Dharma Slab is an antiqued slab serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. Incidentally, g, r and y has their alternative glyphs that can be available with OpenType salt feature and tabular figures can be available with tnum feature. Be sure to check out the sans serif style of this Dharma series named Dharma Gothic.

The distinctive design of the "Diagram Display" comes from the Venn diagram. It is a common statement and it is a spatial illusion. The delicately differentiated curves balance the technical, geometrically constructed shaping. The graceful character comes with All caps or Small caps typesetting in lighter weights when the font takes on a classicist character due to its proportions. It appears best in headlines and larger sizes, in all applications and themes where its elemental design resonates. Each of the six weights contains an extensive character set, including small caps, uppercase, lowercase and tabular numbers, mathematical symbols, standard and discretionary ligatures, or arrows and other special characters. The stylistic set SS01 contains alternations (a, g, t, u, y) that support its geometrically constructed appearance.

Mangueira is a sans-serif geometric typeface that is made up of 2 sub-families: one standard more contemporary family perfectly suited for display use and one alternative version for short blocks of text and more neutral titles. Each subfamily comes in 9 weights and includes swashes, which can be easily accessed from the OpenType menu. One of its main features is the combination of geometric shapes and vertical terminals that resemble Humanist sans typefaces. A generous number of swashes along with unique details in some glyphs such as "g" and "k" make Mangueira a versatile font well-suited for editorial design, branding, packaging, web and broadcast use, etc. Mangueira contains a set of 502 characters, supporting over 200 Latin-based languages.

Award winning 2017 font from Demark (Thailand) and G-Mark (Japan) in Graphic Design, MartiniThai Neue Slab is now available with better taste. Deltatype created a better version of MartiniThai Neue Slab V2: refined for better outline, we fine-tuned all outlines for better letterforms. Proportion were adjusted for better consistent. Metrics got new values for increased readability. Kerning, fine-tuned kerning pair for better spacing between the letters. MartiniThai Neue Slab V2 comes in six weights: Thin, Light, Regular, Bold, Extra Bold, Black. Thai Language is included in this package. MartiniThai Neue Slab is a unique slab serif in Thai Script that creates a sense of timeless and contemporary feel and is used by a media provider and nationwide in Thailand.

Based on the hit album by Glen Campbell, Southern Nights is the font with a style that’s “free as a breeze,” as the song says. It’s fun and casual, yet it has a flair for fashion and elegance. It also has an art nouveau look which lends itself to greeting cards as well as the branding of perfume, clothing, retailing, dining, and other luxury/high-end uses. This font includes alternate characters for the upper R, S, and T, the lower g and z, plus ligatures that include a double lower t and double lower l (L). As the song might say, I apologize to anyone who can truly say that they have found a better font! Digitized by John Bomparte.

One in the series of fonts celebrating the halcyon days of handlettering. Mrs. Bathhurst is based on an alphabet from 1916, prepared by Fred G. Cooper. Warm, endearing, and a little quirky, Mrs. B will brighten up any occasion. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness. With the latest update, it becomes a true workhorse, with a range of widths and italics for the normal widths. Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own. Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks. And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l. A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript. Note also that the tabular figures are duplexed across weights - very useful when highlighting specific entries in tables. The tabular figures feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always. Lastly, case sensitive forms of certain glyphs are included for all-cap settings. This typeface will be useful for corporate identities and branding work. It’s spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes. Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs. Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.

Poligon is a large family of geometric sans serif fonts. It is inspired by classic typefaces from the geometric-sans genre, like Futura and Avant Garde Gothic, whose shapes were constructed from circles and straight lines. Every character has been crafted to give it a distinct and individual feel. The family is an excellent choice for both corporate design and editorial design projects because of its range of weights, as well as its legibility in text. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s eight static OpenType font files instead. Those weights run from Thin to Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over the stroke width in their upright and italic texts. The weight axes in Poligon’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Despite their rigid geometry, the fonts have a playful air to them. That playfulness and uniqueness can be dialed up by applying stylistic alternates via the fonts’ four Stylistic Sets. The first of these replaces “G”, “M”, and “&” with alternate, more outgoing shapes. Stylistic Set 2 has an alternate “ß”; Stylistic Set 3 has a “Q” with a longer tail and another “G”. Stylistic Set 3 has alternates for “A”, “K“, “Q”, “R”, “S”, “Y”, and “Z”.

EUROPEAN SOFT PRO ABOUT FAMILY: What makes "European Soft Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Soft Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Soft Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Soft Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

EUROPEAN SANS PRO ABOUT FAMILY: What makes "European Sans Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Sans Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Sans Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Sans Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimeted fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Keep Calm is a family of fonts developed from the now famous World War 2 poster that was designed in 1939 but never issued, then rediscovered in 2000. As well as the original Keep Calm font, the medium weight of the poster, new weights are now available – Keep Calm Book (regular weight), Heavy and Light – and each weight comes with a complimentary italic. Version 2.0 (2017) is a comprehensive update which consists of numerous refinements and improvements across all weights. The family now contains a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants. The four italics have been optically corrected with revised, ‘true italic’ forms of a and f. The crown motif from the top of the Keep Calm poster is located at the plus minus ± and section § keystrokes (Alt 0177 and Alt 0167 on Windows). The lowercase g follows the Gill/Johnston eyeglass model, but also included is an alternative, single-story g at the Alt G keystroke (Alt 0169 on a Windows keyboard), the normal location of the copyright symbol which has been relocated elsewhere in the fonts. An alternative lowercase t, without the curved wedge cutaway, is provided at the Alt T (dagger) keystroke (Alt 0134 on Windows). When I first saw the Keep Calm and Carry On poster, I wrongly assumed the letters to be Gill Sans. Recent research at the National Archive by Dr. Bex Lewis of Manchester Metropolitan University has revealed that the original poster was hand drawn by the illustrator and painter, Ernest Wallcousins. The Gill Sans influence is apparent, in the R particularly, the M’s perfectly pointed vertex is redolent of Johnston’s Underground, and the most anomalous character, the C, resembles the ‘basic lettering’ of engineers that provided the vernacular sources for the Gotham typeface. Developing the Keep Calm typeface has been an exercise in extrapolation; an intriguing challenge to build a whole, high quality font family based on the twelve available capitals of the Keep Calm poster, and on similar lettering from the other two posters in the original series. This has required the creation of new lowercase letters that are believably 1939; that maintain the influence of Gill and Johnston while also hinting at the functional imperative of a wartime drawing office. Wallcousins’s lettering balanced intuitive human qualities and the pure pleasure of drawing elegant contemporary characters, against an underlying geometry of ruled lines, perfect circles, 45° terminals, and a requirement for no-nonsense clarity.

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

The Killegar family is inspired by one of the great houses of Ireland...Killegar—which is on the grand Estate of Killegar. I lived there for many years. It is a quiet and peaceful place surrounded by lakes and trees and is inspirational in so many ways. All of my creative talents were boosted by this amazing two hundred year old building with all of it's secrets and heritage. Time stood still in Killegar....except for me and my modern day computers, cell phones and fax machines. This twist of fate, with me living both a rural and hi-tech life, living in an environment of the early 18th century, with the friendliest local people on the Earth, played it's part in the origin of the Killegar family of fonts. Tony Fahy

Spiral Ornaments are of varying complexity with positive and negative variations. There are a total of 48 ornaments.

A very modern pixelstyled version of a "wildwest-font". For all the real cowboys and cowgirls out there.

Voter JNL is a collection of fifty-two vintage images selected out of the numerous dingbat offerings from Jeff Levine Fonts and many modified to fit the theme of elections and voting.

Playing around with a previous design, Jeff Levine came up with Cut Paper Stencil JNL, a typeface with both an Art Deco flair and the look of letters made from cut paper.

This design from Jeff Levine defies description. It's kind of techno, somewhat of a novelty and definitely unusual. Diagon JNL is the perfect font for projects that need a very different look.

Burger Royale JNL by Jeff Levine is a bold, sans serif font with a slight Deco feel, inspired by the logo of a former Florida chain of hamburger shops called Royal Castle.

Western Adventure JNL is based on a classic lettering stencil of the 1950s. Part of a growing series of such stencil fonts by Jeff Levine, it's a perfect complement to Buckdance JNL.

Decorative elements with a decidedly Art Deco flair make up the twenty-six images found in Design District JNL by Jeff Levine. Use these images as embellishments to your next design project.

Coal Brush is a bit of a misleading name. It looks as though it was made with a brush, but it was, in fact, made with a almost dried out old marker pen. But a font named ‘dried out old marker pen’ doesn’t really fly, so I decided to pimp the name. There you have it, you can’t even trust an honest typographer! Marker pen or brush, Coal Brush is a very sweet little font. It is all caps, but upper and lower case differ and can be mixed freely. Plus there’s a hidden stash of alternates for the lower case letters and an alternate ampersand! I actually threw that in to make up for my lie. So, use it for your books, your posters, your rap albums, rock operas, grilled food restaurants and designer BBQ sauces. It’s yours for the taking!

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Ambaghy is a goofy font that's elevated by its posh, handwritten style. It will spice up your designs and add a unique feel to your design and it just might be the secret ingredient you've been missing. We've spent years honing our craft to create the most unique and original fonts like Ambaghy. We were inspired by the wild creativity that flows from our hands, and we want to share that inspiration with you. Ambaghy works great for logos and headlines, and also works well in text blocks of body copy. A Million Thanks Colllab Studio www.colllabstudio.com

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

Hello, Morgan Nice Two is here. This font is inspired from our previous font, Nice One. In Morgan Nice Two we have three versions: light, regular and bold. It has modern and strong looks with a little decoration on it. We hope you enjoy in using Morgan Nice Two! :)

Sellebou is a modern display font. It consists of three weights, display, regular and text. Straight lines combined with a slight curve make Sellebou look modern and unique. Try uppercase for a simple look. Sellebou is perfect for website headers, logos, Instagram stories, magazines, or fashion-related branding.

Bumper is the ideal ultra-black Sans Serif if you wanna make noise. The three widths could even be mixed in one single word, which creates a hand-made, edgy look. Bumper falls between glossy mags and poster art, and has a great effect when used for flyers.

RoyHand RP is a new OpenType font family release by BluHead Studio, LLC from the wonderfully talented English designer and illustrator Roy Preston. RoyHand, as the name would suggest, is based upon the handwriting of Roy himself. The family has three weights and is suitable for many everyday uses.

Oak Ridge JNL gives a Westernized treatment to Flivver JNL; which in turn is a serif derivative of Two Reeler JNL. Although all three fonts come from the same root source—inter-title cards from an old Charlie Chaplin movie, they each take on a personality of their own.

Harley is all caps Sans Family with three weight, thin, regular, bold, and stencil version for regular weight. The design anatomy is simple, only straight shapes with no curves and it's suitable for techno design, poster, headline, products design, print design, etc. Harley also support standard multilingual characters.

Allen Zuk has designed this wacky typeface that he calls KOOKY. Each character has three variants that bounce about the baseline. The effect is a randomly casual appearance that is great for headlines. The OpenType version does this automatically by using contextual alternates in applications that recognize this option.

RL Bouba is an experimental display typeface that includes three weights. RL Bouba can be used on but is not limited to, posters, billboards, T-shirts, album covers, basically any design that needs a big eye-catcher font! Bouba offers Basic and Western European Latin letters, numbers, and punctuation.

Airwave is suitable for display and logo work. It comes in three faces and would work well for technical designs or for giving a fresh, modern look. It is an all cap font with a few (A, E, N, R) lower cap alternates and contains West European diacritics.

Gendis is a complete fonts pack for build brands, comes in three different styles and extras. This complete package is perfectly for all your creative work such as branding projects, packaging design, ads and more. To enable the opentype stylistic alternates, you need a program that supports opentype features.

Shred is the result of staring at so-called three-dimensional shapes for days on end, then capping the meditation by eating the white light at the end of the tunnel and sweating it out a blade a second. Bliss is overrated. Sharpness is where it's at. Get slicin'.

Ever seen a zombie starfish? No? Well, neither have I. But this font actually comes close! Zombie Starfish, despite its name, is quite a happy cartoon font. It comes in three styles (regular, eroded and dots), plus accompanying italics. Use it for book covers, seafood restaurants or packaging.

AndrewAndyCollege is an outlined font derived from the Ingrimayne font AndrewAndreas, a san-serif face. In 2018 the inside and the middle ring were separated out and made independent fonts. They can be used alone, or layered with the original to produce letters with two or three colors.

The Vienna Workshop (Wiener Werkstätte) produced a tremendous variety of art from the turn of the century until the beginning of World War II. This set, which includes three typefaces and a collection of graphic extras, draws on both the Art Nouveau and Expressionist traditions of the Workshop.

Ameo is a modern sans-serif font with flowinglines with sharp edges. The font has three sizes: bold, regular and light. Uppercase, lowercase letters, as well as numbers and symbols are included. Ameo is a simple font and has a modern look, so it will suit many projects