Croog is a rounded geometric monoline typeface, built in three weights with true italics. Inspiration for this typeface was derived from FF Roice, with desire to create typeface less spicy or unconventional in appearance and more neutral, calm and friendly to use. Squarish in proportions, monoline letterfoms gain more readability by having short rounded serifs and terminals. The typeface is ideal for use in display sizes, though is quite legible in text. Croog is released as OpenType single master with a Western CP1252 character set.

Drone is a deliberately misproportioned typeface, inspired by hand-drawn lettering found in Spanish/Hispanic Catholic churches in the Philippines and Los Angeles. These naive letterforms appeared to be ‘copies of copies’ – and in aiming to recreate the beauty of the Vatican and the Sistine Chapel they instead created something unique with its own charm and beauty. As a curious aside, the forms are reminiscent of those found in 16th century English calligraphy too. Drone is available in two styles: No.666 and No.90210.

Designed at ParaType (ParaGraph) in 1992 by Vladimir Yefimov. Based on letterforms of Firmin Didot, a French typographer from the 18th century, ITC Didi, of 1970, by Herb Lubalin and Tom Carnase, and Russian typefaces of the 18th-19th centuries. A little extragerrated decorative stylization of letterforms in the spirit of Modern Serif, with elements of an irony. For use in headlines, in advertising and display typography. Improved and added with Extra Bold, old style figures, ligatures and other symbols in 2010 by the same author.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Modern Neon is an audacious display font that combines the allure of neon lights with an array of captivating lines. With its uppercase letterforms, this typeface commands attention, creating a visually stunning experience that leaves a lasting impression. The defining feature of Modern Neon lies in its bold and adventurous lines that adorn each letter. These radiant lines flow dynamically throughout the characters, adding an element of complexity and intrigue. The interplay of these luminous lines creates a visual spectacle, captivating the viewer's gaze and drawing them into a world of electrifying typography. Inspired by the vibrant glow of neon signs, Modern Neon exudes a futuristic energy. The font's luminosity casts a vivid hue, evoking a sense of innovation and modernity. Each letter pulsates with an otherworldly glow, creating a striking visual impact that cannot be ignored. Each letter of this font has been meticulously crafted to strike a balance between legibility and decorative intricacy. The interconnected lines add depth and movement to the characters, enhancing the overall composition without compromising readability. The result is a font that exudes creativity and boldness while ensuring your message remains clear and impactful. You can also enjoy the various features available in this font. Enjoy the various features available in this font. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations The strong and bold strokes demand attention, making this font perfect for headlines, titles, and impactful statements. Whether you're creating posters, branding materials, digital artwork, or anything in between, this font will add a daring and captivating element. It particularly shines in applications related to technology, gaming, fashion, and futuristic themes. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Lettres d’amour! Flirting, fashionable, provocative, emotional, casual, moderate, extremely sensible & beautiful - Liza Pro covers it all. Liza Pro, Underware’s dear creation, is a live-script typeface. Thanks to its extremely intelligent OpenType architecture, she approaches human hand lettering as closely as technically possible. Liza Pro deeply analyzes the text. Out of a stock of 4000 hand crafted characters, Liza creates the most optimal combination. All of this works automatically. All you need to do is start typing your lettres d’amour, and Liza makes the text always look different. She gives your creative piece the impression par excellence. Erotique mais intelligent. She is as clever as we could imagine. She kept all folks at Underware busy for a couple of years. It all started one rainy night back in May 2004 but quickly changed into a fatal affair exceptionnelle. But now, 5 years later we are quite sure: this is something serious. Yes, we are talking about real love. L’amour pour la vie. Liza Pro has Underware’s world-dominating Latin Plus character set, supporting a total of 219 languages (Latin 1 + 2 and beyond). Liza Pro is a package of 4 fonts which work together. Liza Display Pro rocks the script lettering to the max. The build-in Out-of-ink feature, LetterSwapper and Protoshaper makes this font a realtime-digital-calligrapher. She’ll swash up your text drastically, giving long strokes, loops and swashes to letters if their context allows. Liza Text Pro has a more silent, moderate character - she’s well behaving sister of Liza Display Pro, designed to walk long pieces of text in a lively script style. Liza Caps Pro adds more possibilities and functionality to these two script fonts. It bridges the gap in case running script lettering doesn’t do the job, but it also works perfectly on its own. Every capital letter appears in various shapes to obtain the manual lettering feeling. Liza Ornaments Pro is for extra delicatesse et est plus charme. Four heart winning fonts, pour la langue l’amour!

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink Neue is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink Neue adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. With three different widths, Flink is a true all-rounder. Geometric fonts are usually quite wide, which often leads to text-settings problems with headlines or small print. The Condensed and Compressed variants of Flink Neue solve this problem easily. This font family comes along in 18 weights from Thin to Black with matching Italics. There are almost 1400 characters per style, including nine stylistic sets that offer variations to the look and feel of Flink Neue, making it even more versatile. Besides the default mood of Flink Neue, there is also a Text and Bauhaus variant, where different letters have been changed to create a new mood. In theory, you just need one single font file to change between all three moods, but to make it easier for you, we also exported each mood within a separate file. Plenty of additional Open Type Features like ligatures, small caps, case sensitive forms, old-style figures, tabular figures and symbols make Flink Neue a valuable tool for the discerning typographer. Flink Neue is the reimagination of a classic genre, designed to suit the needs of our time.

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

A freely drawn heading face prepared in 1912 by Lucian Bernhard for Bauer. The typeface enjoys a vogue in Europe.

A casual, inline party font. Hubbub is always relaxed and confident in every social situation. comes in regular and bold.

Accurate handwritten font with dots and lines. In small sizes it looks especially good in the texts of history books.

Designed for ParaType in 2002 by Sergey Volhonsky (Moldova). An original calligraphic script for use in advertising and display typography.

Based in Manuel Corradine's handwriting, Mucura is a very spontaneous font. It could be used in almost any informal project.

Based in Manuel Corradine's handwriting, Zape is a very spontaneous font. It could be used in almost any informal project.

Alessandro Butti designed the Quirinus font, released in 1939. Quirinus is a headline font with a strong contrast in strokes.

Jan Koller designed the Banner typeface family especially for the creation of animated web banners. Banner is best used at 80p without antialiasing. The family comes in 24 styles which, in combination, create great, unusual screen effects. Three different animation modells provide the basis: extrusion, cutting in/out by ‘pixelation’, outline pixel rotation. The available flash clip listed in the Related Links below demonstrates some of the effects. Take a look! The swf clip runs in any web browser (drag & drop) but you need the flash player plugin. Apart from animation use, Banner also works well in print. Since all 24 styles are identical in width and kerning, you can set several styles on top of each other, maybe using different colours for each style. Look at the nice effects yourself!

Bramante™ is an original display font by LetterPerfect Fonts, designed by Garrett Boge in 2020. It is modeled after a fifteenth-century inscription in the church of Santa Cecilia in Trastevere, Rome. The name is a tribute to the pre-eminent Renaissance architect Donato Bramante, whose Tempietto (1502, San Pietro in Montorio) marked the beginning of the High Renaissance in Rome. In 1503 he was named lead architect for the new St. Peter's Basilica, which was completed by Michelangelo, Maderno and Bernini a century later. Based on the pervasive use of Adobe Trajan as a classical-inspired titling face, LetterPerfect offers this Renaissance revival of imperial Roman capitals as an alternative with additional refinement and personality. (The full size capitals are complemented with small capitals in the lowercase positions.)

Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents. The typeface adds a fresh, bold and non-rational feeling to headlines and titles in books and posters in display sizes where emphasis and detail are equally important. Randomly-generated contextual alternates included in the family contribute to add a distinctive look to words with repeating characters, whenever they occur next to each other. The difference between the Poleno Set and the Poleno Alt Set is in the accented characters. In the first one, accents are merged with the characters and in Alt version, accents are separated from the characters.

Cyan Neue is a substantial update variation to the original Cyan we launched in 2006. Most notably the contrast has decreased making it more contemporary. Many glyphs have been improved especially in the italics. The design of Cyan Neue was inspired by features found in classic Roman. It shows a preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. There are many subtle details in Cyan Neue that become more interesting in display sizes, for instance the subtle curves in the serifs and the overall smoothness. Cyan Neue is a robust font that will exceed your expectations. Cyan Neue is clearly ideal for headlines, inscriptions, publications, annual reports, corporate identities, packaging.

The robust and contemporary sans-serif typeface Rethink, comes with strong characteristics. The typeface is made for work in text as well as in display. It features nine weights in two styles, including Small Caps, a set of contemporary OpenType functions, multiple figure sets and a rich language support. Rethinks main characteristics are the non-straight stroke endings and a slope that might come in an unexpected direction. It brings a bit of movement to the baseline and some attraction to the shapes in bigger sizes. These details are designed to ‘disappear’ in smaller sizes and to not disturb a reading process. Rethink was designed with the idea to help spreading bold ideas ond strong opinions, to support the work of activists in contemporary movements, to design statements with impact and meaningfulness.

Neon Rounded is a rounded monoline typeface inspired by retro neon light bulbs often used in signage. Neon bulbs were first seen back in 1910 in Paris. They later became popular in 1930s New York, especially on Broadway and the Las Vegas strip. Although Neon Rounded was designed with eye-catching signs in mind, its possible usage is vast. Clothing brands, road signs, logos and advertising. The heavier weights lend themselves to children's books and toys, while the lighter weights provide a more modern, futuristic feel. The typeface contains lower and uppercases in five weights: Light, Regular, Medium, Semi-bold and Bold. There are also alternatives for most letters and all numbers. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

Telemark is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. The name refers to the vintage form of skiing which was introduced in Norway at the same period of time and allowed more fluid turns. After the Telemark style was replaced by newer techniques in the Alpine countries it has experienced a rise in popularity in recent years. The Telemark type family features the three weights in an additional label style which allows an uncomplicated creation of editable pointers, banners and cartouches. Different combinations of end pieces result in a great variety of designs. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque. Details include 207 characters in three weights, a total of six styles and manually edited kerning.

Atlantis: The Lost Empire is a 2001 I made the alphabet prepared for Atlantis Lost Empire, the first feature-length animated movie of Walt Disney in 2000 years, in 2 versions in accordance with the original. It is suitable for today's use.

A comic book feature entitled “Foe of the Borgias” appeared in 1937’s New Adventure Comics. The hand lettered title was done in a slab serif Art Deco style and is recreated digitally as Classic Comics JNL in both regular and oblique versions.

CP Company Flash is the version of CP Company designed for use in Adobe Flash. Available in three versions: Big to be used at 16pt, Medium at 16pt and Small at 8pt. Originally designed to be used in the cpcompany.com web site

Macquarie Heavy was used for a logo back in the mid nineties and never completed until recently when I decided to revive it. It works very well in all-caps blocky headlines and is surprisingly legible in lowers with plenty of strength.

The script designed for ParaType in 2006 by Isabella Chaeva. Based on informal handwriting, its characters have rough jaggy contours. In small sizes, the face simulates an effect of handwriting by felt pen on rough paper. For use in advertising and display typography.

The Flowrite typeface combines timeless elegance with modern flair. It offers six weights in both regular and italic, alongside a stylish script in modern calligraphy. Designed for broad appeal, Flowrite supports 87 languages, perfect for global communication in branding, editorial, and design.

Although the Taz family was designed for newspapers, it works equally well in many other contexts. The fonts have been used in glossy magazines, sales catalogues and corporate brochures, for instance. Taz is appreciated for its readability in longer texts at medium sizes.

The Oregon Dingbat Font was created in 1995. It consists of various pictures including plants, footprints, a skyscraper and various forms of nature. The font has been published in Japan’s HyperLib magazine and used as artwork in a novel by Charlotte Vale Allen.

Designed at American Type Founders in 1930-33 by Morris F. Benton. An all-capital sans serif featuring squared-off letters with rounded corners. For use in advertising and display typography. Cyrillic version was created at ParaType by Tagir Safayev in 1997.

Estonia Regular is based on the calligraphic style found in the east European country of Estonia. The swash versions are designed to be used in conjunction with the regular version. For the full character set all in one font, try Estonia Nouveau Pro.

Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes. Use it only very big.

The poster for the 1930 film “Show Girl in Hollywood” had the title hand lettered in a squared Art Deco style with some angled cross strokes. This became the basis for Dancing Girl JNL, which is available in both regular and oblique versions.

Vario is a bold brush-based design. Created by the renowned type designer and calligrapher, Hermann Zapf, Vario offers superb emphasis for use in headlines and displays. It is availble in both regular and italic styles. Vario was first produced in 1982.

An original display typeface was designed in 2000 by Vladlen Erium for the series of international musical events. A wide Sans of distinctive letterforms with rounded corners is well used in advertising of teenage goods and modern technologies. Licensed by ParaType in 2003.

Renova was designed by Elsner+Flake in the late 90s as a contractual work. The font family comes as a typical Office pack in EuropePlus layout for at least 72 Latin languages. It is optimized for good legibility in small point sizes.

Born Strong is built with athletics in mind. The goal was to make the perfect typeface for sports teams, college football, athletic wear and everything in between. The font family supports a wide range of languages and is available in many different weights.

A reasonably accurate rendering of an old favorite font from Victorian times. Quite readable in lowercase, and very eye-catching in all-caps. We got the proof for this in London many years ago, but neglected to learn the name. Zorro sounds good.