Graphit is a typeface designed by Lit Design Studio & curated by HvD Fonts. It combines clear, geometric shapes with edgy yet finely-crafted details. Graphit features uncompromising characters such as G, Q, f, k and 1. It works well both for impactful headlines and for reading sizes. The type family consists of six weights plus matching italics. In early 2018, Livius Dietzel & Tom Hoßfeld started developing the typeface’s essential character and released a free font named after the studio, Lit. Just a few months later, Hannes von Döhren had a look at the typeface and suggested expanding it into a family – then publishing it with HvD Fonts. They drew every single letter from scratch, and also decided to give the font a new name — Graphit. The family features six low-contrast weights, ranging from Black to Thin. Every character has been crafted to give it a distinctive and individual feel. Medium, Regular and Light are optimized for usage in copy text. For smaller font sizes & longer body copy, the alternate character set features a double-story a and a simplified Q, f, r and t for improved legibility. All fonts are manually hinted for optimal performance on digital devices.

Andalush is a new type of bold script that is modern and elegant designed with a sense of pleasure, Andalush is suitable for use in various media such as; packaging, logos, labels, posters, clothing designs, wisdom quotes, newsletters, typography and many other media. You can mix and match alternatives with the OpenType feature. Andalush comes with uppercase and lowercase Standard Characters, Punctuation, Numbers. And other Glyph variations of OpenType features such as Standard Ligature, Stylistic Alternate, and Stylistic Set, and includes a series of multilingual characters. We really hope you enjoy and are interested in our offer. If you want to upgrade or need a license or ask questions, you can send me a message and you can immediately start your service doratypefoundry@gmail.com. Thank You

Wendling - with Sweet Swashes is romantic script font make with many swashes in start and ending character. Make a beautiful style heart with swash. This font includes full set of swash heart lowercase letters, numerals, and punctuation. Also it includes: - short lowercase beginning and ending swashes - lowercase ending heart swashes, which serve to connect two words or letters. This is so perfect for invitations, monograms, wedding, fashion, branding, label. or logotype.

Silent Noise has two font types, namely serif and handwritten script with a thin size, adding to the impression of elegance and class, both of these fonts have a subtle touch Silent Noise is versatile enough to add an elegant element to almost any project that requires a special touch of class.,perfect for casual type on greeting cards, illustrations, quotes, old branding, cover books, social media posts, packaging and many others :) Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded WHAT'S INCLUDED Silent Noise Serif Silent Noise Script Once you download this romantic, handwritten font duo you will be able to start creating straight away. Enjoy! We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. This type of family has become the work of true love, making it as easy and fun as possible. I really hope you enjoy it! Thak you.

Diaria started as a project in Typeface Architecture for Master in Advanced Typograghy at EINA, Centre Universitari de Disseny i Art de Barcelona, a course tutored by Laura Meseguer and Íñigo Jerez Quintana. Later it has developed into Diaria Pro, an extensive typeface including Cyrillic script, small caps, and various OpenType features. Diaria Pro is a low-contrast serif typeface designed as a primary text face for the newspapers. Its large x-height and static exteriors allow comfortable reading in narrow columns, and calligrafic counters as well as dynamic serifs add humanist detail to overall perception and incline contrast axis without affecting interletter counterforms. Besides extensive language support, Diaria Pro includes various OpenType features: ligatures, discretionary ligatures, small caps, 6 sets of digits, superiors, inferiors, fractions, ordinals, upper-case punctuation, and some language-specific features. Diaria Pro also has a sans-serif companion - Diaria Sans Pro. Some of the styles of Diaria Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Diamond Jim JNL was inspired [in part] by an image of a 1970s Letraset® dry transfer typeface made entirely of small stars. By creating his own layout using tiny diamond shapes, Jeff Levine has produced a font that takes on multiple appearances. At 24 point it resembles dot matrix printing; at 48 point the diamonds are clearly visible; and overall, the design has a distinctive 70s retro feel. Limited character set.

The unusual name for this Deco style typeface comes from the playful and pun-laden 1960s Rocky & Bullwinkle TV show. It is the name of the newspaper in the mythical town of Frostbite Falls, MN, home of the two cartoon stars. The name, Picayune Intelligence, literally means “pretty dumb”, but we don’t think that describes Nick’s competent design at all. It is comforting to know that someone is still watching quality television.

Tubby came about when I made a book with Cooper Black as a headline font. I started playing with heavy forms, and as a result was Tubby. It has a fat and friendly feel, and with swash italics it is fairly versatile in use.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Small headline font family inspired by discreet unobtrusive technical labels on various electronic devices. It is recognizable for its geometrical character complemented with surprising detail. Suitable for designing printed matters, posters, magazines and visual data output.

Kalash is minimalistic monospaced font family. Each glyph has eased 45° angled cut and has the right properties to fit with various styles. Combine multiple weights for best results. Each font includes 230 Glyphs & Latin support.

Elbow Grease was made with, yes, you’ve guessed it: Elbow Grease! It started off as a grungy font, but it didn’t look right, so I reworked all the glyphs. Then I forgot to save the font, so I had to start all over again. Naming a font was never this easy! Elbow Grease is a didone-ish font with some seriously warped glyphs, a lot of panache and a ‘get-it-done’ attitude. Also comes with a toolkit full of diacritics.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text.

Magreb is a classic serif font inspired by Garamond and Venetian Serif Styles, accentuating softness and conveying luxury. This family of four weights and their corresponding italics is an old style construction and bridges the glory of the past with the elegance of the present. The process of making this fonts starting with an ellipse brush with a certain slope so that it resembles calligraphy pen strokes. followed by creating the basic serif elements, refining the vectors and softening each joint so that it looks natural. Next, develop it from regular weight to weight bold. Magreb has expanded the latin character set to support 200+ latin based languages. We added opentype features suchs superscript and subscript; Numeretor and Denominator; Old Style figures and lining figures.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

Magnel is designed for headlines, posters and big sizes. Besides most Latin alphabet languages, it packs dozens of (accented) ligatures and every single letter has a smart swash variant that when enabled in OT-aware application, conveniently occurs at the start/end of line. Other OT features include: lining/oldstyle numerals, ordinals, popular fractions, capital spacing, scientific superiors/inferiors.

What started as a small project for Mike Humphrey of Chiltern Image Service in the UK ended up as Air Corps JNL, a typeface featuring retro letters and numbers from military aircraft. Expanded to a full character set with punctuation, foreign accents, monetary figures and the like, Air Corps JNL is also available in an oblique version.

McCadden JNL was inspired by the hand-lettered credits for the George Burns and Gracie Allen Show [1950-1958]. Its casual theme offers a lighthearted approach to titling and display work. The font gets its name from McCadden Productions (the company started by George Burns), which itself was named after a street Burns' brother William once lived on.

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

Tritto is what happens after you give up a pencil and start using a mouse. It's some wild handwriting that you definitely didn't learn in school. Fun with attitude, great for all sorts of things.

Sandikza started out as an idea for a metal titles and some games. Or anything that was printed distorted. In other word something harsh. It makes a death or dirt feeling anywhere it is used.

BEJO is a display font in the Japanese style, with each letter having its own individual personality. This font is appropriate for a wide range of project demands, particularly those involving Asian features. By utilizing this typeface, you will create a project with a gorgeous, original, and elegant appearance that will be remembered by many people. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Horst More is a retro soft serif typeface comprising 18 fonts. It can handle most typographic applications from branding to body copy with its range of weights and inherent legibility. Whatever you type will have a friendly message, but it really comes into its own when you start applying some of the additional ligatures and alternates that are built into this type family. You’ll soon be creating distinctive typographic compositions that are pleasing to the eye. There are 18 fonts, 9 weights altogether. It has an extensive character set that covers all Latin European languages. Key features: 9 weights in Roman and Italic Alternates Ligatures Thanks for visiting and purchasing my font! Ekayasa Mix.Jpg

30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Museo... it all started with my love for the letter ‘U’. This uppercase letter just came to me as an image in a daydream. The top of both stems bent into semi-slab serifs. From this principle I worked out the rest of the uppercase letters. My first intention was to make it an all-caps display font, but after a while, I changed my mind. I wanted it to be a bit more versatile, so I decided to add lowercase and adjust spacing and kerning to increase legibility. This OpenType font family comes in five weights, and each weight comes with support for CE languages, even Esperanto. Besides ligatures, contextual alternatives, stylistic alternates, fractions and proportional/tabular figures, Museo has a ‘case’ feature for case-sensitive forms.

Mondo is essentially a contemporary typeface with vintage clothing, the incise terminals and the humanist ductus brings some of the classical dignity of the lettering tradition to an essentially modern typeface. On the middle weights Mondo is a sans with slightly condensed proportions, build with modular regularity and special care for lowing the tension on the curves, which delivers a very even texture and a sense of quietness and balance to long text settings. On the extreme weights the attention is attracted by the accentuated terminals, the vertical rhythm, the ink traps and the details of its overall construction, making Mondo an excellent choice for headlines and display use when a modern and clean but still catchy typeface is needed.