Guidebook is a bold vintage style serif font with a nonchalant charm and sturdy confidence. Guidebook has clean features and it expresses credibility with a reminiscence of familiar nostalgic feeling. Guidebook is equipped with Swash, Stylistic and Titling alternates. These features can be accessed by OpenType controls or straight from Character or Glyphs window.

Halloween is coming. Get prepared earlier with our Suspiria Vampira. A bold and bouncy fonts with 2 styles, Clean and rough. Very good for a halloween concept, but the versatility level are high in this font. It can be placed into any fun and cheerful branding or event concept. So many possibilities coming up!

Glamure was inspired by the Myriad font which has been frequently used by technology companies and governments since the 1990s. Glamure is a clean, sleek and versatile font, by applying geomattric shapes to create a fantastic, modern and humanistic font. Glamure can function as a title, logo, body copy, subtitle, headline and so on.

Blacklisted is a vintage script font with clean brush strokes. It’s very recommended for logo, branding, clothing, poster, and many more. You can customize every word with alternates characters and swashes. Blacklisted also support special characters for multilingual. Files & Features: Uppercase & Lowercase Numeral & Punctuation Stylistic Alternates Stylistic Sets (SS01 & SS02) Special Characters PUA Encoded

Plants Clean & Rough is 2-style family. The brush script is beautiful and unique; it is a model of modern calligraphy typefaces, in combination with a calligraphy writing style. Can be used for various purposes.such as headings, logos, wedding invitation, t-shirt, letterhead, labels, news, posters, badges etc. This font's features are: - Contextual Alternates - Standard ligatures - Discretionary ligatures - Stylistic Alternates - Stylistic sets OpenType features can be accessed by using OpenType smart programs such as Adobe Illustrator and Adobe InDesign, Adobe Illustrator CS, CorelDraw X6-X7.

Austera Text is a clean and structural humanist font face whose purpose is to be clear while don't interferes with the message concept. Austera Text is a contemporary serif with moderate contrast, sharp shapes, fairly large x-height and moderate aperture with the aim to make it very legible in continuous text. The italic version has a unique appearance with its pronounced angle mixed whit its elongate beginning and ending strokes. Although Austera Text was created to be used in continuous text, it also could be applied to many other uses obtaining nice results, from editorial and corporate design to advertising, packaging and digital design. Austera Text has OpenType features such Old Style figures, standard and discretionary ligatures, ordinals and fractions. Composed of more than 500 glyphs, Austera Text supports Western European, Central/Eastern European, Baltic, Turkish and Romanian Languages.

The first typeface developed by Latinotype Team. Corporative is a semi serif font that has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes.Since it is a condensed font, it can also be used in smaller sizes. Corporative and Corporative Sans come with the Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants,designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Latinotype has added new faces to its team. Latinotype Team nowcomprises: Javier Quintana, César Araya, Bruno Jara, Luciano Vergara and DanielHernández. Corporative was created by Latinotype Team and developed by Javier Quintana and César Araya, under the supervision of Luciano Vergara, Miguel Hernández and Daniel Hernández.

Corporative Sans typeface is developed by Latinotype Team. Corporative Sans is the new version of Corporative. This font has a marked personality and distinctive traits, what makes it suitable to be used at large text sizes. Since it is a condensed font, it can also be used in smaller sizes. Corporative comes with the Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Latinotype has added new faces to its team. Latinotype Team now comprises: Rodrigo Fuenzalida, César Araya, Bruno Jara, Luciano Vergara and Daniel Hernández. Corporative was created by Latinotype Team and developed by Javier Quintana, Rodrigo Fuenzalida and César Araya, under the supervision of Luciano Vergara and Daniel Hernández.

Grunge Formal started out as a more upright, formal version of one of my fonts, Figment. A most versatile contemporary typeface, Grunge Formal works equally well from funky to formal, from giant size headers to pint size body text, from movie posters to wedding invitations. If you've ever needed a font that has a grungy, deconstructed look but works well for all sizes, a font that you can use for funky, gritty designs, and also for formal wedding stationery, Grunge Formal is a perfect choice. From the formal viewpoint, the font presents as a regular serif typeface with deconstructed edges, giving the antique look popular in wedding stationery design. Here it can be used from header to body size. For in-your-face design, Grunge Formal, when oversized, is really powerful and its deconstructed outline provides a raw, rough contrast to your background images. Grunge Formal has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation.

Grit Sans is a font balanced enough to stand strong on the tippy-toes of its pointed "t" ascenders. Even all caps communicates calm. Dashes of whimsy in the proportionately plump X-Heights tell of the accountant drinking too much sherry at the office Christmas party, but thick, consistent strokes never lets you forget his job title. Ascenders and descenders consistently reach the same heights and depths, further attesting to the reliability of this typeface, at even very small sizes. Available in both regular and bold face, Grit Sans is a faithful complement to thin fonts with a pinch of frivolity such as Heirloom Artcraft. It is ideal in use for titles, subheadings, menus, playbills, custom stamps, logos - anywhere a solid font can speak at a volume just above all others.

Franciszek Otto of Poland designed Linotype Notec in 1999. Linotype Notec is a low-tech" (or even "no tech!") typeface. By embracing handwriting's spontaneity, it has gotten as far away from technology as it can. Classified as an "inky"-style script face, for lack of a better term, Linotype Notec's informal design seems immediately artful and full of expression. Its irregularity and unexpectedness enlivens any composition, similar to how jazz or modern dance animate a room. Quite full of "ink," Linotype Notec's "strokes" are written in a sort of short-note-handwriting-style, which a slow-writing, thoughtful humanist might theoretically scribble to himself late at night. Yet Linotype Notec's character still maintains a jolt of energy; try Linotype Notec in small applications, in any size from 12-point on up."

Font family Opticum is not just a set of fonts, it’s a maze construction kit that hides letters inside. Each inscription is a little brain-twister with variable difficulty, where the level is defined by the style. The third one is the most difficult. When you type with these fonts you fill the space entirely without spaces because characters in the fonts don’t have side bearings and the leadings are set to zero. This converts you into an artist who produces geometric abstractions containing verbal messages. Texts set with this font not only catch an eye, but keep it for a long time. The duration of attention period can be adjusted by selection of the font style. The third one keeps longer. Opticum was designed by Erken Kagarov and released by ParaType in 2009.

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!

Midnight, Pacific Coast Highway. You're driving home alone at night and your battery's dying. Your headlights have dimmed and you can barely see the road or the signpost up ahead. But there's an eerie green light glimmering in your rear view mirror and that strange warning uttered by the pump attendant at the Devil's Elbow gas station has put the frighteners on you. Is that Satan's face glowering at you through the mist, or something far worse? ⁠The only way to handle this font is with one foot on the gas pedal and one foot on the brake. Originally designed by John Roshell for GAMBIT titles, this sharp font has appeared on vampire & rock magazine covers, Star Wars & Star Trek merch, and the logo for the INHUMANS comic & TV show!

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau Pro is the new edition of Neubau fonts. The new typeface is an upgraded version of an old fonts (2009), with careful refinements to glyph shapes, and the extension of glyph amounts which enabled support of more Latin languages as well as Greek and Cyrillic languages. Neubau Pro is released in six styles with small caps, and true italics, and contains OpenType features. This typeface can be used for editorials and print designs.

Inspired on posters by the extraordinary polish artist Leszek Żebrowski, Polygraph is a highly unusual face. Packed with eccentric alternates, it is an all-caps font with four exchangeable variations for each letter. These alternates are programmed to cycle when the font is used in OpenType-savvy programs, creating a random effect on glyphs distribution. The resulting pieces are truly outstanding, with an audacious handmade twist. To achieve this, just turn on the contextual alternates feature and play – you can easily try different glyphs sequences by adding spaces before words. When you need a more well-behaved look, but still with a subtle hand-drawn flair, turn off the contextual alternates and set text in uppercase. Polygraph comes in two weights, for added flexibility. But be warned: it’s quite addictive!

Thystle is a "font for all seasons". It has six styles ranging from fine to in-your-face, from delicate mono-weight pen strokes to fully calligraphic lines, from delicate, narrow characters to bold, powerful statements. Characteristically, all the styles abound with Anton Scholtz's energetic "creative common" style - extravagant capitals, clear characters, and bursting-with-life swashes. Three Thystle styles are calligraphic. You can use: - Regular for invitations, poems, greeting cards and body text - Black for swing tags, music media, menus and sub-headings - Fat for posters, book covers and headings Three Thystle styles are monolinear. You can use: - Mono1, which is both delicate and condensed in width, for invitations, poems, greeting cards and body text - Mono2, which is of medium weight and condensed in width, for swing tags, music media, menus and sub-headings - Mono3, which is heavier and of standard width, for posters, book covers and headings. Opentype features include alternative upper case characters, as well as a number of ligatures. (These can be used in applications that access OpenType features.) Thystle contains over 283 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters for both Text and Display caps). It has all the accented characters used in the major European languages.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Bright Lady is a natural handwriting that is beautifully written as a form of love for modern calligraphy. I cleaned some of the stains to make it look smoother and neater, so you can use it for the job you want. Bright Lady - including many alternative characters. Coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people who have software capable of using OpenType: Alternatives can be accessed by turning on the "Alternative Style" and "Ligature" buttons on the Photoshop Characters panel, or through any software with glyph panels, such as Adobe Illustrator, Photoshop CC, Inkscape.

This cuddly face is based very loosely on Dave Farey's Beesknees. This version is a little more regimented but no less fun, and is notable for the addition of a lower case, not found in Farey's design. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Lanvier is an all capital display face, inspired by the thirties streamline era look. The family is offered in four style, Regular, Oblique, Double Oblique and Reverse Oblique, as well as two weights, Regular and bold. Bring the thirties back to life in all their chromium plated, streamlined and fast moving glory with the Lanvier family.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

This industrial-strength titling face takes its design cues from Hans Eduard Meier's Syntax Antigua. This version is bolder and beefier, so your headlines will grab and hold attention in a refined and genteel manner. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

This stunning display face is based on Hans Bohn’s 1929 opus for Gebr. Klingspor, originally named Orplid. One of the treasures discovered in the legendary green vinyl binder that launched Nick’s love of type, it’s a real crowd pleaser. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

This elegant semicursive face is based on the works of J. M. Bergling from his 1914 classic Art Alphabets and Lettering. Suitable for announcements, awards and invitations, or for distinctive and unusual drop caps. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

This elegant unicase uncial face is based on a work by German type designer Ernst Engel from 1927.This typeface masterfully combines Art Deco sensibilities with medieval letterforms, and is suitable for both text and headline use. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Rozza is a single weight stencil cursive fat face font for extremal display use. Looking at this font the story of beauty and the beast comes to mind. That is how I would describe it. On the one hand prickly and dangerous, and on the other - pulsating beauty and passion. Try to combine Rozza together with Displace — great pair!

A 1930s luggage tag from an eponymous hotel provided the inspiration for this face. The uppercase letters lean to the left and the lowercase letters lean to the right, so aLtErNaTiNg the two will give your headlines a little bounce. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sasparillo is an "extreme" Tuscan face, with reversed emphasis, by which we mean the horizontals are far heavier than the verticals. Saspirillo Fizz has been put through our (not quite) patented "fizzing" process, in order to give it that weathered look of heavily used type. Recreate the spirit of the "Wild West" with a sense of fun!

Mirabelle from Magpie Paper Works is a family of four hand-lettered fonts designed to coordinate with each other or stand alone as display faces. Each font was created with a felt-tipped pen & ink, and includes a full set of capital and lowercase letters, as well as multi-lingual support, currency figures, numerals, and punctuation.

This heavyweight poster sans is based on the typeface Samson, designed by Robert Hunter Middleton for the Ludlow Type Foundry in 1940. The slanted uprights suggesting brushwork make this face a perfect choice for casually commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

This engaging headline face is based on a rather pudgy typeface named “Bullion Shadow”, which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Now available in shaded and plain. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Chank claims to have the fastest type design, we think we have the youngest. Samuel was merely four years old when he wrote out his first face. We are expecting many more brilliant typefaces from this upcoming designer. Please note that this font has no numbers or punctuation symbols; Samuel just did letters at that time.

Somaskript Tall shares the same concept as Somatype Skwosh, namely a desire to ignore traditional rules and re-scale along one axis only. This time the starting point was Somaskript and the end result is a condensed & uniquely elegant display face, vertically extended by the process but with legibility very much intact and its personality preserved.

Bricola (rhymes with Nicola) is a condensed display face that contrasts soft curved outlines with sharp cuts and counters. Sturdy and idiosyncratic, Bricola is an eye-catching blend of functional and funky, appropriate for headlines, labels and branding. The licensed family includes Regular and Bold weights that both pack a punch, and also two handy italics (obliques).

Venecian Old Face fonts had a strong influence on typeface design in the 1930s and 1940s in England. Such influence is evident in the font Electra, designed by William A. Dwiggins for Linotype in 1935. Electra combines its classic roots with the Zeitgeist of the 1930s, also displaying characteristics of the Bauhaus and Art Deco styles.

From the March 2008 issue of In Your Face: "(Morning Sans) is an especially legible stressed sans (that) manages to combine both a calligraphic fluidity with the hard edges of incised lettering without focusing too much attention on individual characters: it remains very readable and keeps an even color on the page, even in long settings."

Based on Times New Roman of Monotype, 1932, by Stanley Morison and Victor Lardent, and other versions of Times. It has many characteristics of an Old Style serif faces; it was designed for better legibility in combination with good economy. Widely used in books and magazines, reports and office documents, and also for display and advertising.