Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

While uniqueness might be considered the main goal among type designers, our goal in this project was to be as far away from that uniqueness as possible. We designed MB Grotesk with strictest typography standards, holding fast to the type axioms long understood from the beginning of modern typography. After more than 600 hours of work — creation, production & release — the whole typeface family the MB Grotesk is a flawless branching away from the original Grotesque category. Included are 351 standard glyphs designed with geometric rules and grotesque type theories. MB Grotesk has 7 weights & their italics. It supports many languages including most languages which use both Latin and Cyrillic alphabets. We are looking toward extending this family to include condensed, extended & Arabic versions as soon as possible.

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

Moore 003 was inspired by Henryk Tomaszewski's poster lettering for the Moore Exibition (Warsaw, Poland 1959). The headline "Moore" is composed of paper collage. The lettering, in Tomaszewski's vision, contrasts in ways that recall the contrast of Moore's sculptures. It was my intention to continue this research using lettering in the form of a typeface.

Malmö Sans was born from the preconception that geometry is neutral, and neutral fonts have a wide application window. No ornaments, no quirks – just clean. Design process: establishing the main proportions, grids and library of geometric shapes. However, people are not math, people are not built from grids. We are irregular, not always logical, and, foremost, we are human. So: humanisation – define parts and areas, and make the needed adjustments to shapes and forms, although being mathematically correct. Basically, changing it into something that pleases the eye. Much effort has been made to achieve equal parts minimalism, aesthetics and legibility.

Distancia is a super-extended sans family of six weights. Inspired by stunning 70's sports cars advertisement, this typeface is designed for sheer elegance and casual experience. Distancia has its own particular friendly and warm appearance of modern touch. With its extensive and open proportions, it makes a grand appearance for your projects.

Bergamot was inspired by vintage apothecary labels, but this font is actually quite modern in both style and effects. It features all caps plus 2 sets of alternates (so, 4 total variations for each letter). The coolest part… they intermingle randomly as you type! Ok, so it’s not exactly random, but that’s the easiest way to explain what you'll see. The letters are actually coded to rotate with their respective alternates. This effect is both useful or can be purely for fun! Let’s talk about the useful part for a sec… Repeating characters are often a dead giveaway that a font is being used. And sometimes we don't want that, right? We want to give the illusion that our design has been custom hand-lettered for a particular project… and can't be recreated by another. That’s exactly what this font aims to do. The randomizing effect is built into the Contextual Alternates feature and will likely be “on” automatically in your chosen program. Alas, even random doesn't guarantee that like characters won't appear in close proximity. So for those of you with access to the “Stylistic Alternates” feature, easily change repeated letters that are near each other simply by turning this feature “on”. Voila! Custom…hand…lettering. Bergamot also features separate files for Frames & Ornaments. Check them out below.

Woolen is a hand-inked & italicized serif, based upon a 17th century type specimen by Jean Jannon. Many of the capital letters are decorated with subtle sprigs and leaves, while the lowercase letters remain classically styled, giving the font a warm and natural look with just the right amount of dignity. Woolen is perfect for logos and branding – she shines in retail identities, particularly for farms, markets, and restaurants. Even though the font is slanted, it reads beautifully as body text and display headlines. Multi-language support is included in the font.

"A kensmark is any feature or characteristic that makes someone or something instantly recognizable." Kensmark is a powerful and creative type family with a staggering 45 fonts. Thanks to a wide array of widths and weights it's incredibly versatile and flexible. It's perfect for logotypes, sports branding, posters, apparel design, magazine headlines, labels and so much more. This is by far our most comprehensive font project to date. We are very excited to finally have it released and look forward to see it in action. Caps only fonts.

Lachrymose is a word that stems from ‘lacrima’, the Latin word for tear. It means ‘tearful’, or ‘given to weeping’. Now, before y’all think I am depressed or so - I am not. I just like the sound of this word and the way it is written. All I needed to do was to build a font for it! Lachrymose is a handmade brush font. I used my fantastic Chinese ink and a cheap brush to create the glyphs. Lachrymose is a display font, so use it for anything display-ish.

Versatile egg-shaped Huevo, like all Burghal Design fonts, includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. Huevo is the head of the household known as Los Huevos. Tequila-guzzling, cerveza-swilling Huevo Loco is the boldest of Los Huevos and includes cocktail glass, olive, and eight ball dingbats. Huevo Loco can drink any other font under the table. Like most red-blooded American fonts, the favorite pastimes of Huevo Gordo are eating and couch warming, and boy, does it show!

Autobats is a set of over 100 different car and truck icons, minimal silhouettes that can be adapted to whatever context your design flings at them. The mystery of why this font has been so popular was solved when one of our customers said, “I always use this thing, because the name starts with A, so it’s one of the first fonts I see in my slap-a-logo collection”. To see all the icons available, a glyph palette would be come in handy while using the font. Honk if you like convenience. Beep beep!

Undersong brings 13 fancy hand-drawn stackable fonts which can be combined in many, many tasty ways. Layered or not, you'll see that these little ones work together scrumptiously well. For added flavor and freshness, each font brings at least 3 variations for each letter, making it for a cool natural handmade look. T-shirts, posters, book covers, packaging projects, Undersong will nicely fit many design applications. Some great font families out there are said to be workhorses. Figure this one like a work-unicorn: perfect for fantastic designs. Enjoy the ride!

Aardvark Dreams… Yes, I guess this is the first font ever to have an aardvark in its name! Aardvark Dreams is a bit of an unusual font. It is didone-ish in style, but the glyphs are slightly warped, giving them an almost liquid appearance. The Vark is a cute font for children’s books, games, posters and artwork. It could also work on psychedelic record-sleeves, but I guess they don’t make ‘em no more. Aardvark Dreams comes with a bunch of ligatures and a whole lotta diacritics!

Modesto Open is now a Chromatic Font Family. The old font Modesto Open has been improved, renamed Modesto Open Primary and joined by four new fonts that ornament and augment the Primary font in many different ways. All Caps. Modesto is a loose-knit group of Font Families based on a signpainting lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added.

Lysergic is a smoky, swirly, super-psychedelic font that exudes 1960s vibes. This font is a tribute to the work of San Francisco artist Rick Griffin, famous for his psychedelic posters, creative lettering ideas, and especially his Grateful Dead album cover art. Griffin was a master of ink stippling and that particular drawing technique proves to be a great way to embellish this style of lettering. Set your time machine to 1969 and fire up your grooviest designs with Lysergic.

When looking for a neutral typeface with no historic reminders, we always end up with notorious designs made about 60 years ago. It’s a part of the whole Trivia type system. To our surprise, there are still people who can’t distinguish three basic latin type categories. The present font family has been created for them. A simple typographic Trivia: three ways to look at printed word, three fonts to design anything from business card to a billboard, three tunes for endless variations.

Getone is an exotic font, based on the Sereno font made by the same designer. It has a modern touch which makes it to stand out, all the glyphs are designed "out of the box" to combine each other in harmonious way. Getone is coming in ten styles : thin, ultra light, light, regular, bold and italics. Is ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards as well as web and screen design.

Interstellar is inspired by science fiction movies and writings. My initial idea for the font was to be used for signage and user interfaces that would appear on spaceships and bases. However, Interstellar is very flexible and can be used in many creative ways. For example, it is perfectly suited for graphic design applications ranging from editorial, corporate, web, interaction, and product design. The font contains 400+ glyphs which includes uppercase letters, numbers, symbols, accented characters, and multiple language support. Check it out.

The name “Fiction Crusader” was generated by a random word generator. It may sound odd, but I like the feel of it. Use your imagination: what exactly is a fiction crusader? Each letter has 6 slightly different versions, and they automatically cycle as you type. A great way to make your text look more lively and vibrant! I guess that this is an all-purpose font, because I can’t think of a project that couldn’t use a font like this!

This is a leaves symbols font. Font elements are created from a base set of leaves. What that means is they work perfectly together. Professional artists and designers will appreciate all the ways you can combine these elements or use a single one for a simple elegant logo design. PSI Leaves works great for borders by simply creating a repeating pattern. Scrap-bookers can create beautiful and complex page designs with a few clicks. Thousands of uses equal thousands of ideas!

Boldina consists of 18 fonts with a lot of personality. This is a font to be mixed. That’s its purpose and that’s why it's designed as one single weight in so many different styles. My intent was to give designers a chance to use the same typeface in many different ways, putting together sans and serif, lots of italics and even Greek, Cyrillic and CE characters. The Ligatures and the Script versions give a more poetic and more accurate feeling to the text.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Tall, thin and elegant, Marian Churchland’s fonts are very much like her.. and now available from those awfully nice chaps at Comicraft to allow you to pretend that you are too! Marian Churchland was born in Canada in 1982, and was raised on a strict diet of fine literature and epic fantasy video games. She has a BA in Interdisciplinary Studies (English Literature and Visual Arts) from the University of British Columbia, and has been doing professional illustration work, including book covers and magazine articles, since she was 17. Last year, she became the first woman to solo-illustrate a CONAN story, and this year she’s illustrating three issues of ELEPHANTMEN for Image Comics. See the families related to Marian Churchland: Marian Churchland Journal.

The Tecn@ Narrow family was designed so that its characters are legible and easy to interpret in any writing and where space saving is necessary; among them, the descriptive memory of plans or instructions, for example. Tecn@ Narrow complements the Tecn@ Background Light, Dark Square & Triangle font family.

Leah is an easy-going, informal handwritten font based on the handwriting of a friend. It was digitally refined after scanning. It has been refined to ensure legibility. Leah is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Lunar is a handwritten sans serif typeface that was created for the opera Pierrot Lunaire during Diaghilev festival 2018 in Perm. There are 3 fonts in the family of LUNAR: light, regular and bold. It supports all EUROPEAN languages, basic CYRILLIC and GREECE language. It's enough to make sensation!

Copperlove was born during a very long and hard wintertime in Berlin. This font is based on Giuseppe Salerno’s Copperplate calligraphy. Oblique nib and sepia ink were the tools used to create this sublime english typeface. There are also many opentype features like alternates and beautiful swashes. Turquoise Nautica

Praying Mantis is a typeface designed by Tomass Gavars. The design was inspired by the praying mantis insect. The shapes of the mantis head, forelegs and body are represented in each glyph. Each font consists of 226 characters - including numbers and punctuation. Praying Mantis has Latin character set support.

Neues Bauen is a Bauhaus inspired font with some interesting glyphs. It is slightly rounded in places, but sharp in others and it will most certainly make your designs stand out. Neues Bauen in other words, like the style that emerged in pre-war Germany, is a statement.

At Comicraft we're always looking for new ways to help our loyal customers get more bang for their buck. There are times when when the big financial institutions turn their backs on the average working Joe, but that’s why we want to help you restructure your finances, renegotiate your commitment to font purchases... We're here to help you stretch your dollars a little further. With that in mind, our latest release is twice as wide as our usual fare and will help you make it to the end of the month in ways other fonts won't! It’s not so much a bailout or a refi... It’s more of a credit extension. I wonder what we should call it? See the families related to Credit Extension: Credit Crunch.

The latest styles Dealove font Script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Dealove font Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. This Font has given PUA unicode (specially coded fonts).

Can we get a drum roll please? It’s not every day that a new link in a best selling chain is forged. First, there was Nanami, a font which took the world of type by force, storming to the top of MyFonts Hot New Fonts list; then there was Nanami Rounded, the most successful follow-up since Terminator 2. Well, say Hasta La Vista to boring design because now, there’s Nanami Handmade. With all the geometric, Japanese inspiration and style of the first two iterations, Nanami Handmade carries a quirky, mischievous charm. The font has a charisma matched by roguish anti-heroes; bad guys you love to love and good guys the other good guys hate, but everyone knows they’re what the audience turns up to see. Nanami Handmade comes in two styles, a solid and a hand-drawn, each of which has eight weights. Mix and match between these options to create a balanced piece which makes good use of the tactile, warm, earthy nature of the font. With these sans-serif styles working well in small and large sizes, both on and off screen, Nanami Handmade’s applications are virtually endless. Get your own piece of typography’s elite now, with Nanami Handmade, by Thinkdust.

Distorted fonts are great but are mostly not very practical - 360 is an attempt to create a simple distorted font that can be used far beyond a few logos or headlines. Each 360 character averages roughly half the number of sharp angles of a regular sans serif. This gives it an unusually fresh and timeless appeal and creates a dynamic presence across body text that is very legible and compact without looking overly condensed. 360 was chosen as a name because it can be used as an everyday font, all year round, and because 360 has so many unusual angles that don't conform to normal font conventions. 360 also happens to be a cool number: 360 makes a highly composite number. 360 is also a superior highly composite number and a colossally abundant number. A circle is divided into 360 degrees for the purpose of angular measurement. 360° is also called round angle. 360 is a convenient standard since, 360 being highly composite, it allows a circle to be divided into equal segments with each segment measured in integer degrees rather than fractional degrees. 360 is the sum of a twin prime (179 + 181). A year is roughly calculated as 360 days.

GummiType is a wildly wobbly and clumsy gummy/jelly style letter font. This was a weird typeface that I originally designed back in 2000 but never finished it. Coming across it again recently, I thought it would be a fun font family to get out there. Perfect for a range of designs that require a spooky or gooey-gooey typestyle. Sometimes the inspiration for my typefaces comes from random everyday things, and this is the perfect example of that. My daughter is addicted to those little peach gummy rings and gummy worms, and gummy anything, but it was my own prior addiction to gummy peach rings that inspired this font. Pulling and distorting the ring sparked the inspiration for the droopy warped characters.

African fonts are characterised by design considerations that differ from those of Europe and the Americas. At one extreme we have a relaxed and casual approach to life that values the quality of each moment in life far more than people do in the west. In this approach each element of the font, while being part of a community, nevertheless stands on its own and has its own "character". An African font that characterises this approach is Ubuvila (the word means relaxedness or relaxation in Zulu). There is no strict adherence to a design format in Ubuvila nor are the characters constrained by resting on the same baseline. They wander up and down in the sentence and find a comfortable resting place.

This slick, marker style font was created by our fontmeister, Mr Fontastic, based on the slick, marker style of... Well, Mr Fontastic himself! Check it out in the pages of Marvel's classic DAREDEVIL story GUARDIAN DEVIL. DD scribe and indy movie maker Kevin Smith himself told us it was the coolest font he'd ever seen in his entire life! No, sorry, that is a lie, but he did tell us he liked the design work Mr Fontastic created for the JAY & SILENT BOB trades, No, seriously, he did. We wouldn't lie to you. Well, except for that last time. By the way, this font also doubles as a dynamite sound effect font, that's why we're charging you twice as much as usual. No, sorry, lying again. About the price, not the sound effect thing.

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.

Hostilica is a semi-serif family designed by mixing classic serifs in the age of romanticism era with contemporary modern shape and curves. It gives a warm, friendly, and inviting feeling without losing a formality of text fonts. Every weight was designed carefully to provide a unique look while maintained the unity of the type family. A thin weight gives your content an elegant, luxurious design feel. While the regular weight, designed for body text, gives your content a warm and friendly design feel. The bold weight will make your headlines stand-out with its fat counters and curves. Therefore, Hostilica will accomodate all your design needs, from text to display, from catchy to luxury. The italics of each weight will spice up your design project especially with letter 'f,s,r,k, and y'. Those italic versions paired with alternate and discretional ligatures will add an organic feeling to your designs. The italic styles are designed by emulating a handwriting stroke, and will give a more personal feel while still maintained a formal sense.