Zuume is a high-impact, condensed, display font family. Its weight range gives a sharp, technical feel in the lighter weights, while the bolder weights are meant to be tightly spaced and stacked for visual punch. The strong and sturdy design makes it ideal for eye-catching headlines, branding, packaging, sports, logos, and more. The Cut family takes the dynamic nature of this design further by adding sliced out elements to flat, horizontal strokes, giving it more movement, aggression, and speed.

Retro Feeling is a bold and beautiful retro font that will take you back in time. It features a unique italic font that adds a touch of elegance to any design project. Perfect for vintage-themed designs. Retro Feeling will give your project a distinct and timeless look. Its versatility and elegance make it perfect for various design uses, from logos, posters, and display headlines to packaging and branding materials. Bring the retro vibe to your design project with Retro Feeling!

Aden is An Arabic typeface for desktop applications. Aden is Modern typeface style. The font comes in two styles: normal and bold. The design is open, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic. It also includes proportional and tabular numerals for the supported languages. Aden typeface comes with many opentype features.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Marintas is a sleek upright italic that offers you a modern look and feel. This elegant sans serif comes across as lively, yet comfortable. Some semi slab characteristics of the font give it a face-forward momentum. These semi slabs, even with their geometric construction, are fluid shapes with a soft hint of brushstroke. The soft curves of Marintas paired with its playful but geometric semi slabs or ending strokes give the face its spirited--though friendly--eye-catching appearance. The Marintas family is comprised of 8 variants, ranging from Thin to Ultra. Its incredible versatility ranges from the delicate hairline to the extreme ultra weight. The heavier weights show some similarity to Antique Olive, and the face has an exuberant South American or Latin feel. This type of family is well-suited for advertising, retail, food and beverage products as well as for use in magazines, logotypes, and books. The fonts lend themselves to display settings, but are still very usable for longer copy. Because of its large x-height, the typeface is legible at very small sizes and as a webfont. Marintas has support for extended Latin character set. A wide range of Western languages are also supported, including Central, Eastern and Western European languages. In all, Marintas supports over 40 languages that use the extended Latin script, making Marintas a great choice for multi-lingual publications and packaging. All insigne fonts are fully loaded with OpenType features. Marintas is also equipped for complex professional typography and includes ligatures, alternate characters and fractions. The face includes a number of numeral sets, including old-style and lining figures with superiors and inferiors. OpenType-savvy applications such as Quark or the Adobe Creative Suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Check out the informative .pdf brochure to see these features in action.

Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink Neue is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink Neue adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. With three different widths, Flink is a true all-rounder. Geometric fonts are usually quite wide, which often leads to text-settings problems with headlines or small print. The Condensed and Compressed variants of Flink Neue solve this problem easily. This font family comes along in 18 weights from Thin to Black with matching Italics. There are almost 1400 characters per style, including nine stylistic sets that offer variations to the look and feel of Flink Neue, making it even more versatile. Besides the default mood of Flink Neue, there is also a Text and Bauhaus variant, where different letters have been changed to create a new mood. In theory, you just need one single font file to change between all three moods, but to make it easier for you, we also exported each mood within a separate file. Plenty of additional Open Type Features like ligatures, small caps, case sensitive forms, old-style figures, tabular figures and symbols make Flink Neue a valuable tool for the discerning typographer. Flink Neue is the reimagination of a classic genre, designed to suit the needs of our time.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.

Qonora is an innovative new sans-serif text face that combines flowing, almost calligraphic strokes with a post-modern sensibility for a look that works as well on the printed page as it does on screen. Its comfortable proportions and no-nonsense streamlining (note the lack of spurs, serifs or any unnecessary ornamentation) make it an excellent choice for legibility even at very small point sizes. Qonora includes a true italic, drawn independently from the Roman. Strokes for the italic have been re-weighted to complement the Roman, and idiosyncratic italic glyphs have been substituted where appropriate. The typeface’s extensive Hebrew implementation (including diacritics and cantillation marks) is an important part of its character. The Latin, Cyrillic and Greek ranges of the face maintain a consistent ethic of form and function.

Amadi - Quirky Serif Font is a delightful typeface that dances to its own beat, infusing a dash of whimsy and charm into your designs. With its quirky serifs and playful letterforms, Amadi takes the traditional serif style and gives it a whimsical twist. This font is the perfect choice for projects that aim to stand out and make a statement with a touch of quirkiness. Whether you're working on invitations, posters, or any creative endeavor, Amadi adds a distinctive and charismatic touch. Its irregular flows and unique character shapes inject a sense of fun and individuality into your designs. Amadi is like a joyful dance in the world of typography, making it an excellent choice for projects that want to break free from convention and embrace a playful, quirky spirit.

Jester Jumble - Fun Clown Font is a whimsical and playful typeface designed with a clown and circus theme in mind. Its quirky characters add an element of chaos and fun to your designs, making it perfect for projects that require a playful touch. This font includes six adorable clown-themed decorative variations, featuring circus hats, masks, laughing mouths, and more. Perfect for clown-themed designs, such as invitation cards, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Jester Jumble adds a delightful and entertaining dimension to your creative projects. With its charming and playful style, this font captures the essence of circus merriment and clownish fun, making it an ideal choice for any project that aims to bring a smile to people's faces.

Christmas Chances - Christmas Font is a captivating display typeface designed to evoke the festive spirit of Christmas. With its elegant serif letterforms, this font adds a touch of sophistication to your holiday-themed designs. It comes with ligatures and six unique alternative decorations, including Santa hats, Christmas trees, Santa Claus, festive ornaments, Christmas cakes, and more. These decorative elements allow you to infuse the holiday spirit into your projects, making it perfect for various Christmas-themed designs. This font is specifically crafted for Christmas-themed projects, making it a versatile choice for a wide range of applications, including t-shirt designs, invitation cards, greeting cards, mugs, gift designs, Christmas ornaments, and much more. Christmas Chances - Christmas Font is your go-to choice for spreading holiday cheer and warmth in your creative endeavors.

Looking for a font that will make your branding stand out? Do you sometimes have an appetite for a bit more wholesome typography? Looking for a fabulous, stylish, and adventure font? We've got what you want. Allonges -A Script Font Alllonges script is suitable for today's growing market design, this font has a model trendy, natural and soft, with this font you can take advantage of an occasion in every moment. Allonges is a new modern script font with an irregular base line. Style trendy and feminine. Allonges looks beautiful for branding, logos, wedding goods, greeting cards, fashion, lookbook, marketing promotions. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swahes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

A typographic revolution-Bronzetti has been a long term project for Greater Albion Typefounders, aimed at filling a large gap in the range of typefaces available today. The Bronzetti family of 22 text typefaces combines modern requirements for legibility and readability with the charm of traditional Roman faces in the spirit of those carefully constructed by small scale quality foundries such as the Kelmscott and Vale presses. In short, Bronzetti is traditional letterpress meets modern publishing, offering a real opportunity to make your material stand out from today’s ‘run of the mill’ crowd. The range of typefaces on offer includes five widths of type, as well as small capitals and italic forms and regular and bold weights. Try out Bronzetti today, make your work stand out from the crowd and join the revolution!

Beautiful and sexy handwriting types. You will love the look of this font. Autentico font was inspired by modern calligraphy, but with a more crushed look, making it perfect for wedding invites, greeting cards, or logos. Use the upper case letters to add elegance to images or give your design some style. We included a full set of lower and upper case letters, numbers, punctuation marks, and 93 ligatures to take your design to the next level. Authentico features: A full set of upper & lowercase characters Numbers & punctuation 93 Gorgeous ligatures Alternates in lowercase Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Your branding missing something that makes people amaze? Looking for an elegant font to attract your audiences or customers? What if we told you, you only need to change one element to engage and convert your clients? Introducing Anthony Hartman - A Modern Script Font Giving you a simple, yet gorgeous solution to your branding. This font is another level script font. It encapsulates the essence of elegance and modernity. With its clean script-type design and curved indentations, this font will take your projects to the next level! Use it for headings, logos, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Anthony Hartman includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Alternates Swashes Multilingual Support PUA Encoded Numerals and Punctuation

Brim Combined packs all of the character of the popular layered typeface, Brim Narrow, into three eye-catching font styles. Inspired by antique wood type from the 1800s, Brim is warm and tactile. Its innovative styles produce both striking headlines and sophisticated titles, making it perfect for posters, packaging and logotypes. Brim Combined makes it even easier to achieve punchy headlines on the web. This flattened version of Brim does not require professional design software to use and is compatible with Microsoft Word. • Combined 1 features Brim’s elegant, handmade line work • Combined 2 includes a drop shade with an outline • Combined 3 has an offset shade and a reversed-out face Brim is an all-caps typeface with Western European, Central European and South Eastern European language support.

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

It’s alive! Insigne’s new creation, Daito, is now functional, built to process your logos, business cards, magazine layouts, packaging and more without the slightest glitch. But this new slab serif is no heartless churn of the same factory nuts and bolts. Daito is designed to greet your reader with a friendly face. Inspired by types from the era of the Space Race, this new take on some old faces brings a contemporized, unique set of serif forms to the font race. Daito comes complete with a variety of weights to help you find the best settings for your current needs or moods. Need soft and playful? Daito light communicates its message gently with softened serif. Need a different feel with more authority? With the touch of a few buttons, engage the powerful Black or striking Bold. Additional features with Daito include stylistic alternates, ligatures, titling capitals and small caps among other typographic features. Please note: use magical OpenType-savvy applications such as Adobe Creative Suite, QuarkXPress, etc to keep your font from malfunctioning, shorting, attacking people, or attempting a world takeover. Daito also speaks Western, Eastern, and Central European languages. However, Japanese is not available for this edition. It’s not every day you find a top-of-the-line font like Daito. This machine can handle most anything on your list, short of folding your laundry (though it may make your laundry look nicer). Don’t wait. Order yours today while supplies last.

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Lovage is Modern Elegant Serif Typeface The serifs that we made specifically for the needs of elegant branding, with additional ligatures and alternates in a more feminine and unique form will be ready to add value to your brand. It's great to take advantage of designers or product owners who need a solution to make their designs look more classy and modern. This font is specially designed for fashion-themed projects, perfectly suitable for creating elegant, chic, lifestyle designs such as logos, titles, magazines, and more.

Based on the late 1970s artwork by outstanding Armenian type designer Henrik Mnatsakanyan (1923-2001). That was the only design created by Mnatsakanyan for Latin and Cyrillic. Digital version with adding the missing characters was designed for ParaType in 2003 by Manvel Shmavonyan. The font name Henman proposed by Mnatsakanyan is formed of the first three letters from the each designer's name: HENrik and MANvel. Some fractured elements make the face informal and a little bit funny. For use in text, advertising and display matter.

Stepside is a slick retro display face with plenty of horsepower. Stepside’s heavy-duty type chassis of sturdy uprights and bold strokes was modified with sweet retro details like graceful curves and tapered fins. Inspired by street rods, custom vans and power wagons, Stepside modestly hides its muscle like a true sleeper. Take Stepside for a spin on logos, posters and t-shirts for a more classic look. Need more speed? Step on the gas with Stepside Italic — perfect for type in need of emphasis.

Linotype Contacta is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. Ralf Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical, unconventional forms look almost like a maze, especially when set together. This font is not suitable for text but makes a unique impression in logos and headlines.

Amorinda is a connected script that manages to be wild and disciplined at the same time. It can scream wildly within a design or smoothly blend in to make it more human. With its versatile character and a complete set of alternates, Amorinda is the perfect display face for everything from product branding to signage. This 2007 version of Amorinda is now available in OpenType format to expand possibilities of use with lots of alternates when used with OpenType-aware applications such as Adobe Creative Suite.

Introducing our new retro style font, designed to take you back to the good old days. With its bold and playful design, this font is perfect for creating eye-catching designs that evoke nostalgia and fun. Inspired by the groovy typography of the 60s and 70s, this font features thick and rounded letterforms, playful curves, and a distinct retro feel. Its versatility and legibility make it a great choice for a wide range of projects, from branding and packaging to posters and social media graphics.

Sometimes you just want to have fun, and "Boys on mopeds" will take you there! Boys on mopeds are a simple-minded serif font with a fun and loose twist. I've added several versions of each lowercase letter: you have 4 different versions to choose from. Enough to make your invitations, diary, posters, postcards, novels, stickers ... ahhh ... the list is long - and the use of Boys on mopeds is almost endless! Comes with a bunch of international letters, so fun is available in many languages! :)

Burlington was designed by Alan Meeks in 1985 and is a decorative typeface in the neoclassical style of the middle of the 19th century. Characteristic of faces from this time is the low x-height, which makes the font look as though it is reaching upward. This combined with the white areas in the strokes give Burlington a light, airy feel. The elegant Burlington is particularly good for headlines and can also be used for short texts in point sizes of 12 or larger.

Introducing NORWALK - Modern Serif Font. Our latest digital modern serif font - a sleek and sophisticated typeface perfect for any creative project. With clean lines and elegant curves, this font is sure to make your designs stand out. Get your hands on it today and elevate your designs to the next level! Ready to take your design game to the next level? Whether you're creating a logo, website, or printed materials, this font is the perfect choice for adding a touch of class and sophistication.

Inversi is a reverse-stress typeface that may be used as a display or text-face font for a wide range of subjects. Compared to other reverse-stress/reverse-contrast typefaces, Inversi's linear contrast is much lower which, at lower sizes, makes it a good options for text or captions. It has good language support, unique design, fractions, and three different widths. Inversi pairs well with HK Requisite. Use the narrow or condensed style when mixing with HK Requisite to give more contrast to the composition.

Starve for tasty bold font? Say hello to Frunch! A delicious bold script font with a vintage vibe. Frunch comes to you with several alternate letters for you to play with and the complete set of lowercase-letter swashes that make your words look delicious and stand out. It's especially created for food & beverages branding as well as product packaging typography (e.g.: snack, honey, breakfast meal, milk, bread and cake). It's also perfect for poster, business cards, headline, restaurant menus, and much more. Have fun with Frunch!

Rasane font has a distinct personality where the curved geometric shapes give a friendly face to various uses. At the same time, the pointed end of the stem gives a dynamic feel. This font comes with over 400 characters, making it possible to use fonts in many different languages. The family consists of 14 fonts of 7 weights plus matching italics. Rasane font works well on display and small sizes. Rasane is the perfect choice for headlines, packaging, posters, logotypes, signs, websites, brands and more!

Linotype Ho Tom is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by Thomas Hoffman, this font’s historical roots are easily traced to the slab serif style. Ho Tom was originally intended as a lettering system for a project in the center of the old East Berlin. This explains the stable, angular characters and the consistent rectangular base forms, which also makes Ho Tom a very legible font, suitable for longer texts.

Hachura is a sketchy typeface designed by Ricardo Esteves. Its general proportions are based on the garalde models, with traditional roman serifs. It was initially made by hand using a drawing technique to create a font that simulates the unfinished aspect of a work in constant progress. This textured face is useful for display sizes, making a very visible presence. Because of its basic dimensions and careful distribution of black and white, it still also very readable in text sizes like 10 or 8 points.

Easy to use, but hard to miss. That’s dT Delicatta. An elegant script face that adds a special touch to any message. Script typefaces usually come packed with endless features and, more often then not, all those possibilities take their toll on the designer or art director. With usability in mind, we kept dT Delicatta simple and straightforward to use while delivering refined shapes that enhance your or your client’s communication. dT Delicatta is a revised, improved and virtually new font of our old classic Delicatta