The half-round and smooth cha­rac­ter of the type­face looks sporty and fresh. The sans-serif mono­line letter-forms looks very modern, clean, fresh and fancy. From slim (regu­lar) ath­le­tes till heavy (fat) body­buil­der or foot­ball player.

We decided to explore the concept of fitness, but from a more natural perspective. With so many people drinking detox drinks and eating raw food, we were inspired to create a font that mixes the ‘strength’ of sports and the organic nature of natural products. The result is ‘Matcha’: a strong and energetic typeface that also flows at the same time. Matcha consists of a stable, very friendly Slab face and a calligraphy Script with a handmade style: spontaneous and fickle with some reverse-contrast alternative characters. Can you guess who is the designer behind each style? The duo contains OpenType features and is perfect for labeling natural products, cookbooks, magazine photography, fashion & beauty magazines covers, health & fitness publications, and more. For both print and digital communication. Matcha: the new black coffee!

Purgatorie - Quirky Halloween Font is an enigmatic display typeface tailor-made for the spooktacular season of Halloween. With its sharp, angular letterforms, it effortlessly embraces the eerie and horror-themed design aesthetic. This font offers a whopping ten alternative variations, each inspired by different Halloween motifs like skeletons, bats, tombstones, blood, pumpkins, bats, witches' hats, and ghosts. Ideal for crafters and designers who enjoy creating products with a variety of themes, Purgatorie is a fantastic choice for logos, packaging, product branding, stickers, crafting, greeting cards, and invitations. Its ability to bring a playful and whimsical Halloween spirit to your creative projects makes it a must-have for the season. With its quirky Halloween style, Purgatorie allows you to create a bewitching atmosphere in your designs and celebrate the spooky holiday.

Jt Gilboys Inspired by bold and rounded typefaces.Very characterful, fat and rounded , it is the best choice for editorial, You can use glyphs to create a different appearance for your design. world name or brand design, charismatic shape,

Pack up your bags and let's travel to somewhere far away. Dive deep into the ethical visual vibes together with MAKALO. Inspired by the traditional tribal and visual ethnic vibes. Perfectly fit for your fun and casual thematic visuals, logo, branding, products, campaigns, events, seasonal promotions, traditional concept, explore the different sides of your brand using MAKALO fonts. Came up with 3 different styles, Regular, Clean, and Inline. And also packed up with Stylistic Alternates and Ligatures to explore the deeper vibes of ethnic and tribal visuals.

After Bird Script's ballet, Sproviero comes with these fast strokes, resulting in a font full of life and a youthful spirit. The aim of Live was again to see how far calligraphy & lettering could dive into the world of type-design. The font is perfect for logos, posters, magazines, perfumes and all pieces of design related to music, and the feminine world. You can also have a lot of fun with Live More, which contains a set of pre-designed catch words and lovely ornaments.

Kira is a modern hand-painted script with an irregular baseline. Rough edges and imperfect lines give to this brush font a unique and trendy look. All glyphs have been carefully painted giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Want to give your projects an organic, hand-painted look? Kira font contains 717 glyphs, with inky lines, and “perfect or imperfect” painted edges, including a few extra character alternates, stylistics and contextual alternates, swashes, stylistics sets, ligatures for a genuine hand-lettered effect. This font includes OpenType features that may only be accessible via OpenType-aware applications, a Central European language support. To activate the optional glyphs you may click on Swash, Contextual, Standard Ligatures and Discretionary, Titling, or Stylistic sets buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Bonus: 40 useful ornaments and a lot of catchwords that you use for the most demanding design project! Kira looks lovely on wedding invitations, greeting cards, logos, business cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

Chablis is a serif font with two different design colors including a cyliric typeface. Chablis comes in 2 styles, and each style has 5 weights, Chablis Basic shape with a harmonious and classic look that makes you feel nostalgic for precious memories from the golden years that have passed, Chablis Slow shape with a sharp look at the bottom corner of small letters but very elegant and classy, ​​very suitable for presenting a new atmosphere of corporate identity design, websites, publications, titles, books, magazines, business cards, logos, product labels, packaging or any kind of purpose advertising. Includes: Numbers & punctuation Classic Numbers Ligature Foreign language support I hope you have fun using zt Chablis Thanks for using this font ~ Khaiuns X zelowtype

Lower-case lettering is so-called because the characters that we know as lower-case were once kept in the bottom, shallow drawers of a type compositor's typecase. Not a lot of people know that, and we suspect superstar artist and FAIRYTALE FANTASIES Calendar creator, J Scott Campbell doesn't either because even though we looked high and low, in every single one of his drawers, we still could not find a single example of Scott EVER writing in lower case, but we begged him, we pleaded with him and, eventually we HYPNOTIZED him, and here's the font you'll find in J. SCOTT TIME CAPSULE from Image Comics! You're welcome. See the families related to J Scott Campbell Lower: J Scott Campbell & J Scott Campbell Sketchbook.

Grafek is a unique reverse-contrast font with tapered vertical strokes and heavier horizontals on the top and bottom. This typeface is loaded with individual character, bolstering its excellent legibility with a moderately extended width. It’s a strong choice for large headlines, web banner graphics, and branding/logo usages. It’s got a high-end and elegant flair on shorter words, especially when choosing an all lowercase lettering design, for example on a logo treatment. It has a whiff of a nautical, antique map vibe, and even conjures up a hint of Oceania and Tiki-style graphics. Grafek will prove to be a great choice on book and magazine titles, and its width lends itself easily to wide mega-scaled outdoor marquee graphics and billboards.

Ariestha is a fancy script font, inspired by modern and retro typography. Carefully designed with bold strokes on the bottom of the letters and some playful touches of letter layout that allows you to make neat and flexible designs. Ariesta scripts comes with many variations of OpenType features which gives you the possible to explore more alternative looks in your design process. The OpenType features are accessible in Adobe Illustrator, Photoshop, InDesign and others. Very recommended for your headline in logotypes, sign painting, posters, die-cut craft, branding, storefront, and merchandise design! Ariestha Script has over 500+ Glyphs with 26 multi-lingual accents. Also with standard punctuation, uppercase and lowercase. There are stylistic alternates, contextual alternates, ligatures, stylistic set 01 - 04. Great design asset for your projects.

Years ago, I developed an interest in the Japanese art of dwarfed potted trees, bonsai. I bought some books on the subject from Brooklyn Botanic Garden. In one -- Handbook on Bonsai: Special Techniques (seventh printing, February 1976) -- the type was bad. Old worn lead type, I suspect, spread wide in the tops of characters and disappearing on the bottoms. Two decades later, I came across my Brooklyn Botanic Garden collection and was struck again by this interesting type. Inspired, I made a typeface. Didn't take me long to decide on a name for it, either: a name with a double-meaning, based both on its look and its inspiration. Bonsai, the typeface, has two styles, a roman and a true italic.

Linotype Sangue is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This prize-winning font was designed by the German artist Gabriele Laubinger. The most distinguishing characteristic of Linotype Sangue is the contrast between the wide, rounded capital letters and the tall, narrow and pointed lower case. Another factor which makes this font so unique is the way Laubinger worked with stroke contrasts, using heavy strokes in the top third of the characters and diminishing to extremely light strokes at the bottom. Linotype Sangue makes a mysterious, secretive impression. It is best used for headlines and displays and shorters texts with point sizes of 12 and larger.

Fat, wide and friendly—that describes this offering from the Miller and Richards foundy of Glasgow to a tee. Use it in good health. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Puffball is a fat face with cartoonish features. It also wouldn't look out of place in an ancient Celtic engraving. What makes Puffball so intriguing to look at is that it seems to walk a thin line of buffoonery and ornamentation.

Released by the Monotype Corporation around 1932, Inflex Bold is a Scotch Roman fat face design similar to many others popular in the nineteenth century. A high-contrast bold roman, Inflex Bold is good for informal display work when used sparingly.

Proudly Present, Donnabold Donnabold is a Fat Monoline Handwritten font Donnabold is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. This font includes OTF, Donnabold also multilingual support. Thank you!

Sevoya a captivating robust script font designed with fat strokes for those strong brands and logos. Featuring short ascenders and descenders making it a bit more legible. Sevoya is perfect to create outstanding headings, logos, menus, graphics, and many more applications.

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

X RUFFIAN Ruffian was a champion thoroughbred horse who won 10 consecutive races. A feat worth mentioning & repeating. Her tenacity & steadfast approach established the basis for this variable based font. The X represents both the Roman numeral 10, but also the X-factor for creating bespoke works of art. It is quite befitting that this font be named after a legendary champion. Which begs the question...Do you champion variety? X Ruffian's design motif uses a broad tipped chiseled marker that was set at an angle for that extra bit of vigor. Identical letter forms defeat that truly "hand rendered" look that we ultimately strive for. Each uppercase letter offers 10 (X) or more stylistic alternatives, the lowercase and number sets have 3+ options and an over under for those special characters that yield a long bottom or top (see images). Ligatures & bonus characters can add that unique offering to your already individual style & can easily be found via the glyphs panel in any open type program. With a gigantic glyph count of 688, you'll never run out of options. As a right of passage, we felt obliged to include a roman numeral set as the name beckons, which differs from the standard letter form in which you would use to create. This is a variable winner. See you at the races!

The Pagnol typeface has been designed with a principle developed by A. M. Cassandre in 1937, when the great French designer created the Peignot typeface following paleographic studies on the evolution of letterforms. Researches in the history of writing have proved that the lowercase "a" is at its origin nothing but the "A" shape transformed through centuries by scribes until the invention of printing. A large number of lowercases meanwhile kept their original shapes. If the scribes’ hand didn’t find the necessity to simplify them, it is only because these letters could be easily written. Integrating the classical shapes of capitals to the lowercases has already been used, keeping the lowercases which are only a deformation of capitals. Nevertheless, the respect of readability imposes to keep ascendants and descendants from traditional lowercases which serve as optical focus points in a text and make reading easier. The particularity of Pagnol is to use rounded shapes on top and bottom of pointed capital letters to make them fit with corresponding lowercases (Aa, Mm, Nn, Vv, Ww, Zz). Lowercases proportions are wide, to be in tune with classic lowercase shapes in order to optimize readability. Five weights in roman and italic have been designed to offer a wide palette of typographic possibilities in all sizes and all paper and screen supports.

Fini. Done. You've just discovered an infinitely useful font that polishes things with youthful and stylish vigor. Fini provides playfulness with double letter ligatures with a twist of friendly sophistication. Fini Things, also designed by illustrator and font designer, Amy Dietrich, is a decorative collection of 26 loopy, spotty repeating border designs and kid oriented icons (like a pea coat, owl hat, hoodie, rubber duckie etc, plus a coffee cup - for mom and dad). Fini Things coordinates with Fini font, and in fact, works very nicely with Merci, and other Atlantic Fonts.

Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

Xunga is a cheerful display typeface. My goal was to design a font able to fit any layout with boldness and playfulness, mixing a sign painter taste in the uppercase and some of my crappy calligraphic reverse contrast explorations with the flat brush for the lowercase. I designed several of widths to fit the page, and though about a different way of expanding the family shifting the horizontal stress axis to move the letter weight in different heights, making a 15 fonts family, suitable for making bold layouts. Xunga has an extended character set for European languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes ligatures, catchwords in discretional ligatures, contextual alternates to avoid conflictive glyph pairs and localized forms to avoid problems with several glyphs and languages.

Decor is a classic style font made by hand, modified with various ornaments so that it looks attractive, modern and elegant, can be used for company brands, logos, film titles, drink bottles and so on.

A popular caps-only type of late Victorian times was called Mural, brought out by Boston Type Foundry in 1890. We always liked it, drew a lowercase for it, and then strengthened it by adding a bit of weight. It now has a nice, understated retro look for paragraphs of copy.

We are introducing Mellar, a Variable display font. Mellar is an obese font with a simple and bold modern look. It consists of 2 styles: round and square, also three widths on each type: Toppo - Medio - and Botto. Mellar is a variable font, officially known as Open-Type Font Variations. You can generate many styles with the three available slider axes. Mellar will add fresh fun vibes to your designs. This font is perfect for clothing, book covers, titles, etc.

Friedhof family is inspired by a tombstone lettering dated from about 1900. Beside the solid, fat style, it contains handtooled and shadowed (Geist + Deko) variations, as well as narrowed & lowercase styles. Note: Very complex, shadowed fonts may not work on slow machines!

It's clear, fat and juicy - it's my Solo Beats font! It has got that organic feeling of something handmade...and that is exactly what it is. Even though I digitally removed some inkblobs here and there, the handmade look is quite clear!

Emmie is a friendly display face with fat curly terminals, which is great for billboards, branding, headlines and editorial design as well as screen based applications. It has over 450 glyphs and includes opentype features such as discretionary ligatures and stylistic alternates.

This fat and vivid typeface with broken lines has a great ability for uppercase setting. It was named after the Agara name our small river Berda had when ancient Greeks sailed it. Includes Western, Central European, Baltic Latin and European Cyrillic characters.

This fat and vivid typeface with broken lines has a great ability for uppercase setting. It was named after the Agara name our small river Berda had when ancient Greeks sailed it. Includes Western, Central European, Baltic Latin and European Cyrillic characters.

Ancoa is a Sans Serif Display typeface, which plays with its rough form and works perfectly on posters, designs of different uses, contains 19 fonts and includes different styles from Inline, Layer Inline, Rough and the different Weights between Regular to Fat.

Sevoya Pro a captivating robust script font designed with fat strokes for those strong brands and logos. Featuring short ascenders and descenders making it a bit more legible. Sevoya Pro is perfect to create outstanding headings, logos, menus, graphics, and many more applications.

Kunze font was inspired by the work of German graphic artist Carl Kunze (Minden, 1884). Kunze is a fat display font; a little rough around the edges, a little wonky in places, but very distinguishable and useful. Comes with extensive language support.

Ckornoments is a two-font family of corner ornaments that was inspired by decorative grave ornaments. Similar ornaments can be found on old furniture and woodwork. Almost all ornaments come in sets of four for placement top right and left and bottom right and left. The two fonts, solid and outline, are designed to be used in layers but can be used separately. In addition, ornaments that include flowers have one part of the design separated out so the original and separated characters can be layered to give bi-colored images (or tri-colored with an outline). These ornaments are suitable for posters, newsletters, personal notes, and on other types of documents that benefit from framing. In addition to serving as corners, the ornaments can also be used as dividers between sections of text.