ITC Fenice font (pronounced fe-nee-chay) is the work of designer Aldo Novarese and was influenced by the traditional designs of Didot, Bodoni, and Ibarra. It displays the fine serifs of a Bodoni but blends such characteristics with a contemporary structural style. ITC Fenice font is perfect for applications requiring the economical use of space.

Selauk is a window into the futuristic world of typography’s future. With this theme, this font is the ideal answer for projects that need a touch of modern, sci-fi, and future atmosphere. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Modny is a simple and elegant sans serif family with high contrast strokes. By its characteristics, Modny is gentle, smooth and geometric at the same time, neutral to blend into every project. Comes in five weights with tall x-height, file stylistic sets, bunch of ligatures, initials and terminal forms, containing more than 600 glyphs for all Latin languages support. Special addition is an Inline version made out from Bold weight, to increase the effect of decorative elements in each letter.

Mitogen Display is a very versatile font. Also available Mitogen Signature to help you mix and match it to fit your creative work in harmony. perfect for magazine images, to wedding invitations, to branding, poster design, and more. Files included: Mitogen Display Regular Mitogen Italic Mitogen Signature Numerals & Punctuation Stylistic Alternates & Ligatures PUA Encoded Characters Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :)

Boring Sans, designed by Cosimo Lorenzo Pancini, is a typeface family designed along two variable axis: weight and weirdness. These two parameters allow designers to explore a full range of variations on sans serif design, starting from a neutral set of proportions and evolving to a strongly contrasted and dynamic treatment, ready to raise eyebrows on social media. The basic "A" subfamily, developed in in five weights plus italics, behaves like a traditional, solid workhorse sans serif, with finely tuned proportions for optimal readability and minimal emotional impact. The "B" subfamily, developed in the same ten weights, shows a more contemporary "brutal" approach, with slanted lines, deep inktraps and stronger contrast. All these features are brought to the extreme in the ten weights of the "C" subfamily, with each letter a bombastic show of exhuberant weirdness. Each of the style variant is developed in five weight with matching italics, with a glyph set covering extended latin languages and including many alternate forms and stylistc sets. For control freaks the family package includes two variable font versions that allow fine tuning and control of the design options.

When Baka and Baka Too did very well commercially (Baka was named the Best Cursive Rough Script in 2005), I shied away from doing rough, handwritten scripts in fear as being seen as a one-trick-pony. A few years have passed and some early sumi-e brush ‘doodles’ kept appealing to me. I initially thought this new font would just fall under the Baka mantle and just become a new sibling, but as brush hit paper over and over again, the letters took on a different personality from Baka. This new font was turning out to be far more expressive, smooth and rough, tasty but sticky. This dichotomy demanded a new name. The rough and smooth texture suggested the name Fugu—oddly delicate while rough and functional.

The single-named, multi-talented designer Joluvian now lives in Madrid. But he grew up in the “Caribe” of Venezuela, where thick jungles meet endless beaches, and fecund trees bear juicy fruit – a tropical paradise where music and dance vibrate in the humid air. The Tropical pack, designed by Joluvian and digitized by Ale Paul, echoes the spirit of his birthplace. Its three faces are casually stylish – a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look. Like a fruit cocktail, each ingredient is tasty on its own, but they combine even more deliciously. Sprinkle the included catchwords, shapes, and bursts in your layout to complete the easygoing, Carribbean vibe. Each face includes alternates and support for multiple Latin languages.

Monocle is a clean and contemporary monospaced geometric sans that excels in titling, data and numerical settings due to its clear and systematic design. The capitals-only format increases the harmony between letter pairings, opposing the irregularity of mixed case fixed-width typefaces. Stylistically, Monocle has the feel of a neutral sans, yet its underlying structural finish exudes a strong sense of order and authority. Its geometric foundation is especially pronounced in the constructed round forms. With multiple stylistic sets, individual letters can be exchanged to fine-tune text settings for a unique custom type solution. Features include: -Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ff, fh, fj, ft, tt, th, ct, st) -Alternate characters (O, I, S, G, R, Q, _, $, ©, #, •, %) -Slashed zero -Full set of numerators/denominators -Automatic fraction feature (supports any fraction combination) -Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Inspired by a set of vintage alphabet game tile pieces, Newark JNL has similar traits to other slab serif Romans, but enough 'quirky' letter widths to break the rules and have it stand out on its own merits. The name derives from font work files in progress, often saved as 'new work' until a fitting name is decided upon. It seemed only right that this phrase be turned around into a font name itself. Newark JNL is available in both regular and oblique versions.

Dylan is a Sans typeface in the best American tradition. In order to keep corners open and to make the font more readable in small sizes it has deep cuts where curves join straights. I designed 8 finely tuned weights with fitting italic sets. The fonts includes full smallcaps, language support for most European languages plus Turkish, many fractions, nominator and denominators, Greek mathematical signs and many currency symbols. It is a versatile font that is well suited for many occasions, even for signage.

Maroon And Black a display sans serif is a very versatile font, clean, and visual elegance. Also available Maroon And Black Outline to help you mix and match it to fit your creative work in harmony. perfect for magazine images, to wedding invitations, to branding, poster design, and more. Files included: Numerals & Punctuation Stylistic Alternates & Ligatures PUA Encoded Characters Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :)

»Dylan« is a Sans typeface in the best American tradition. In order to keep corners open and to make the font more readable in small sizes it has deep cuts where curves join straights. I designed 7 finely tuned weights with fitting italic sets. The fonts includes full smallcaps, language support for most European languages plus Turkish, many fractions, nominator and denominators, Greek mathematical signs and many currency symbols. It is a versatile font that is well suited for many occasions, even for signage.

ITC Zinzinnati is based on a font called Ohio, released in 1924 by Die Schriftguss A.G. Typical of the Plakatstil letterforms of the time, the original font had a rough outline, as if drawn with a brush. Nick Curtis has smoothed the rough edges, which enhances the design's playful curves and engaging charm. As for the name: it's the punchline to an old vaudeville routine that starts with the question, Name a city in Ohio that begins with a 'Z.'" Pie in the face, comin' atcha!"

Grillmaster is a nice clean sans serif that you'll find many uses for with eight widths and eight weights in each width set plus italics. It’s always grillin' season with Grillmaster; at 128 font files strong Grillmaster is ready to serve large crowds and dinner parties. So put on some cheap shades and cutoff jeans, then fire up the grill and turn up that perfect song on the radio: the Grillmaster is here to satisfy your appetite; I guarantee you won't go home hungry.

The astype series Accolades B offers the advanced designer a fine set of calligraphic swashes, swirls and figural ornaments. Accolades B and B2 share most of the base set of ornaments but differ in some of the major shapes. If you're looking for some good companion fonts, give Gracia and Adana a try. Every classic high contrast stroke design like Didot or Bodoni works well. Note: Each package comes with a technical documentation and an InDesign2 sample file with lots of ready made borders.

Mikratos is a digital futuristic font inspired by the interfaces in sci-fi movies and retro games visual. Developed to be the solid time-jumper between vintage retro-futurism and also the futuristic nowadays trend in the graphic design and visual industry. Perfectly fit for logo, branding, gaming, esport design, poster, music video, album artwork, cover, book, packaging, merchandise, apparel, fashion, and many more.

This font contains signs associated with fire safely and fire prevention.

Jules Verne. Wild, Wild West. Tomorrowland. The Past’s extrapolation of the Future. So it was wrong, it’s still romantic. Steampipe is a font constructed of bits and pieces, reminiscent of the ironwork construction of the Crystal Palace or the inner workings of The Time Machine. Although it works fine as is, it comes alive with some Photoshop Layer Styles. Steampipe has the most extensive kerning of any font I've designed, just so (most) letters fit together as if they were constructed as a unit; use them in a program that supports special kerning.

AFISH was born out of the need to create a variable serif display typeface – so that any headline on the poster would easily fit. The form of the letters comes naturally from Didone style typefaces, while many of the characters have an experimental form that will not leave the audience indifferent. AFISH will be ideal for posters and strong headline and branding use. The entire family consists of one weight and five widths. Karol Mularczyk and Małgorzata Bartosik worked on the project under the creative direction of Mateusz Machalski.

Carefully messy, sweetly odd, this friendly family conveys a cool - but warm - organic feel. With mixed letterforms and somewhat unexpected choices here and there, each font brings a handful of alternates for a nice natural look: there are five alternates for letters, three for numbers plus alternates for punctuation marks. All cleverly programmed into Contextual Alternates feature to instantly cycle at your command. This is not an usual font. Is that one just strange enough to nicely fit a wide range of designs, carrying your idea with plenty of personality. Quite cool. Hand it!

Aima Font Duo A sweet signature font, casual and dynamic with a dancing baseline. Also available Aima Display to help you mix and match it to fit your creative work in harmony. all to add an authentic touch to your designs. perfect for Branding, Logos, Greeting Cards, Wedding Stationery, Quotes etc. Files included: Numerals & Punctuation Stylistic Alternates & Ligatures PUA Encoded Characters Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :) Happy using

Easy Peasy is a cute and playful display font. Relaxed and a little bit quirky, this font is the perfect fit for all of your logos, branding, posters, and crafty DIY projects. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : • Regular version • Character set A-Z in uppercase and lowercase • Numerals & Punctuation • Accented Characters • Multiple Languages Supported • Format File: OTF Recommended to use in Adobe Illustrator or Adobe Photoshop. If you have questions, just send me a message and I'm glad to help. Best Regards, Supersemar Letter

I am a firm believer in the fact that breakfast is the most important meal of the day. So, for the last 10 years (ever since I became a father), I have been serving my family a healthy breakfast. I live in The Netherlands, so the main portion of breakfast is bread, but I try to serve something ‘nice’ every day. Like strawberries, yoghurt with banana and brown sugar (not too much sugar!), oatmeal porridge or granola. I myself like Indonesian fried rice (nasi goreng) for breakfast, but I am afraid my kids won’t eat that in the morning… Power Breakfast is a handmade display font. Yes, it is wobbly, yes, it is uneven, but that’s what’s so darn good about it!

ITC Lubalin Graph® was initially designed by Herb Lubalin and drawn to fit the requirements of typographic reproduction by Tony DiSpigna and Joe Sundwall in 1974. Its underlying forms are those of Lubalin's previously released ITC Avant Garde Gothic, but its shapes were modified to accommodate large slab serifs. Its condensed weights, which include small caps and oldstyle figures, were later additions by Helga Jörgenson and Sigrid Engelmann in 1992. The family, with its generous x-height and overall tight fit has come to represent the typographic style of American graphic design in the 1970s. The typeface is at home when paired with mid-century modern design and spare sanses or more traditional text faces from the period. ITC Lubalin Graph covers four weights in its condensed width from Book to Bold, and five weights in its normal width.

Gready is a swirly brush typeface. With happy swashes and funny curves, this comic lettering has a flowing and soft character and a greedy, optimistic personality. Use it for a fresh, tasty ice cream or food store logo, a cartoon headline or any playful context speaking to the child within us. Drawn and created by Mans Greback, this modern paintbrush font family comes in four styles: Thin, Regular, Bold and the crazy Outline variety. Gready is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The astype series Accolades A offers the designer a fine balanced set of calligraphic swashes, swirls and floral ornaments. The shapes are in systematic order and harmonize in contrast and detail. The shapes can be combined easily and the advanced designer can build hundreds of sophisticated compositions. No matter, whether packaging lables, invitations or greeting cards - every assignment with the need of a delightful appeal will be served well. Accolades A and A2 share the same base set of ornaments but differ in some of the major shapes. Despite these differences, the total width of the shapes will be always the same. If you are looking for some good companion fonts, give Gracia and Adana a try. Every classic high contrast stroke design like Didot or Bodoni works well. Note: To look perfect, adjust the size of the ornament font to fit in contrast the design of the companion font. So if you use a Bodoni font as companion, try to match the thickness of the thinnest part of a upper case Bodoni letter with the thinnest part of a shape from the ornament. Note 2: Each package comes with a technical documentation and an InDesign2 sample file.