able to redesign this elegant font. This font which I called ‚Elbflorenz‘, a cognomen for Dresden, contains West and Central European type faces as well as those for Romanian and Turkish. To get access to the historical number sign please use either the OT feature additional ligatures or ordinals.

Tre Giorni, is a variant of the "Due Giorni" font with the possibility of combining between the two. This useful writing font is very expressive, fresh, agile and organic. It comes in two styles: Solid and outline (just a little shine) Each font contains 571 glyphs with many OpenType features: standard and discretionary ligatures, stylistic alternates, decorative characters, old-style figures, small caps, titles, case sensitives, and ornaments. Specially designed for creating eye-catching headlines, logos, packaging, greeting cards, advertisements and websites. It also has good readability for longer texts.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van Doesburg derives from the 1919 experimental geometric alphabet by Theo van Doesburg, whose work was heavily influenced by De Stijl theories, specifically rectangularity. The typeface has been constructed on the same 5 x 5 grid, and is limited by his ‘single alphabet’ theory.

Nat Grotesk family consists of 14 styles including 6 narrow ones. It has a half-closed sans serif design with simple and clear lettershapes. Due to compact proportions the face is very space saving, but nevertheless it is rather legible even in small sizes. The bold weights demonstrate increased contrast. The font is recommended for text and display typography as well as for headlines and advertising. It was designed by Natalia Vasilyeva and released by ParaType in 2007. The upgraded version with extended character set was released in 2009.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van der Leck originates from the lettering that Bart Van der Leck created for ‘Flax’ magazine in 1941. The letterforms‘ restricted shapes and abstract, stencil-like forms reflect the strong geometric language of De Stijl and show influence from his abstract paintings.

The Xavier family of typefaces is based on the delightful deco typeface called Ashley Crawford, originally designed in 1930 by Ashley Havinden. After designing Xavier Black (Serif) and Xavier Sans Black, I added Bold Sans, Medium and Medium Sans and finally added lowercase to the medium weights. Although more manageable than Ashley Crawford, Xavier, due to its very playful nature (splayed A, M, etc.) needs to be used with care, especially in terms of spacing. Xavier is a playful typeface and I have been particularly pleased to see it used in children's books.

Scape is a precisely drawn, contemporary stencil face built from a single weight rounded end stroke. The fine, linear rounded forms create a subtle contrast to the raw utilitarian nature of the stenciled characters. Extremely versatile, Scape is highly legible due to it’s upright, consistently balanced sans letterforms. Stylistically, it exemplifies refinement and clarity with an distinct edge. Features include: Precision kerning Expanded ligature set Alternate characters (O, _, ®) Alternate zero Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Tiemann Antiqua was designed by Walter Tiemann in 1923 and appeared with the Klingspor font foundry. It is one of the modern book typefaces created in the first half of the 20th century, but differed from most in its Modern Face forms. It displays the same strong stroke contrast and flat serifs but its proportions have more in common with those of neorenaissance fonts. Tiemann Antiqua is an elegant, legible font suitable for books and longer texts, but also found in headlines, newspapers and magazines due to its classic yet unusual appearance.

Big. Bold. Beautiful. Slinkster is an intricately unique display face created by carefully overlapping equally-sized circles. The geometric patterns formed become increasingly mesmerizing the larger the type is set. Slinkster works best for display, headers, logotypes, and any other large-scale applications that allow the viewer to become hypnotized by its complexity. Due to how detailed Slinkster is, you may experience some lagging as it can take a while to render. Like this font? Consider donating to encourage further development and new fonts! Donations accepted through this Paypal address: willryan042@gmail.com

New Letter Gothic was designed for ParaType by Gayaneh Bagdasaryan based on monospaced Letter Gothic font by Roger Roberson, 1956–62. Due to clear and easy-to-read lettershapes of Letter Gothic the font is rather popular now for display and advertising matters. The idea was to create a font similar to Letter Gothic in lettershapes but with proportional widths of letters. For use in both display and text setting. New Letter Gothic has been adjudged an Award for Excellence in Type Design at Kyrillitsa ’99 International Type Design competition in Moscow, 1999.

Usually I prefer desserts that aren't overly sweet, but a week ago I lost my sense of tasting - due to Corona, and when I wanted something sweet...I preferred it overly sweet...of course because I hardly could taste the overwhelming sweetness! But now, I have my sense of tasting (and smelling!) back, and everything is back to normal. And since I completed this easy-recipe-inspired handmade font while suffering from Corona, I thought I'd name it Overly Sweet. And...well. because, the font is somewhat overly sweet (without being over the top sweet!)

Modern digital typography pushes many designers to try and achieve visual perfection with their lettering. In the days of wooden type, the premise was more in creating a font that "sold" the message (possibly, in part due to the lack of advanced tooling to achieve uniformity). In many styles of wood type (such as the one used as a model for Broadletter JNL), there are vast differences within the character design, weight and symmetry from letter to letter. This is now looked upon as "old fashioned" and "charming" - part of the appeal of this typeface.

A blackletter font tending towards the gothic which was released by Klingspor, Offenbach am Main, in 1937. Claudius can be used for clerical as well as for secular purposes and shows a strong character of its own. The original esthetic atrocities of placing the dieresis within the letters A and O - due to former German industry standards - were abolished. Allow the font's beauty spread by giving it enough leading between the lines. This font contains various useful ligatures, and by activating the Ordinals feature and typing 'N', 'o' and period you get an oldstyle numbersign.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Schwitters was developed from the phonetic experiments made by Kurt Schwitters with his 1927 universal alphabet, where he attempted to link sound and shape. He ‘played with’ using heavier, wider, rounded forms to convey the vowels, creating a unique visual speech texture.

Golden Grotesque - Designed by Moriztype. The whole family consists of 9 Golden Grotesque Uprights, 9 Golden Grotesque Italic, 19 fonts in all. The font is informal and friendly at first glance and perfect for any display setting, but the straight, upright Golden Grotesque architecture also makes it perfect for longer copies. Due to its large x-height, it even works well in very small sizes. Golden Grotesque - This contemporary type family is ideal for use in retail, cosmetic, food and hospitality applications and advertising. Golden Grotesque is equipped for complex and professional typography.

Introducing “Careny” – an elegant and modern typeface. This typeface has a refined look due to its sleek shape and perfect curves. Its modern aesthetic lends a touch of sophistication to any project, from magazine layout to logo branding. Careny is the ideal choice for anyone looking for a versatile and fashionable typeface that effortlessly blends traditional elegance with modern design. Careny is perfect for branding projects, logos, social media posts, advertisements, product packaging, wedding invitations, product design, labels, photography, watermarks, stationery, and more. Features : Uppercase and lowercase Punctuation and symbols Multilingual support Ligatures Alternates

"VTF League" is a fully-kerned, hard working, 14-font athletic block display family. Its letterforms feature a synthesis of heavy verticals and lighter horizontals that create a steady visual rhythm, and chiseled terminals to help establish a competitive personality. Although developed for sports branding and similar projects, "VTF League" was inspired by the harmonized mix of sturdy, industrialized, no-nonsense typefaces and the brand uniqueness of local distilleries around Eastern Tennessee during a week-long moonshine tour in February 2018. As of July 2019, "VTF League" has been redeveloped to include a complete alphabet of uppercase, lowercase, and small cap alternates with 7 weights and oblique style variants for each. Enjoy!

Choplin is a modern and clear geometric slab serif with a sturdy heart. It was designed based on the Campton Family, with the same principles in mind: geometry, simplicity and neutrality. As a consequence, Choplin could be seen as an immediate companion to the Campton Family. However, during the process lots of details were changed in order to sharpen the slab serif character which resulted in a slightly different interpretation. Similar to Campton, it is perfectly suited for graphic design applications ranging from editorial, corporate, web, interaction to product design. In addition, it has an extended range of alternative glyphs, ligatures and opentype features which provide flexibility and uniqueness wherever it is placed.

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Old Kharkiv was inspired by the first half of the 20th century photo with a signage on the building of the Ivan Kotlyarevsky Kharkiv National University of Arts. During the development, the font has acquired unique features not from the original signage, for example, drops in uppercase were replaced with sharp serifs. This font contains the letters of all the main European languages, Cyrillic and basic special characters. Some uppercase letters (where allowed their form) have decorative elements (swashes) to use them as drop caps or initials. There are stylistic alternatives for some Ukrainian letters. Also, as a bonus, this font contains up to a dozen graphic elements that you can use in your layout.