Ela Sans is the sister of the typeface I originally designed for the business of my second wife and mother of my two sons, her name is - of course - Michaela. Ela - the typeface - is suitable for magazines, newspapers, posters, advertiments, books, text, documentation/business reports, business correspondence, multimedia, and corporate design. Because lately this typeface became very popular I decided to extend the Ela Sans family to eight weights and I added italic and smallcaps versions to it. So now Ela Sans and Demiserif together is a full fledged typeface family.

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.

Vow is an incredibly stylised font, strutting its stuff on the typography catwalk. Vow does everything to excess, even when cutting down: where it’s curvy, it’s very curvy, but where it’s thin, it’s thin. Vow’s regular weight has a certain boldness at text size, but its ultra-thin alternative is much better used at larger sizes, managing to take up very little space even when scaled up. Using a mix of the two creates a subtle emphasis, especially when coloured, which helps to create stunning messages in elegant ways.

Darjeeling combines British Elegance and Indian Flavor. It is flared like Optima, with a scent of Bodoni. By layering “Regular” and “Ornaments” over each other you will create astounding pieces of colorful typography. Additionally there is “Regnaments” which combines the two other styles. Darjeeling is great as a display font, but also perfectly legible at text sizes. Use the ornaments only to add spice to Your design. Make sure to use applications supporting all these lavish OpenType features like small caps, various sets of figures, fractions and the 102 discretionary ligatures.

Capellina is a responsive type family comprised of four styles – two script fonts and two small caps romans – built to work together in typographic compositions intended to catch the eye. The fonts will work in your app as you can see in the presentation above. They can be seen as some kind of lettering machines programed to take advantage of swashes (specially at the beginning and and at the end of text lines) and to avoid stroke collisions. Because of the Contextual Alternates feature, the letters will change while you’re writing. Just use any OpenType-compatible software, keep this feature activated and the font’s algorithm will do the rest. In Capellina Script and Capellina Rough you can also use the stylistic alternates / stylistic sets feature if you want to explore some extra letterforms.

Liebling (in English: Sweetheart) was developed according to the sans serif font Mein Schatz with the purpose of having two typefaces which match perfectly. The contrast between thicks and thins was set very low. Just enough to contrast with same-weight Mein Schatz. One of the typeface’s characteristic features, also like its partner, is the availability of ligatures within an expert set. Liebling offers the characters sh, sp, st, ty among others and alternative letters for v and w. The majuscules of the expert set have curved elements allowing the designer to put the typeface to a highly individualistic use for displays and headlines. Another feature of the typeface are two different figure systems. In addition to the old style figures for use in continuous text, Liebling offers regular table figures within the expert set.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

Richard Lipton designed Meno in 1994 as a modest yet elegant workhorse serif family in seven styles. In 2016, he expanded this spirited oldstyle into a 78–style superfamily. The romans gain their energy from French baroque forms cut late in the 16th century by Robert Granjon, the italics from Dirk Voskens’ work in 17th-century Amsterdam. Meno consists of three carefully drawn optical sizes—Text, Display, and Banner, with Condensed and Extra Condensed widths added to the latter two cuts. Steadfast in text settings, Meno is replete with alternate forms, swashes, and other enhancements that showcase Lipton’s masterful calligraphic hand. The series offers a complete solution for achieving high-end editorial typography.

MFC Nadall Medieval was originally designed by Bernard William "Berne" Nadall for Barnhardt Brothers & Spindler back in 1885 under the name "Faust Text" and later under the "Missal Text Series". While you could use its capitals to construct an initial monogram, this is not a monogram font, but instead a fully functional typeface for invitations and period lettering. This lettering style has been precisely recreated and expanded on to create a full typeface with a small collection of ligatures. Here's what's included with the MFC Nadall Medieval: - 397 glyphs in MFC Nadall Medieval - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the last graphics for a preview of the characters included) - Ornaments - two ornament glyphs. - Ligatures - for ff, fi, fl, ffi, and ffl combinations.

Estragon is a vivid sans-serif text face with venetian influences, suitable especially for books. It is remarkable for: its light slant, to the right, for most of the verticals, its small sized uppercase letters making it suitable for languages where they are often used (for example German,) and its just lightly inclined true italics. For a wide language support, Estragon contains a lot of accented characters including the polish kreska. It is generously equipped with ligatures, special and alternate characters as well as various kinds of numbers: besides the standard old-style figures to be set as part of text copy there are small-cap and tabular numbers as well as a set of fraction figures. Estragon comes with two weights, uprights and true italics, each with small-caps.

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Qritticaly is a Marker Script font. With regular marker stroke, fun character with a bit of ligatures and has a to files lowercase alternates. To give you an extra creative work. Qritticaly font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Qritticaly font. Have some fun enjoy the products :) Cheers, MaulanaCreative

Caracas Stencil Pro is a new family of stencil sans serif fonts, looking friendly, sweet and comfortable to read. Where text flow between straight lines and round by becoming transparent in the interest of readability. Caracas Stencil is ideal for working in small letters and texts of a technical nature. Caracas is a humanistic approach to reading sans forms.

Here comes a New font, Soap Opera is a Funny Handmade Brush Font that is written casually and quickly amazing. Letters are made with brushes on Procreate. Then crafted carefully drawn into vector format. That is why Soap Opera has Stylish and unique characteristic more natural look to your text with a more modern look to your text.

Slightly blurred, and handwritten - looks good with massive text. With ligatures for both upper- and lowercase double letters, and alternate letters, also for upper- and lowercase, it makes your text look soooo smooth! Oh, I almost forgot: Nusqie also comes with ligatures for double numbers! You will need to use OpenType supporting applications to use the autoligatures.

Introducing Night Rumble is a Strong Textured Typeface that is written casually and quickly. That is why Night Rumble has charming, authentic and relaxed characteristic more natural look to your text with a more natural look to your text. design more interesting. Night Rumble is perfect for homeware designs,branding projects, Logo design, Quotes product packaging.

Doorkick is my grungy handmade font with rough lines and a squarish look. Each letter has 5 different versions, which automatically cycles as you type - leaving your text with a super lively and natural/organic look. I'd say that Doorkick is best for short words or shoutouts, but try it out it massive text too! I dare you! :)

Raker is a science fiction-inspired geometric sans serif text typeface family with a humanist influence and solid spacing/kerning. Regular, Display, stencil, and display stencils versions are included. Think NASA. Think the Space Race. Think Geometric. Think “works with text, too.” Detailed spacing, Western and Eastern European language support, and automated ligatures. Think hidden glyphs.

Thank you for checking out Adsention! A very playful yet elegant script font with lots of energy, letting you create beautiful handcrafted typography in seconds. With its extra bouncy curves & twists, Madina Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and anything else you can imagine. What's really amazing is that Adsention comes with a complete set of lowercase alternatives, which let you create more authentic custom tone text, allowing you to add some really unique and elegant finishing touches to your script text. Thank you very much.

"Bevel Gear" is a racing display font with multiple layers that can be used to create a three-dimensional (3D) effect in your text. Fonts like this are often used in racing-related design projects, including logos, posters, and advertisements for racing events or automotive-related content. By utilizing the multiple layers available in "Bevel Gear," you can give your text a three-dimensional appearance that adds depth and dimension to your design. This font allows you to create text that looks dynamic and is well-suited for designs in the world of motorsports and racing.

Artartika contains two Regulars – one Slab and one Sans Serif. Condensed width, geometric shaped, with distinctive stem contrast, Artartika recommends itself for titles, product names, branding, but it's also fully applicable for longer text and paragraph use. Contains Extended Latin character set with Cyrillic support.

Bo Berndal, the master Swedish typographer, is the eponymous designer of Berndal, a contemporary text family with five different styles. This family represents a new achievement for Bo Berndal, who has spent many years working to optimize text legibility in the printed media. Several small tricks make the Berndal family an interesting milestone in legibility. Berndal's letterforms contain large x-heights. Large x-heights open up the counterforms of letters, making text appear lighter on a page, but their correspondingly shorter ascenders and descenders can hinder legibility. This does not occur in Berndal at all! Coupled with this experiment, Berndal's various font weights display a certain softness and roundness. The letterforms themselves are relatively wide, with an overall consistency in width. The calligraphic nature of the strokes has been minimized, yet a contrast stroke-thickness is still to be noticed within the alphabet. Berndal's five styles offer almost everything that one could want from a good text family. The Regular weight may be paired with Small Caps, Italic, Bold, and Bold Italic. All styles ship in the OpenType format, and include tabular and old style figures. The two italic weights are made up of true italics, not obliques. The Berndal family is a part of the Take Type 5 collection from Linotype GmbH."

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Discover the complete Eastman type family: Eastman Grotesque and Eastman Condensed! Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

A contemporary design can be used in all applications from text to Headlines. Very clean and readable.

Since better (larger) text samples were available for Thomas Versalien, this font is closer to it's original.

Drum Shake is my friendly, all-caps comicbook font - ready to serve and protect your next design!

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Polyspring is a handcrafted serif display font, with a cool flowery flair. It was hand-drawn based on Italia Condensed typeface from Keystone Foundry from circa 1906. Loaded with stylish ornaments and flourishing alternates for all its letters and numbers, this font is a terrific toolbox for display purposes. Yet, it has the superpower of changing the first and last letters in words to its germinated alternates at the click of a button, thanks to the smart OpenType programming. Please note that this feature will only work in OpenType savvy applications. Check it performing live on the sample text below: just click on the Advanced Typography option, located next to the sample colors options (look for an icon showing “ff”), and check the option “swash”. Very cool, isn't it? Happy blooming!

Tenby is a series of modular geometric display sans serif fonts with a hint of Art Deco combined with a 1980s finish. The fonts' underlying grid is ten squares high. Their widths correspond to condensed (Tenby Four), normal (Tenby Five) semi-extended (Tenby Six), extended (Tenby Seven), and extra-extended (Tenby Eight). Each contains two weights, light and regular. Although smaller text sizes are still quite legible, the fonts work better at large sizes.

Gladiola is a smooth and balanced brush script font. It is suitable for logos, titles, t-shirts, packages and where ever you will need this kind of lining and legible script font. Gladiola includes lots of Stylistic Alternates that gives you many options to customize your text. There are two sets of upper case letters. Lower cases has options for initial forms, final forms, end swashes and multiple options for ascenders and descenders.

GHEA Aram is a super family font. It has 10 upright weights and their Italics. GHEA Aram supports Central European, Armenian and Cyrillic language systems. The weights from Regular to Bold and their Italics can be used as text fonts. The weights thinner than Regular and thicker than Bold can be used as Display fonts. It is an easily readable two side serif high contrast font but the eyes don't get tired while reading.

Two handlettered typefaces from J. M. Bergling’s 1914 classic, Art Alphabets and Lettering collided to produce this lively and unusual combination. The caps were originally called "Morocco", and the lowercase are taken from his Keramic Text. The result suggested more of an Egyptian flair, in an offbeat kind of way, and so it got its name. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Prepare to be entranced by the unparalleled allure of Grivas, a serif display font that redefines typographic elegance. Each letter of Grivas is a work of art, meticulously crafted with two distinct outlines that harmoniously coexist. One outline boasts a refined delicacy, evoking a sense of timeless sophistication, while the other exhibits bold strokes that command attention and add a modern twist. For the best legibility use this font in the bigger text sizes.

🏆 Selected for Tipos Latinos 7 with a Certificate of Excellence. With semi-rounded terminals, Graviola is soft and friendly. The family consists of 16 fonts, from Thin to Black and matching italics. While the intermediate ones are suited for body text, the extreme weights look specially beautiful at display sizes. Each font contains 530+ glyphs, supporting more than 90 languages. Stylistic sets provide alternates in two groupings (a, v, w, y and G, g, &).

Sagrantino™ shines at large sizes – and in vibrant colors. Think big posters, commanding headlines, massive banners and oversized packaging. Set headlines in the Highlight or Shadow designs and running copy in the Regular – all on the same page! Sagrantino could be called the Lava Lamp of fonts. It’s slick, glossy, retro and futuristic. Somehow, it’s fresh and quirky-classic at the same time. This is a design that challenges you to think outside the text box. In fact, Sagrantino is so lively, it took three Monotype typeface designers, Karl Leuthold, Juan Villanueva and Carl Crossgrove, to draw it. Because it’s a script, Sagrantino pairs perfectly with just about any other design – except another script. Maintain the futuristic retro vibe by combining Sagrantino with a typeface like Biome™ or Neo™ Tech. Looking for a counterpoint? Try a cool sans like Avenir® Next or Univers® Next. OpenType® Pro fonts of Sagrantino enable automatic insertions from a crowd of fancy ligatures and delightful alternate characters – in addition to offering an extended character set supporting most Central European and many Eastern European languages.

Novelia Pro & Novelia Pro Small Cap is a multi purpose serif font, with a swirly blend that is very spoiled in the eyes, unique and elegant, and ready to accompany and play around with you in preparing the next design project. Novelia can be used for various purposes such as posters, logos, t-shirt, signage, business card, magazines, book cover, wedding invitation, greeting cards etc. Novelia Pro & Novelia Pro Small Cap allow you to create custom dynamic text. You can access by turning on; Stylistic Alternates, Titling,Swash, as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's switch from the regular character into character alternative to get the text with the layout of your dreams. Novelia Pro also includes glyphs, punctuation, numbers, and multilingual. Novelia Pro & Novelia Pro Small Cap features +1000 glyphs and has given PUA encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software, COMPATIBLE WITH SILHOUETTE & CRICUT DESIGN SPACE.