Bommer Sans is a warm and friendly type with a distinguishable look. It has been designed to add our twist to the flavour of English humanistic sans serif typefaces. Bommer Sans works like a charm for editorial, headlining, exhibition, signage and wayfinding projects. The big x-height and ascenders close to cap height favor tighter interlinear spacing. The ‘Q’ tail, resting on the baseline, is an invitation to play vertical, stacking lines of caps. Curved strokes on the ‘i’, ‘k’, ‘l’, ‘K’ and ‘R’ bring a friendly touch without compromising the sturdy structure, a marked characteristic of the design of the figure set. With seven weights in the upright and its matching italics, Bommer Sans has 14 styles and is part of the Bommer family. Check Bommer Slab for a great companion!

Stanzer is an interpretation of wood type combined with the idea of modern stencils. Instead of cutting every letter, we are presenting an example of how a modern stencil typeface could look like, as we have come to the conclusion that almost every letter works without cutting it. Stanzer is a Unicase typeface, available in three OpenType weights: Black, Shadow and Block. Stanzer first started as part of our diploma 2010 (it was called Stanley at that time). The basic idea behind this typeface is that it is fully stencil usable, and, unlike other stencil fonts, does not require any bridges (except for the O and Q). Almost every letter can be sprayed without inserting planks. However, Stanzer also offers the display weight Block, which is only suitable for print or online usage.

Asparocus is a modern and clean font duo that includes all caps sans serif and script font style. Sans serif style comes in 16 weights with italics + variable fonts. Designed with a modern minimalist mind, Asparocus is suited for display, advertising, web design, headline, branding, logo, text, business card, and many editorial design purposes. What you will get: All caps sans serif and script font style Numbers and punctuation Multilingual Ligatures Alternates Opentype features Future Updates Available We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

Hey! I'm happy to introduce to you my new initial's set. These drop caps I found in the "Introductorium in astronomiam" manuscript. It was printed in Augsburg in 1489 by Erhard Ratdolt. I've added some lost letters and assembled a full alphabet. Augsburg is a medieval gothic style font. Set of dim colored and monochrome grunge style emblems. Engraved initial drop caps. Perfect for vintage premium identity, Middle Ages posters, luxury packaging. If you want dark and strong medieval style concepts, please try it. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, macOS 10.14 Mojave* *Please note that the Canva & Corel doesn't support color fonts!* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

I became interested in designing Bodoni Classic because of a lazy graphic designer at Jacques Damase publishing house. He had to change a single letter on a bookcover about J. B. BODONI. The French call him Jean Baptiste instead of Giambattista! And that unknown graphic designer just took any old “J” from some newly cut Bodoni. All the new Bodoni cuts have square serifs, whereas the originals had rounded serifs and slightly concave feet. The single letter “J” with the squared off serif was for me like a road sign to start redesigning the entire Bodoni family. That’s exactly what I started in 1993 and a dozen years later I am finished. Okay, I am still adding new Bodoni Classics, but those are my personal additions. Yours very retro, Gert Wiescher

Cruickshank is a decorative typeface from the late Victorian period. The upper case includes several letters with swash strokes, extending well below the baseline, as found in the original design. Alternatives to the swash caps are provided. The lower case contains small caps of simpler design. The face was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886. MS&J was founded originally as Binny & Ronaldson in 1796 and later known as The Johnson Type Foundry. Cruickshank has a strong late Victorian flavor without the extravagance of so many fonts of the period. In its simplicity and clarity, it may be seen as a precursor to the Art Nouveau style that would develop a decade later.

Kotomi Display is a high contrast all-caps serif font with an elegant calligraphic touch. Inspired by didones, it features thin bracketed serifs, sleek lines, proportioned curves, angled axis...all, with a sense of fashion. Designed for high end branding, Kotomi Display is intended for large titles and big headers where its sharp and refined finish is particularly appreciated. The font is equipped with beautiful alternates and countless ligature variations that flows in harmoniously to achieve a well balanced combination and a legible composition. With a set of 1414 glyphs, Kotomi Display can serve a wide range of projects from editorial to branding, logos, posters, magazines, blog titles, packaging, wedding invitations, social media and more. Included case sensitive punctuation, numerals, symbols and multilingual support for western, central and south east European languages. Caps Only Fonts.

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

Ioana is an inoffensive, slightly quirky, slightly fattened sans serif font. It has a full character set as well as ligatures, small caps, superiors, inferiors, numerators, denominators and auto-fractions. Ioana came about as a direct result of 3 previous, private commissions that were all based on an artists hand-writing. For Ioana, I wanted a more regimented (but not boring) sans serif that could be used for headlines, posters and flyers with larger body text. Ioana Lighter is an inoffensive, slightly quirky, slightly lighter sans serif font. It is the lighter weight of Ioana and has a full character set as well as ligatures, small caps, superiors, inferiors, numerators, denominators, old style figures and auto-fractions. These OpenType fonts have support for CE languages and I hope you like it.

A clean and straight-up version of the joeHand series. Could pass for actual handwriting.

Enough talk. Metcon is not here to talk. It's simply here to PUMP... YOU UP.

Mulkshake is messed up pretty good, and was acutually made on a real bad copymachine!

Coffee and tea related, pixel perfect, editable stroke, up scalable square line vector icon set.

Permanent Park - 1990s Graffiti Inspired Marker Pen Font A hand-drawn marker pen font inspired by graffiti tags and 1990s Hip Hop. Permanent Park is a marker pen font with a graffiti tag aesthetic inspired by the golden-age of Hip Hop and 1990s TV shows. It’s 100% hand-drawn and comes packed with alternative characters for creating truly natural looking type treatments. No repeated oo’s, ee’s and ll’s that are a dead give-away of lazy lettering! Permanent Park is a highly customisable all-caps design featuring a complete set of uppercase and lowercase characters, along with numerals, punctuation and language support. It also features a complete set of alternatives with additional lowercase characters (for mixing things up even more), and a selection of underlines and symbols for an illustrative flourish. It’s a uniquely fun, urban looking font, typical of 90s music videos and TV shows, and equally suited to sports, travel and food themes. Check out my visuals for ideas on how you might use it on posters, movie titles, product packaging, broadcast and advertising.

The Syncopate Pro Family is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of typesetting possibilities. A modern and stylish sans inspired by the many trendy sans serif typefaces that are prevalent today, the Syncopate Pro Family, primarily intended for display and headline use, also works well for limited text runs. The thin and regular weights and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. The bold weight imparts a powerful substantiality, lending a strong corporate presence to any design. Opentype features include: - Stylistic Alternates for a collection of alternate Small Caps - Full set of Inferiors and Superiors for limitless fractions - Lining and Proportional figure sets

The inspiration source for Viper Monogram is the 1934 Book of American Types by American Type Founders. Found in that specimen book, was a sophisticated two-color monogram design called Hollywood Combination Initials, which was available in limited size metal castings. This wonderful monogram style is now digitally recreated, revived, and updated for modern use! Viper Monogram supports one and two letter monograms, but due to its super condensed style works best for three letter monograms. The default typing style for Viper Monogram is an all horizontal all caps setup which can be used for headlines and titling. Type in Capitals for an outline effect, lowercase for a solid effect. By enabling OpenType Contextual Alternates, you can type diagonal top-aligned monograms up to three letters. By typing in all lowercase, and layer a copy of the lowercase with Stylistic Alternates enabled, you can create a two-color effect. Viper Monogram is available in Pro format Opentype fonts only due its unique setup. Download and view the MFC Viper Monogram Guidebook if you would like to learn a little more.

Another Grotesk is a contemporary typeface that was inspired by the early grotesques. Upon closer inspection you will notice the terminals of some of the characters are slightly turned inwards, this detail gives Another Grotesk its distinctive and friendly personality. Another Grotesk is functional and has been crafted with a great attention to detail. It is available in 9 weights and two optical sizes with matching italics which adds up to 36 styles. Another Grotesk Text family has been carefully redesigned some of the details were removed and simplified, x-height increased, and ink traps added, but preserved the overall look and feel of the display version, to ensure a greater legibility and clarity in running text. The extensive language support allows type setting in more than 200 languages across Latin, Cyrillic and Greek scripts. Another Grotesk also includes small caps and punctuation, tabular and old-style figures, as well as case sensitive feature and offers stylistic alternates for K, a, g, and y to fulfil any creative need of a designer.

Check out Mr Gabe in motion! Mr Gabe is a typeface designed to dance. Not that it’s a flamboyant display face, but that it has a liveliness, especially in its heavier weights, that dances across the page. And the letters include a selection of exuberant flourishes that can be used to kick up a ruckus or make a sweeping gesture. Mr Gabe is a high-contrast serif typeface with vertical stress, a “modern” face in traditional type terms. Even in the regular weight, the contrast between thick and thin strokes is very obvious. Designer Andrea Leksen has given many of the lowercase letters ball terminals, teardrop shapes that make Mr Gabe seem decorated even when most of its letter forms are conservative. If you need more bells and whistles, or perhaps revolving mirror balls and dancing shoes, you can explore the font’s collection of ornaments and decorative borders. Mr Gabe comes in four weights, from Regular to Black, with italics for each. Each font includes over 57 ligatures, 31 illustrations and borders, small caps and proportional oldstyle numerals.

The two great technical constraints a type designer can tackle are low resolution, which limits detail and dictates proportions between negative and positive shapes, and uniform width, which restricts each letter to a fixed horizontal space. Wrestle with both at once, and each letter becomes a black-and-white chessboard that challenges every design decision. Sometimes battling these constraints gets in the way of a good idea, but other times, tinkering with fewer options can make the job irresistibly easy and lead straight to a grid addiction. Gridlite, an experiment with a modular negative space, is the side effect of such an addiction. It’s simplified, monospaced, and variable: foreground and background alike are ready to be animated, typed, scaled up, scaled down, rounded, or otherwise deformed. Gridlite is primarily a variable font with axes that control the size of the elements, their shape, and the background (one for the rectangular field and one for the compact envelope around the letters). The fonts cover Cyrillic, Greek, and Latin scripts. Small caps are included, for no apparent reason ... and there is a monospaced elephant, too.

Witch Hazel has been quite a while in the making; a fun font with slightly flared serifs, lots of ligatures and alternates, and over 1150 glyphs! This font is great for holiday designs, from Valentine's Day to Halloween to Christmas! It also bridges modern and vintage styling, so you can use it for fairy tales and pirates, or for your company's branding and logo! I just couldn't stop adding more and more to this font. Witch Hazel includes: - The usual A-Z, a-z, 0-9, and tons of punctuation; - Greek uppercase letters; - Cyrillic uppercase letters; - Over 430 extended Latin characters; - Small caps; - Decorative alternates for all letters (some letters have up to 8 alternates!); - Numbers and uppercase letters with pointy spurs; - Numbers and uppercase letters with rounded spurs; - 40 two-letter ligatures! All characters are OpenType coded and PUA-encoded, so they can be accessed by all design programs. And I'm including a PDF with the full character list; you can use it for reference, or you can copy/paste directly from the PDF into your project!

Ever sit up late at night and dream in letters—big, expressive, swash letters. Dream Big carries those grandiose thoughts and captures them as natural brush lettering on paper. Nothing manufactured here… each letter is derived from Summerour’s own hand and translated to this typeface—lofty, expressive, and joyful. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—a Wide and Narrow cut are included in hopes of helping you find the perfect variation needed for your composition. Dream Big is the fourth release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Rialto dF is a book face inspired by calligraphic tradition. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers… As tradition demands, uppercase, numerals and punctuation are used in combination with italics – the same solution adopted by Francesco Griffo when he cut his first italic for the Virgil, the first of the octavo series printed and published in Venice by Aldus Manutius in 1501. Rialto dF comes in two optical weights: Piccolo, for up to 14 pt, and Grande for 16pt and above. Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke.

Ocean Beach is a fun, retro, all-caps Nautical Art Deco headline font. It sports geometric letterforms, perfect circles and highly stylized crossbars with waves on several letters—think the beach, flags rippling in the breeze and Fred and Ginger tap-dancing merrily on the deck of a ship! The inspiration for this font are the many whimsical nautical-themed buildings still to be found dotting the landscapes of America, from South Beach in Miami to hidden gems tucked away in industrial areas of southern California. I was fascinated by some of them when I was growing up, and in doing research on Art Deco styles I found many images of these wonderful buildings sporting portholes, streamlined moderne details and even faux rivets. Ocean Beach is created with a 3-stroke detail, and the complexity of the design will be appreciated better in larger sizes of type (36 pts or larger). Use this font for any application that needs a bold, decorative or Art Deco look; great for signage, magazine layout, illustration, posters and packaging.

The starting point for VLNL Kouseband was spotted by Donald DBXL Beekman on the Christian Reformed Church in the Dutch town of Naarden. The iron wire lettering contained a number of unusual characters and details, which eventually led to this five weight family. The Kouseband fonts mix elements of geometric sans serifs and upright unconnected scripts, with a hint of Dutch school writing. VLNL Kouseband is monolinear and has an very large cap height compared to the (lowercase) x-height, giving the capital letters an elongated condensed appearance. Kouseband is the Dutch word for ‘garter (belt)’ and also gave the name to a long tropical bean known as Yardlong bean. Kouseband beans are a common ingredient in Roti and other Surinamese dishes. As the Dutch Christian church is sometimes referred to as ‘Zwarte kousenkerk’ (Black stocking church), and stockings are held up by garter belts, we have come full circle and VLNL Kouseband has a name. VLNL Kouseband contains a set of oldstyle numbers matching the lowercase letters, and a couple of wider alternate capitals (HMNOQ) to enhance the liveliness of your designs.

Have you ever been drawing out the letters for a font, then you start making some multi-letter ligatures? Then you think up some more to make, and you make those too? And you keep making them, until you have over a hundred of them? No? Just me? Boisterous Fun is a font that started out simple -- a nice handwriting style with a single stroke width. But add in the ligatures, plus a dozen single-letter alternates and my usual crowd of accented characters for language support, and this baby has grown to over 600 characters total. It's a great casual font for branding or packaging, but it's also smoothed so it's easy for cutting. Boisterous Fun includes: - The usual A-Z, a-z, 0-9, and lots of punctuation; - Over 300 extended Latin characters for language support; - 140 alternates and ligatures for variety, all PUA-encoded for easy use! I had a ton of fun making it, and I hope you have a ton of fun using it!

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930’s frontage and distinctively rounded letterforms in the sign above the door. Houschka Pro is the follow up to the original Houschka type family which first appeared back in 1999. Character shapes have been improved, kerning and spacing refined, and OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own (particularly in signature glyphs A, G, Q, W, u & w). The monolinear structure, rounded corners and rolling curves give Houschka a soft and friendly appearance. Houschka Alt Pro is a carbon copy of the Houschka Pro family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Barbou was originally cut in 1925 by Monotype as a counterpart to Fournier, siblings that were different in design but both based on the work of Pierre-Simon Fournier. Whether by choice, accident or oversight, Fournier was preserved digitally, and Barbou was lost to history. Barbou was notably used by Stanley Morrison, in particular as the face of The Fleuron. I fell in love with Barbou when I saw it, and knew that I wanted to bring it to a new generation of designers and readers. This is a revival of Barbou, a faithful recutting with new weights, characters and many of the best features that modern font technology brings. Particular attention was paid to the original Monotype Barbou 178 specimen sheet. Originally only available in a single weight, Barbou has been recut with a variable weight, providing a large degree of flexibility between Regular and Bold. Barbou excels as a comfortable reading face for books, and the variable weight allows you to fine tune the darkness and texture of the page in a way never before possible. Barbou has a distinctive softness, and this revival of Barbou preserves much of the effect the medium of metal type had on the letterforms. This results in a subtly rounded yet defined type, elegant not worn, with the utmost attention and respect to the smallest of details. Barbou was originally cut with disparate x-heights for roman and italic, and this revival of Barbou features both the original italic, as well as a new italic redesigned at the same height as the roman. In Fournier’s time, roman and italic would not be mixed on the same line, but the type must change to meet the needs of a new generation. Barbou also features unique ligatures and alternates, old style numbers, small caps and a full Greek alphabet. Barbou is perfect for books and anywhere a comfortable reading face is required, and excels in flexibility.

Happy Ney Year Party is a playful and quirky display font. I made this font especially for New Year and holidays. This font has 8 decoration versions : regular, firework, splash, ribbon, star, trumpet. These decorations are related to New Year decorations, making this font the perfect fit for any new year or holiday themed activity / project. Happy Ney Year Party perfect for crafter, gift, tshirt, card event, anniversary, birthday,greeting cards, logotype, branding, poster, packaging, stationery, website, and any other projects requiring a handwritten and luxurious touch. This font is also support multi language.

Brilliant Soulmate is a modern signature typeface. It’s perfect for any signature or name card design, for branding projects, product packaging, quotes, logos, book covers, and many other awesome projects. With the combination of elegant and casual style, this font contains a full set of lowercase and uppercase letters. Includes: Brilliant Soulmate Regular Version 1,2,3 Brilliant Soulmate Italic Version 1,2,3 Features: Stylistic Alternates and Ligatures Character Set A-Z Numerals and Punctuation (OpenType Standard) · Accents (Multilingual Characters) · PUA Encoded With an elegant and casual design, I hope this font could fit your design needs.

Galagar is a font with a strong look. The font is suitable for your branding name, poster title, event, or group name, supported by the font that gives a strong effect to the reader. has its own market and fans. can be used in adobe illustrator, photoshop, or microsoft word. By purchasing this font, you will get: - Uppercase and Lowercase letters - Alternates Characters - Ligatures - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation - Support Adobe Illustrator, Adobe Photoshop, Adobe InDesign, also works on Microsoft Word. Thank you

A heavy duty block-shadow font derived from Sentinel Sten Type, Maus' inflexible, near-featureless block-like shapes give the impression of great mass and solidity. Maus is an example of minimalism in type design, using a minimum of sculpting to elicit the essence of familiar Latin forms. Two sets of complimentary letters allow designers to pick and choose combinations for letter fit, for their symmetric values, or to create a particular look or feel to suit the subject. Obviously Maus has great potential for signage, posters and billboards, and screen-printed garments.