Bigband was designed by Karlgeorg Hoefer in 1974. The font lends text a sense of unpredictablility and change due to the irregular design of the inner areas and outer contours of the characters. Bigband is available in two weights, Bigband and Bigband Terrazzo, which can be combined effectively. Bigband is a striking and modern display font which lends itself to numerous applications.

Burobu, in case you’d like to know, means ‘blob’ in Japanese. I thought it was quite an appropriate name for this blob-like font! Burobu is a messy font and comes with a generous helping of jittery, jumping glyphs, exaggerated strokes and over-the-top arms, ties, bars and counters. Comes with an ultra-cute blob dingbat font and copious amounts of diacritics.

Vankours is a freestyle brush font, created with expressive brush strokes, keeping the details and give an eye-catchy combination between the uppercase and small caps, also complete with alternates. Vankours is perfect for many themes such as urban, thriller, sporty, vibrant, and youth taste! Good choice to use this font for Logo, Merchandise, Brand imagery, Apparel, Packaging, Simple quotes, and many more!

Raeling is a display font inspired by a visit to Luxembourg, capturing shadows falling intricately from park railings appearing as broken-script lettering. A mixture of manmade / natural, traditional / new, ugly / beautiful reflecting the paradox and contradictions of the city. A single curve and stroke developed into a grid block from which characters emerged and broke free of their barriers and conformity.

Ethereal Havena, a typeface exuding femininity and beauty, combines the delicate strokes of serif typography with the elegant touch of ligatures. Perfect for diverse applications seeking a graceful and sophisticated aesthetic, it graces luxury branding, fashion editorials, and lifestyle magazines with its refined allure. Crafted with expertise, Swagume harmoniously blends modernity with timeless beauty, presenting a distinctive style that encapsulates grace and poise.

Victorian Alphabets is a incoming family of complete victorian style alphabets, researched and developed upon a comprehensive number of vintage books, magazines and catalogues from XIX century. The "Victorian Alphabets W" font has just W' designs, performing 52 different W's to your use. Here at MyFonts you can get more TWENTY fonts of this family, wih a very and atractive array of alphabets and letters to complete your artwork

Peyton font family. Peyton is a minimalist font family with a unique and modern look. Created wonderfully for display, branding and logo projects. Peyton is also suitable for headlines, posters, signages, just anything that requires a creative Look. And it’s ready to make an enduring impression on your design projects. Package Contents Uppercase and Lowercase letters Numerals & Punctuation 09 Font Weights 09 Italic Variants Total 18 Font Variants

Romina is a neoclassical font family with a hight contrast, developed for numerous uses, ranging from news to magazine and catalogs to corporate design and web. The Romina family consists of 7 weights from extra light to extra bold with matching italics. Romina provides advanced typographical support with features such as ligatures, small capitals and case sensitive forms but also some dingbat, special glypfhs and the others opentype features.

We have created this family inspired from the set of well known Auriol fonts used by the French popular "cheerful" satirical magazine Fantasio (1906-1948). The present version contains Normal, Italic, Bold and Bold Italic styles, in use for texts, plus narrow titlings and normal outlined with upper and lower case, both in use for titles. This family may be used together with 1906 French News, 1906 Titrage and 1890 Notice.

Fields is a versatile, soft serif family blending casual, retro tones with modern vibes. Details like rounded serifs, teardrop terminals, and subtle tails make this typeface friendly and approachable. Drawing inspiration from familiar classics such as Cooper and Souvenir, Fields is a contemporary expression of this style. Fields exudes pleasant, plumper characters with its medium contrast, while the high contrast in the Fields Display family presents something more fashionable and sophisticated.

Colón Mono is a monospaced slab serif type family of eight styles. The typeface design was influenced by the nostalgia for the aesthetic of a typewriter. Colón Mono is a counterpart to Colón sub-family and consists of two weights of roman and alternative styles and matching italics respectably. Colón Mono is released in OpenType format with extended support for most Latin languages, and includes some opentype features.

This font family is simplified Arabic which was inspired from the modern Naskh style, where the reverse contrast is low and the counter forms are open. The original design is from the Lisboa Sans typeface (Latin), published on 2005 and after some years, this multi-script family is the compromise and balance between these two different scripts. This typeface contains characters for setting Arabic, Persian and Urdu languages.

Aguda Stencil font family is the stencil version of the Aguda font family and has been designed for Graviton Font Foundry by Pablo Balcells in 2014. Aguda Stencil consists of 16 styles. The 8 “Stencil 1” styles contain a narrow stem for big sizes type and/or rigid materials printing, and the 8 “Stencil 2” styles contain a wide stem for small sizes type and/or light materials printing.

Bergen Text is the younger twin and a lifetime companion of Bergen Sans with perfect legibility and adorable personality. It has been carefully crafted to improve readability experience particularly on small text sizes. Bergen Text is a family of of 6 fonts. While being a small font family it has plenty of Open Type features for highly professional use and Extended Latin, Cyrillic (including Bulgarian character set) and Greek language support.

Mymoon is geometric modern sans serif family that comes in 22 weights. Aimed for universal use, in any size and in any media. It has slight retro characteristics and mostly neutral overall impression. With wide range of thickness, from Thin to Heavy, all weights are well synchronized to match ideally. Contains extended Latin character set with OT features such as OldStyle and Tabelar numerals and fractions.

Introducing, a casual and powerful wide sans, Downey Font Family! Downey is a casual and essential all caps sans. With slightly wide form and strong look, this font will suitable for your any project and designs. You can use it for a tittle, logo, quotes, or become a pairing with any font. This font also contain the outline version each weight. This font also support multi language!

In designing an advertising poster to show off the unconventional Safefont typeface, Steve drew what appeared as relatively traditional letterforms for the expository text. When these characters were as well received as the typeface which was the subject of the poster, Steve decided to expand them into a full-fledged graffiti style typeface of their own. While exploring where this new design might lead, Steve worked to elaborate the poster segment which had inspired it. He soon found himself staring at a drawing of a weapons-wielding Bonnie and Clyde. The desperate duo resonated with the graphic elements of the drawn letters; thus leading to the effortless fleshing out of the design, and to its name, Big Clyde.

If your looking for a vintage animated typestyle that still feels current today, you've just found it! Mushmouth PB started as a digitization of a film typeface called "Albert" by LetterGraphics. This all capitals font has a super subtle bounce and a playful heavy weight. An extruded film variation of this typeface was used back in the day on Post's Frosted Rice Krinkles cereal. Named in tribute to the original font name "Albert", we picked a fellow member of Fat Albert's gang for the name of this font. We think it is fitting, even though the original film font naming had nothing to do with the cartoon at all. Give Mushmouth a spin and pick it up today!

Glosa Display is a high contrast typeface with plenty of style, suited for very large display sizes in magazines and newspapers. Glosa Display is the latest member of the Glosa family. Glosa is a type family designed for editorial purposes.

The font "Newsletter Stencil" is based on the font family Newsletter which is to be published by die Typonauten. During the toilsome development of this font family it was a pleasure to destroy the letter forms and to create a bastard.

Quickrest is a tall & quirky type with slight irregularities, Quickrest does not do conformity - each character is entirely individual. A fun looking family with its heart set in the handmade / crafty scene. The Quickrest family features five weights and slanted versions.

You can Download All 36 Demo Fonts The Lexis font family is a sans serif “super” family consisting of two sub-families - Lextis & Lexis Alt. While the first one follows the humanist model, its alternative version Lexis Alt dives way deeper into the geometric aesthetic. It’s simple yet versatile, packing great amount of well balanced weights, extensive character set and numerous Opentype features. The Lexis typefamily comes in 9 weights plus their italics, two distinctive styles and support for over 200 languages.

COLÓN is a Slab Serif type family of three weights with matching italics. The typeface design was influenced by the nostalgia for the aesthetic of a typewriter. Colón extended family consists of two sub-families: Colón Mono with monospaced glyphs sets, and Colón (proportional glyphs sets) which is presented in these specimen pages. Colón is released in OpenType format with extended support for most Latin languages, and includes some opentype features – such as proportional/tabular figures, slashed zero, ligatures, fractions, etc.

Albemarle is a distinctive text font based on hand lettered text from the turn of the century. It's designed to work well at text sizes, but to have some of the flair and personality of a calligraphic font. The result is both attractive and readable and doesn't look much like any other text font. We've been working on expanding the Albemarle family so that it now includes not just Albemarle, but also three swash variations and a new italic version of the font.

Resola is a hand drawn vintage display typeface. This item consist of 12 FONTS in various styles which you can play around with it. This typefaces is perfect for people looking for vintage aesthetic and organic feel. What Will You Get : Resola Vintage Serif (OTF and TTF) Resola Sans Serif (OTF and TTF) We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

The Ko family was developed for the text posters at the Holland Festival in 1997, based on the filling of a lettering stencil with different pen thicknesses. Ko Heavy and the Ko KAP were the first weights; the family was completed in 2002 with a Ko Light, a second Ko KAP and two italics.