Palatino is the work of Hermann Zapf and became available in the late 1950s from D. Stempel AG in Frankfurt am Main. Zapf optimized Palatino’s design for legibility, producing a typeface which remained legible even on the inferior paper of the post World War II period. Zapf named the font after Giambattista Palatino, a master of scripts from the time of Leonardo da Vinci. Palatino is an Old Face font which proves that classic forms can still be used to create new typefaces.

Accidents happen. Things go where they don't belong, get changed - remade. Something new crawls out of the murky depths. Ghixm is a retrospective of the horror comics and movie posters of the 1960s and the 1970s. It's fluid forms harken to watery graves and tentacled unnameable horrors. These twisted shapes are reminiscent of titles that will make your skin crawl. It’s already warped and twisted, so don't hesitate to abuse it. This face can take it and still deliver its chaotic message.

Nantua is inspired by the Russian Constructivism from the early 1920s. Artists like Aleksandr Rodchenko used typography as forms. Nantua can be used with that very same principal. It's a very geometrical display font with hard edges. Used in big sizes it is very 'in your face'. Used in small sizes it tends to work like a compact background pattern. With very small inner forms, Nantua needs to be used in big sizes to be legible. It's preferably seen on posters or flyers.

Introducing, HS Novano! A Modern San Serif with the clean touch. It looks modern and clean that can be used for all your project needs.This font can be used at any time and on any project. So, HS Novano Font can't wait to give its touch to all your design projects such as magazine, book, poster design, personal branding, promotional materials, logotype, product packaging, etc. Thank You HS

Inspired by New Transitional and Egyptian fonts, Tanger Serif has elements of a sturdy work-horse text face and finely detailed headline font. A wide variety of widths and weights support many text sizes. Typically Narrow is used in headlines, Medium in body and Wide in smaller print. Nothing is predefined, though. By combining the right widths with the right weights this traditional approach can easily be challenged. Let’s take an oversized (over 10 pt) body copy for instance. In conjunction with using a bigger size to enhance readability, a narrow and slightly lighter weight will save space and brighten text color. Tanger Serif Narrow is a slim normal rather than a condensed face. As an Open Type “Pro” font each weight includes an expanded character set, small caps, old style figures, tabular figures, ligatures, fractions etc. All these are easily accessible through OpenType features.

Here’s what happens when your trusty felt tip marker takes a trip to cartoonland. Each of Valentina’s plump characters has a rough and splotchy texture. Some letters even bounce up and down like a 3-year old. As cartoon faces go, Valentina is a bit on the imperfect side. But that’s normal for a funny face. Use it in a variety of comical situations. Make convincing captions under your own artwork or design greeting cards with it. You can even blow it up to huge sizes to create a wild and crazy look. Valentina Medium is now available in the OpenType Std format. Some new characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

Aeris™ typeface is a contemporary book face created by the American designer Tom Grace. It combines the proportions and rhythm of a sans serif font with the high contrasts and flexed strokes of script faces, while the open counters also ensure optimal legibility. Tom Grace focuses on providing subtle differentiations in his cuts and, as a consequence, this font family has its own individual structure: there are A and B variants of the basic forms regular, italic, bold and bold italic, and a display version for use in titles that also comes in A and B variants. It is advisable to use the A variant for larger font sizes, while the slightly more emphasized B variant can be recommended for smaller font sizes. Where the basic forms are to be mixed together in a work, it is important to use the corresponding A/B variants throughout as their designs have been carefully coordinated. Aeris is available in the OpenType Pro format and thus includes a wide range of different glyphs. The font family can be used in various environments, such as books, magazines, advertisements and promotional materials, but it is also the perfect choice for printed corporate documentation.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

Golos is a sleek and authentic font face with two styles: regular and italic. Golos is recommended for use as a display typeface.

Axplat is the first in a family of grunge, deconstructed, messed-up type faces. It has Euro and almost all the special characters.

Alternates, ornaments, ligatures and two casual stylish faces. This is Outside. Where we'd absolutely rather be. * Released during the inside times of 2020 *

PL Brazilia from Albert Boton is an elegant extended sans serif face in two weights. Usable in headlines on books, journals and posters.

A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.

Blackwood is a sans serif headline face with a woodgrain effect. Based loosely on Grotesk, it has strong, solid forms with distinctive style.

Woodlawn JNL is based on an open face wood type. A bold outline sans, this design is excellent for headline and titling applications.

Ellen is a charming elegant serif face. Great for headline display and text use. Many alternates and ligatures are included with this font.

Inspired from blueprints of old Montreal buildings, this font is a hand lettered, all caps face with influences from the arts & crafts movement.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

ITC Tremor is the work of British designer Alan Dempsey. You might think that it looks like the letters are in a seismically lively geological zone, but Dempsey had other kinds of motion in mind. Most of the faces I design come from trace 'work-outs' for advertising products. In the case of Tremor, it was to reflect a lively teenager," says Dempsey. The result is ITC Tremor, a cartoony slab serif typeface with irregular angles, straight-edged curves, and lines surrounding each character, making them look like they are jittery.

Taxon is a straightlined Sans with a clean, fresh and unsentimental look. Related to classical faces like Optima and Imago, it appears more contemporary and merges the austere linearity of the Grotesk with the elegance of the Antiqua. The Taxon family consists of 12 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Racon Font Family comes in two weights as regular and bold with seven styles. You can create unique and great designs with its classy, legible, elegant look and most preferred texture and clean styles. You can enrich your designs by using Racon Fonts with its clean and old styled extra figures. You can reach the keyboard codes of the extras as a pdf file from the "Gallery". It would be a perfect choice for designing posters, affiches, logos, invitation cards, t-shirt and magazine prints, eye-pleasing typographic designs and more. Enjoy!

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!