Woodruff was inspired by a piece of charmingly hand-lettered signwriters’ ornamental Roman seen on a half faded away brick wall, on the end of a row of shops. It has a naive hand drawn charm that lends a very special touch to posters, signage and headings. Woodruff is ideal where an atmosphere of primitive charm, with a little regard for aesthetics is required, and can be used in such situations without sacrificing legibility.

Almahira is a modern calligraphy typeface, beautiful and luxurious. This elegant and beautiful font is stylish and versatile so you can use in a plethora of designs in both digital and print applications. Almahira font is the best choice for your professional design projects, including : signature, watermark on photography, quotes, album cover, book cover, business card, logo, branding, magazines, social media, advertisements, product designs, and many other design project. Enjoy designing, Rom

Athletic Condensed was designed to be a must have for any kind of projects. Bold and elegant at the same time, both the regular and slanted styles are super versatile and can be used to dictate a strong message, headlines or just setting casual text. Practical and simple, this font is a classic that will not let you down, as it does an excellent job either as the main character or supporting role.

ITC Ziggy was designed by Bob Alonso, who says it started out as phone doodles in the early 1970s." Alonso rediscovered the sketches years later, thought they revived the feel of the 70s, and decided to digitize the typeface. He liked the form of the letter Z best, so named the font Ziggy. ITC Ziggy reminds its designer of "elephant bellbottoms" and its style as a display face instantly evokes a nostalgia for the 1970s.

I made this font during the rather hectic start of 2021. Popular Vote is an easygoing, laid-back kinda font. It fits just about anywhere, regardless of your political orientation, your sense of aesthetics or the job you will use it for. Popular Vote will feel at home on a box of crackers, on the cover of a book about keto diets, or on that T-shirt you have always wanted to design. Enjoy!

This unusual font was designed by Alessio Leonardi, who plays with the difference between content and impression. At first glance the font looks almost like a row of pictograms or Asiatic characters. The forms become Arabic letters when the characters are set together to form words. HaManga Irregular is a good font to use when the reader is supposed to contemplate not only the text but the form of what he or she sees.

Straight from the ‘extras’ drawer, the mismatched Sluicebox character set is comprised mainly of serif type specimens. The OpenType versions of Sluicebox have 52 ligature features that automatically substitute a unique pair of distressed characters when any upper or lower case letter is keyed twice in a row, as well as features for Old Style Numerals and Small Caps. Sluicebox Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

Blastatic! is a highly versatile and unique sans-serif display typeface, but still desires an offbeat, modern style. Blastatic!, new from Remedy667, has the power to turn your designs into masterpieces. With ligatures, extended glyphs, and complimentary alternates, this typeface can do it all. Whether you’re designing for a Jazz Album, Godzilla Movie, or Hot Rod Magazine, Blastatic! will give you an irresistible style. Saul Bass fans take note, this stuff’ll give you vertigo.

Technically a crowbar is a straight metal rod used for digging. The tool I had in mind when I named this font is called a jemmy or pry bar, but I guess I liked the name crowbar better. Crowbar font, like its namesake, is a very useful tool: its brush-like appearance fits any design, especially if you are aiming for the ‘scary’ look. Comes with a toolbox full of diacritics too!

In the heyday of "Tin Pan Alley", a song plugger was one whose job it was to bring a publisher's song to the attention of performers, show producers and radio station executives; the forerunner of the promotion man who visited disk jockeys with new record releases in the hopes of getting them played on the air. Song Plugger JNL was based on hand lettering spotted on some late-1920s-early 1930s sheet music.

Modula was the first high resolution headline face that Zuzana Licko designed with the Macintosh computer. In 1985, the computer was very crude as far as being able to produce subtle curves, but it was outstanding at producing perfect geometric elements. As a guide, she used the proportions of her earlier Emperor Fifteen bitmap design and applied the precision of the computer's geometric elements. See also Modula Round and Ribbed. Greek version by Dimitris Arvanitis.

Duos Pro, a script for illusionists, comes in 10 styles. Whatever style you pick: apply this speedy monolinear handwriting font in large sizes, because it is made for catching the attention. Take Duos Sharp, which comes with speedy strokes and sharp endings in light, regular and black weights. Or pick Duos Round, and its 3 styles with a softer voice and round endings. Some people call those endings “funky ball noses“, an odd but appropriate description. Round styles look more like round tip speedball lettering, but contrary to most speedball letterings they're written with a very high speed. Especially Duos Round Black is more cuddlesome than its sharper counterpart. For an even more intuitive feel, we added two more sets: Duos Brush & Duos Paint. Duos Brush combines monoline strokes with brush beginnings and endings, for that graphical, freshly lettered touch. A closer look will reveal how its brushed tails vary all the time. Duos Paint is made up out of rough & artistic painted strokes, with all its accompanying shortcomings. In contradiction to the finesses of lighter weights, Duos Paint Black scores in being the most nonchalant and impressionistic. Poésie brutale! As well as having the option to choose between (or mix) these 10 styles, Duos Pro has additional hidden functionalities. For example, every style has many alternate lettershapes and ligatures, offering various different results and lengths to display every single word. Or manually add one of the swashes for more emphasis. A bonus font, Duos Tools, includes tool icons, strokes and banners. If that ain’t enough, throw in some polysemic letters for smart, ambiguous communication if you like. Want to become a signpainter? Then be a signpainter. Always wanted to be an artist? This is your chance! Duos Pro boosts your look. Make your visual vocabulary as grandiose, dramatic, sensitive or picturesque as you want. But whatever you do, don't hesitate to apply Duos Pro “short & big”!

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Jesus Loves You All is a heretic thorny typeface vaguely based on the outlines of TheSans. Jesus Loves You was given a remarkable three-dimensional treatment in Abbott Miller's Dimensional Type project.

The German designer Alexander Dosiehn developed the Liga Sans type family as part of his graduate thesis at the Fachhochschule Düsseldorf in 2001. Liga Sans is a sans serif typeface that acts as a bridge between classical modern styles. Traces of pen forms and brush strokes can be seen mixed together with the most legible elements from grotesk-style faces in the alphabet’s letterforms. These features work together to create a style that works very in many sizes, including smaller ones! Liga Sans is an original, lively addition to the porfolio from Linotype suitable for text, magazines, and corporate identity work.

Between 1958 and 1961, Herbert Thannhaeuser developed the typeface Liberta for Typoart as a broadly conceived newspaper type which established itself quickly. Its positive adaptation by publishing houses and printing companies was based, next to its agreeable and reader-friendly general impression, also on a relatively robust typeface character which does not sacrifice its power of impression and elegance even when confronted with poor paper and printing qualities. In the 1970s, a bullish and robust design style took over the area of consumer goods which then required a corresponding advertising face. Harald Brödel re-worked the Liberta Ultra for phototypesetting, and, with great sensitivity, designed a matching cursive variation. Both types work especially well as an attention getter for advertising and for emphasis purposes.

Wild Title Sans is ideal for projects that are intended to be leisurely and relaxed. The font deliberately destroys the principles of restrained fonts, emphasizing unbridled individuality. The distinct notches in the font are enlarged ink traps, which are used for typesetting in small sizes and usually copy the structure of the character. In this case, the ink trap becomes part of the structure of the character, giving the font a strong and original feature. The weight of individual styles is also distinct: the emphasis on the vertical breaks with traditional approaches to posture. This font literally draws attention to itself. Individual styles are suited to a variety of uses, from small-point texts to bold, distinctive headings. Specimen: http://carontwice.com/files/specimen_Wild_Title_Sans.pdf

Designed for easy reading of long passages, Artifex CF's smoothed-off serifs help the flow of text without unnecessary visual noise. Artifex's even rhythm and mellow tone make it an excellent option for books, magazines, articles, blogs, captions, and longform texts. A near-upright italic adds emphasis and urgency with elegance. Artifex also doubles as a handsome display typeface, scaling gracefully with charming details revealing themselves at large sizes. Artifex CF pairs nicely with bold, clean sans-serifs, such as Greycliff CF and Visby CF. Artifex also has a sibling typeface, Artifex Hand CF, cut from the same cloth, but with subtle flares in place of the serifs. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

YR Qaf is a clean, modern, and highly legible font. Featuring clear, easy-to-read letterforms with a focus on legibility. The font is carefully crafted with balanced proportions and an emphasis on vertical lines, resulting in a harmonious and streamlined appearance. YR Qaf offers a sleek and modern aesthetic, with exceptional legibility and versatility. Its clean lines and balanced proportions make it a perfect choice for a variety of design projects where clarity and readability are essential. YR Qaf is ideal for a wide range of applications, including branding, web design, editorial design, and more. With a comprehensive set of glyphs, including both upper and lowercase letters, numerals, and symbols, this font can adapt to diverse design needs with ease.

Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

Aloha! Veteran Sign Painter Pierre Tardif and Lettering Artist Charles Borges de Oliveria have teamed up to bring you these fun to use brush fonts. Aloha Script comes in two flavors: Aloha Script and Aloha Script Casual. Both fonts contain the same lowercase, alternates, and ligatures – the difference is in the capitals. By mixing both fonts you can create a variety of unique logos. Aloha Scripts Casual can be set in all caps for greater emphasis on captions. Both fonts contains over 100 alternate characters, as well as an assortment of ligatures, swashes and underlines. With over a year and a half in development, Aloha is bound to please. Great for logo design, signs, posters, culinary food packaging and so much more. Aloha!

Mariam is a traditional-style Arabic headline face designed by the famous Arabic type designer Ismet Chanbour, who also designed Al Harf Al Jadid - another highly successful typeface from Linotype. Mariam is characterised by certain design features which contribute to its stylistically lively, yet graceful appearance: downward-pointing tails combining with the swinging finial strokes of certain characters, and the various cut-away" effects. This headline face successfully offers a wide range of applications, from very large, bold poster-size work to use at 18 point for emphasis in text work. Available as in the OpenType format, Miriam incorporates the Arabic codepage (CP 1256), and supports Arabic and Persian. It also includes both tabular Arabic and Persian numerals, as well as Latin figures and complete punctuation."

With Royale, Resistenza reinvented the bifurcated Tuscan genre in a contemporary, warm and playful form. Now our aim was to complete this decorative family with an italic version of the font. Rounded terminals, fabulous fancy fun spurs with elegant and extravagant flourishing - Royale italic comes in 8 weights which can also be layered to create polychromatic effects in another nod to the Victorian era these styles were popularised. While inspired by days gone past this Royale is far from a revival as unlike the classic Tuscans which inspired its structure Royale is monoline and sophisticated in its simplicity. Perfect for display and emphasis, Royale will command attention and leave a memorable impression wherever it is used. Check out also Royale

Sanelma is a brush script inspired by Hot Rod lettering and sign painting. Sanelma is a very versatile script: It includes two different styles of end swashes, swash caps, small caps, lots of alternate characters and underline option. All in all it has over 1,200 glyphs. Sanelma is bouncy and smooth and has a very organic feel. You have a lot of options to customize it and that makes it perfect for logos, packages and titles.

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.

Rigrok is a 14 style semi serif designed by Stew Deane. The design of the typeface was intended to create a premium feel that is suitable for the widest range of tasks, while still maintaining a unique sense of character. Stew designed Rigrok to draw on his graphic design experience to create a typeface that is suitable for many a design or branding job. The result is an easy to use, versatile typeface that charms with personality and character.

Cindie 2 is an update of the optical type Cindie Mono. It retains the monospace-stacking system of the original, but some letters have been redrawn. It also now includes a lowercase and Cindie 2 has a script accompaniment (which isn’t mono and should be used with Contextual Alternates turned on!). Good for posters, branding and headlines, Cindie 2 has 26 monospaced widths which will fit any job. Cindie 2 also comes as a Variable Font.

Bob Alonso’s Aftershock was designed to resemble woodcut or linocut lettering; its irregular shapes make it stand out from its background. Dominant features of this typeface are its generally square forms and its emphasized horizontal strokes. The strong, heavy alphabet makes an overall regular impression in spite of the idiosyncracies of its individual characters. To emphasize the unique contours of the forms, it is best to use Aftershock in larger point sizes and exclusively in headlines.

ITC Mithras was designed by Bob Anderton and finds its foundation in the worn yet elegant letters carved into stones of a Mithraic temple in Scotland. The capitals are narrow and complemented by a wide, full bodied lowercase. The proportions of the curves vary slightly between characters and this subtle contrast gives the face a mellow appearance while still attracting attention. ITC Mithras is a very legible typeface and hence applicable to a wide range of display uses.

About family “ZestPro” Creativity and creative zest. Used to try to beat past records to add zest for monotonous jobs… Zest means something like mirth, ardor, enthusiasm, appetite, deliciousness, delight… Zest is a food ingredient that is prepared by scraping or cutting from the rind of unwaxed citrus fruits such as lemon, orange, citron, and lime. This series is composed and includes ten fonts with 631 glyphs each, with true italics, and supports of course: Latin, Greek & Cyrillic.

Hello Everyone, Introduce our new collection, Bristone – Expanded Sans Family famous logos of Technology and brands that have very strong characteristics, Bristone has 6 Fonts that allow you to get a job with satisfying results. very suitable for posters, t-shirt, packaging, branding, logotype and more. Bristone font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

A neogrotesque with a distinct mid-century feel. Shapiro’s multi-axis Variable Font comprises of 8 text weights, from Light to Black. Three additional sizes, “Headline”, “Display” and “Max” supply another 8 weights that are spaced for larger applications. To top off the package, 8 Wide styles are ready for that extra punch. Choose Shapiro for any job that calls for a restrained but confident voice. Give your design that professional look in the blink of an eye.

Hello Everyone, ntroduce our new collection, Choxr Font is inspired by famous logos of shoes and brands that have very strong characteristics, Choxr has 4 styles that allow you to get a job with satisfying results. very suitable for posters, tshirt, packaging, branding, logotype and more. Choxr font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

A clean, well-lit design, Freight Sans proves that even a workhorse can be a breath of fresh air while remaining invitingly readable. Ideal for boundless headlines and text, the power and detail of this design also serves well in way-finding and display environs. From web to print to apps, it’s hard to imagine a project where Freight Sans wouldn’t do the job with aplomb. When you need a sans serif–you need Freight Sans.

I've had an interest in typography ever since my college days, even submitting my NDD thesis on the subject. The basic concept for this typeface stems from that early creative period, hence the obvious 60’s retro feel. It’s only recently that I've have had the chance to carry through fully some of my dormant typographic ideas, but ‘better late than never’ as they say! The font’s characteristic style is based on repeating or rotating templates of a half and a quarter circle, the geometric, modular building blocks used here. The name was simply influenced by the letter ‘u’, which visually describes a stylized ‘tulip’ flower.

ITC Beesknees font is the work of David Farey. He credits a number of sources as inspirations for his work, including Pushpin Studio, Peter Max, Bob Zoell and the Marx Brothers, whose typographic titles he admired as much as their cinematic humor. He was going to name the font 'Horse Feathers' or 'Monkey Business' after Marx Brothers films, then the name got shortened to 'Business', which then got transformed to 'Beesknees'. ITC Beesknees font contains a capital and small caps alphabet.