Lipa is the name of the Slovenian national tree 'Linden'. The typeface Lipa Agate by Croatian designer Ermin Međedović, is part of a bigger type collection, comprising various type groups into one coherent system which Ermin developed over the past 10 years. Lipa Agate is the first to be released; a sans serif designed and engineered to be used in the smallest text sizes, best under 10pt, and in very bad printing conditions. It is perfect for phone books, classified ads, directories or any other job requiring economy without jeopardising legibility. To achieve this, Lipa Agate employs a range of tools, such as deep ink-traps, narrow proportions and a tall x-height. Contemporary editorial design requires a high amount of flexibility to respond to various design situations in a consistent fashion. Lipa Agate — with its 3 levels of condensation, 4 weights and 2 sets of different x-heights, 'High' and 'Low', which share the same width — fulfils these requirements wonderfully. That's a total of 24 fonts! To make this clean and honest workhorse face complete, its large character set also includes small caps, arrows, info-numerals and much more.

Imagine being printer in the early nineteenth century, your stock isn’t the finest, your lead characters are worn out: Voilá Kandidat Rough. But wait, Kandidat isn’t the usual scan-an-old-book,-put-the-glyphs-in-a-font-and-you’re-done-font. Kandidat Rough has a variety of whopping 14 alternates for most characters. Our algorithm changes the letters automatically. All you have to do is turn on Contextual Alternates in your layout app. The algorithm is the best we’ve seen so far, and it’s so good that even same words appear in different forms. And should by coincidence words have the same glyphs, just assign a different Style Set to the first letter, and all other letters in the word will change as well (well, it depends a bit on your software). The mechanism isn’t perfect and maybe we stretched OpenType capabilities a bit over the top, but we yet haven’t seen any better routine for switching letters on the fly. Is it worth to mention that Kandidat Rough not only speaks English, but also German, French, Spanish, Dutch, Danish, Norwegian, Swedish, Croatian, Turkish and most likely some other languages? Maybe. To be sure whether your language is supported, this is the typeset of all letters: ABCDEFGHIJKLMNOPQRSTUVWXYZÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝĆČĐĞ݌ފŸŽ abcdefghijklmnopqrstuvwxyzàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿćčđğıœşšž Apart from that we also included the following punctuation and currency symbols: !"#$%&'()*+,-./:;?@[\]_{|}¡©«®°±¶·»¿×–—‘’‚“”„†•…‹›⁄≠☞ €¢$£¥ This sums up to nearly 3000 glyphs per font, and we have three of them: Regular, Italic and Bold. All neatly kerned. All in all a great repertoire for even the most demanding book or advert jobs with a look of old times. And now imagine you are sick of the rugged print experience Kandidat Rough delivers: go for Kandidat. This is our Scotch-ish ancestor the Rough version was made from. A sturdy, friendly, round, warm friend from the beginning of the nineteenth century. A bit dark, maybe. You will like it. Kandidat has the aforementioned type set plus complete Baltics, Eastern Europe and Cyrillic. Plus a couple of gimmicks like fleurons, stars, circled numbers, arrows, and, and, and… Kandidat Regular additionally has small caps for Latin based scripts (not Cyrillic). The spick and span Kandidat font set also consists of Regular, Italic and Bold cuts. The bold cut is on the very bold side and can nicely be used for headings, whereas Italic is a great companion for Regular. It took us some time and trouble to finish this project, but after all we are very proud of our little feat and hope you will enjoy Kandidat as much as we do. Enjoy!

Latinaires Pro is a new version of one of the first published Sudtipos typefaces. Now covering more latin languages and extended to 9 fonts, Latinaires is specially designed for modern brand communication and editorial use.

Caveman is a very rustic font, suggestive of prehistoric cave art when man first learned to draw and to express emotions through painting. It comes in four styles and two sets of very decorative dingbats.

An elegant calligraphy script. I named it after my hometown, Kazincbarcika. I think it looks interesting written down.The first letter I designed was the initial "K" and I have built the whole set around that.

Latinaires Pro is a new version of one of the first published Sudtipos typefaces. Now covering more latin languages and extended to 9 fonts, Latinaires is specially designed for modern brand communication and editorial use.

Designed at Polygraphmash in 1958 by Elena Tsaregorodtseva; Latin characters and italic were added in 1987 by Emma Zakharova. An early sans serif ('Grotesque'), it was developed for primers and the first level school textbooks.

Peperoncino is a sans serif font. Designed first with a marker, the irregular strokes create a fresh handmade feeling. After the big success of Peperoncino Family, we create its vintage version adding some "rusted" elements.

This typically handwritten script fonts are based on my own handwriting. First release of the Hybi4-Script was back in 1999. Now it’s renewed and completed with many more special characters and a bold style.

Alokary is aesthetic sans serif typeface that look elegant and timeless inspired by beige and forest green color, it is Perfect for Logo brand, marketing material, advertisement, product packaging, social media post, clothing or fashion brand, magazine headers and many more complete with ligatures alternates regular italic icon kerning multilingual support

After having finished Pondicherry font, I stayed in the 'Indian Mood' (so to speak) and named this font after another Indian city. Bombay Blue turned out to be a handsome typeface with a flirty air, suburban chic and just enough sleaze to keep everyone happy. Comes with a diacritical pantheon.

I just finished book 8 of The Expanse (by James S.A. Corey) and the name Takeshi popped up somewhere, so I decided to use it for this font family! Takeshi is a hand made set of fonts: a fat display font, a thinner complementary font and a doodle font. Enjoy!

Kraft Stencil is a bold, display typeface that takes a new approach to vintage crate stencils. Utilizing octagon shapes as the backbone, the aim was to develop modernized stencil fonts. The font family comes in three weights, and each style consists of the different edge finishes of the character sets.

This design from Ray Larabie (and adapted by Jeff Levine) is so unusual. The lettering lends itself to messages of sinister intent or horror movie titles. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

The Qobliyah font is beautiful, elegant, and luxurious – that’s what you get when you use our font set. This font is easy to install and use in programs like Adobe Photoshop, Illustrator, InDesign, and Word, among others. Each font is designed by a professional graphic designer to ensure a flawless finish.

It is a Latin-based Greek font that I developed by taking the typography used in ancient Greek monuments and inscriptions in cities in the Aegean region of Turkey as an example. I am working on the Latin font of this model. Karamanli version is finished, I will upload it soon.

Hadron is a fusion of gothic black letter and foundational letter forms. It has a heavy flat pen influence but is combined with more modern letter forms for increased legibility over that offered by black letter fonts. Unlike most black letter fonts, Hadron can be set all caps using the first level of caps. A basic design kernel based on the caps “O” and “H” was created first. These letter forms consist of an interplay between curves and straight lines with abrupt transitions and also possess some of the geometric crispness of a modern sans serif. The rest of the Hadron font was developed around this “O” and “H” kernel. This font could be used for any application requiring a formal black letter or foundational lettering look. Hadron could also be used for invitations, brochures and posters. The first level of caps and lower case is basic enough to set a large body of text. It could also be set all caps at that level.

Galigo is a captivating hand-drawn font that seamlessly blends artistic flair with versatile functionality. This unique typeface showcases a delightful variety with both light and regular forms, allowing you to effortlessly convey different moods and styles in your projects. Whether you're designing invitations, posters, branding materials, or any other creative endeavor, Galigo provides the versatility to express your ideas with finesse. Features: Regular & Light Uppercase & Lowercase Basic Latin Glyphs Multilingual Support Numeral and Punctuation Ligatures & Alternates Thankyou for picking up this font, hope you enjoy it. Regard. Grontype

BluHead Studio continues its collaboration with British designer Roy Preston by producing Krete, Roy’s latest text family. This first release of 12 weights includes Light, Book, Regular, Medium, Bold, and Black, each with a drawn italic.

This font is influenced by the advancement in graphic computer technology that has evolved since the first basic pixilated computer games. This typeface aims to be bold and brazen. The fonts primary function is heading use.

TCF Colar is the first typeface published by portuguese type designer Joel Vilas Boas. TCF Colar is a labyrinthian, caps only, display typeface with several stylistic alternates and discretionary ligatures, inspired by the late 70s typefaces.

An original design based on the Frederick Goudy design first shown in 1912. Originally a caps only design in one weight. Produced as a foundry face by Lanston Monotype 1924. Featured in: Best Fonts for Tattoos

DearJoe 1 is the first of four handwritten scripts by JOEBOB graphics. It is not the same as the free font. It includes a complete character set with numbers and most (but not all) special signs.

Based upon remnants of the Ludwig & Mayer font Magnet, first released in 1951, this Italian-style design was completely redrawn and extended for most main European languages, West and Central, plus a character set for Turkish.

The Yearbook font family contains Yearbook Filler, Yearbook Outline, and Yearbook Solid. Yearbook evokes traditional Slab-Serif lettering used by high school and college teams; the first two of these faces are designed to be superimposed.

Dolphus-Mieg Monograms is a collection of monograms from a rare cross-stitch booklet from the first year of the 20th Century. This new Monograms series was entirely designed by hand, without use of auto-tracing.

Doublethink was developed from lettering drawn in the 1960s by Vinko Ožić-Pajić and used on the shop fronts of Yugoslavian state-owned clothes company Standard Konfekcija. The original design has been reinterpreted and expanded and is offered as a two weight typeface—Doublethink Medium and Doublethink Bold Inline. Standard Konfekcija was established first as a military fabric company and later became the premier fashion brand outlet in the Communist state of Yugoslavia. It is famous for being the first shop in the country to offer plastic bags (Standard Konfekcija stores ceased trading after the fall of Communism).

Swan Song is a digitization of gorgeous free form calligraphy by British artist Rachel Yallop. It first appeared in The Calligraphy Source Book edited by Miriam Stribley (Running Press, 1986). Rooted in day to day handwriting, Swan Song is a quick and irregular artistic jolt at first impression, and surprisingly richly-textured art at second glance. Whatever these letters are used to communicate, the communicator is content, confident, humorous, strong and experienced, and the reader will be glad to receive the personal contact of such a communicator. Swan Song comes in all popular font formats, and includes plenty of built-in alternates.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow (soon), Normal and new Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Expanded, Wide, Normal, Narrow and Condensed The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs that each include true small caps, Cyrillics and a rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

'Obvia' appeared as a result of direct observation on typefaces classified as geometric and the plan to explore for the first time width axes Condensed, Narrow, Normal, Wide and Expanded. The idea behind 'Obvia's design was to create a distancing from geometrically pure shapes, in this case, square shapes. Then some details were added, such as subtle inktraps, concave endings of the stems and carefully drawn alternate characters, giving a 'geohumanist' tone to the font. This first family of 'Obvia' has 9 weights ranging from Thin to Black, delivering a strong typographic identity, from the paper to the pixel.

Hello Buena - From Wood to Digital Type Buena is the first word I read on a letterpress paper, printed by my colleague and friend Wolfgang Wick. I was fascinated by the power of this fat wooden letters at first glance. So I started to create a digital version of it and »Buena Black« was born. Due to the fact that the original punches had only upper- case glyphs, I created the lowercase characters by myself. After that it was time to design the family... Buena is full of OpenType features. To get fully acces, go to www.mazefonts.de and Download the Type Specimen.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

Fleurons are embellishments and here is my third and so far nicest round. I found some old ones in London and made them more modern ones. These go very well with my scripts Nadine and Ellida and a lot of my other scripts!!! Yours once more in a beautiful mood, Gert Wiescher

Barbara D. Berney (a graphic artist and friend of Jeff Levine) had suggested making a font featuring many of the ampersands from Jeff's large library of type, noting their popularity as decorative embellishments. And So Forth JNL is the finished font - loaded with hundreds of ampersands in a wide variety of styles.