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. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

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. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Introducing Deception—the sub-pixel typeface that’s about to blow your mind! With ten captivating effects, this font is a must-have for anyone looking to create unique and eye-catching designs. Deception Array is the perfect choice for modern architectural themes, with wide blocks reminiscent of a digital VU meter. Deception Bars gives your text a mesmerizing look, like it’s being viewed through lenticular glass. Deception Blocks approximates the heavy JPEG degradation and pixel sharpening glitch effects that are all the rage right now. Looking for something flashy and prestigious? Try Deception Diamonds with a glow effect. Deception Lines can produce a grayscale effect or banding depending on resolution and rendering type, so keep experimenting to see what works best for you. Deception Particles echoes the look of impact printers or laser-etched sell-by dates, giving your text a vintage feel. Deception Plusses radiates positivity with its energetic design. Deception Process simulates grayscale LCD text or a thermal printer on the fritz, perfect for creating a unique and edgy look. Deception Scanline duplicates the appearance of television picture tube text rendering, ideal for recreating a videogame or retro computing vibe. And if you’re feeling daring, Deception System smacks of 1-bit dithering gone completely haywire! Each style of Deception is available in Regular and Bold, with OpenType fractions, numeric ordinals, and plenty of currency symbols included. So what are you waiting for? Try out Deception today and take your designs to the next level! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

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. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

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. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Brave Factor is a display font mixture of the script font features providing capital letters in round, adorable proportions. Such round letters express so smooth, warm, friendly nuances that it is suitable to create attractive, fun nuances. In spite of the big, round shapes, this font maintains the original script font features, which are still legible, such as the smooth curves elements and the unique scratches flowing in some of the letters. Such script elements can add beauty and personal touches to the font. Some of the letters may have curvy curves, while the others have sharp ones to show you interesting visual dynamics and to liven up the font. Furthermore, the font’s letters have been carefully crafted to be as legible as possible without ignoring its aesthetic parts. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Brave Factor fits best for any design projects requiring prominent, yet friendly displays such as titles, logos, posters, brandings, advertisements, and so on. 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.

Night Scream is a spine-chilling display font that brings a horrifying twist to your designs. With its big letters and bold weight, this font commands attention and instills fear. The details of the letters are carefully crafted to resemble menacing plant roots, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, demanding to be noticed. The large size of the letters adds to the font's imposing presence. The root-like details in Night Scream give the font an organic and otherworldly appearance, reminiscent of sinister, twisted plant life. These details add an element of the unknown and create an atmosphere of dread, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Night Scream fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Scary Notes is a spine-chilling display font designed to evoke fear and horror. With its big letters and bold weight, this font demands attention and is sure to send shivers down your spine. The details of the letters are meticulously crafted to resemble brush strokes, adding an unsettling and handcrafted touch to the font. Each letter in Scary Notes is bold and commanding, creating an impactful presence that cannot be ignored. The big size of the letters adds to the font's intensity. The brush details in this font give the font an organic and chaotic appearance, reminiscent of chilling hand-painted writings. These details add a sense of unpredictability and terror, immersing the viewer into the world of horror and fear. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Scary Notes fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Creepy Tales is a spine-chilling display font that will send shivers down your spine. With its big letters and bold weight, this font demands attention and exudes fear. The horror theme is brought to life with meticulously crafted dripping ink details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters further intensifies the font's haunting presence. The dripping ink details in this font give the font an organic and unsettling appearance, as if the letters are oozing with dread. These haunting details add a sense of macabre and create an atmosphere of suspense, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Creepy Tales fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Thanks for checking my font’s work, Neiva Flowers typeface. It’s postmodern script font. Neiva Flowers have a feminism styles and ethnic curves. Very perfect for adding unique and slegant character to your branding project. Also, Neiva Flowers font is suitable for wedding lettering, beautiful touch in your all graphic design. This font have two styles, regular and italic. It contains a full set of lowercase, uppercase, punctuation, numeral and multilingual support. Neiva Flowers typeface also can support your design to be more better. You can use it in lettering, wall painting, cover, advertising, invitation, card, feminism design, script lettering design and more.

El Grosa, this is an amazing work. Why? ... because this is not just talking about fonts, but more than that, with the spirit of Spain, el grosa invites you to explore with your wild ideas, I'm sure this will really make you feel happy in creating the work that you will wake up to the front. Supported by 3 font choices that are very sweet and also strong, el grosa answers all your difficulties in choosing font support that suits your taste. What are you waiting for, have el grosa as soon as possible. Bella Ciao !!

Proudly present, Artes groovy layered display font. Inspired by bubble letters in graffiti art and retro style design, it produces a display font with a fun style that is perfect for the design needs of posters, flyers, covers, titles, logos, packaging, t-shirts, branding and various needs that require a unique display font. Activate the Contextual Alternates feature so that the shape of the character changes according to the shape of the character in front of it, and Activate the Stylistic Alternates feature to change the number characters into bubbles that you can use as additional elements in your design.

This time the font's name is meaningless. Maduki doesn't mean 'cool' in Swahili, nor does it mean 'cup cake' in Sranantongo. It is just a nice name. Maduki is a playful font, created with one of my 2 year old son's marker pens (the 'no stain, wash-out' variety), a couple of cups of coffee and a whole bunch of 'speculaas' cookies. Now you're wondering what speculaas is, right? I'll tell you later - in a couple of fonts... Anyway, there's not much meaningful to say about Maduki font. It is nice, it is cute and it comes with alternates!

Blue Pastel - Display Font is a bold and retro-inspired font that exudes uniqueness and groovy charm. Its display style makes it a perfect choice for various design applications. Whether you need a font for logos, branding, headlines, titles, posters, or a modern twist on retro designs, Blue Pastel is the ideal font to add a touch of nostalgia and contemporary flair to your projects. The bold display style of Blue Pastel immediately captures attention and adds a strong visual impact to your designs. Its retro-inspired elements evoke a sense of nostalgia, taking your audience on a trip down memory lane. The font's unique and groovy appearance sets it apart from traditional serif fonts, making it a great choice for those seeking a distinctive typographic solution. Whether you're creating a vintage-inspired logo, designing a groovy poster, or adding a retro twist to modern branding, Blue Pastel - Display Serif Font offers the versatility and character needed to elevate your designs to new heights.

Signature Script, Monoline Script, Monoline Signature, Wedding Font, Ballpoint Font, Wedding Font, Wedding Invitation, Romantic Font, Feminine Font, Signature Font, Beautiful Font, Pretty Font, Stylish Font, Modern Font, Chic Font, Feminine Font, Wedding Font, Romantic Font, Romance Font, Handwriting Font, Hand Written Font,

HEY YOU GUYS! Goondocks PB is a faithful recreation of the titling font from 1985 film, "The Goonies". This was a lot of fun to recreate and flesh out, and it has that purposefully awkward appeal that a lot of Pink Broccoli fonts are imbued with. With a pseudo unicase styling, wonky blockish style lettering, and that visceral tieback to the 80's, Goondocks brings back fond memories, perfect for those unorthodox creative designs.

Graffiti Bomerang is a bold display font that captures the rebellious spirit of street art. Its thick, uppercase letters feature jagged edges and unique embellishments that evoke the look of spray-painted graffiti. This font is perfect for creating eye-catching titles and headlines for urban-inspired designs, music posters, and other projects that require an edgy and daring style. The font’s bold and unapologetic personality is sure to make a statement.

Introducing our latest font, which features fluid and flowy curves reminiscent of liquid. This font's contemporary style makes it perfect for use in headers and futuristic designs, adding a creative touch that's sure to catch the eye. Its elegant and modern appearance creates a striking impression, making it ideal for designs that need to stand out. With this font, you can create a unique and eye-catching look that's perfect for any project.

Lesthone is a display font that seamlessly merges vintage aesthetics with modern elegance. The rounded shapes of Lesthone contribute to its friendly looks. Each letter has its own personality, and this contributes to the font's handcrafted appeal. On the other hand, the most standout characteristic of Lesthone is its slightly rough texture that add a rustic charm. This font includes beautiful ornaments as a bonus. Lesthone fits in headlines, logos, branding materials, and many more.

Happy Ramadan is a delightful display font that captures the spirit of the sacred month with a touch of playfulness and warmth. Happy Ramadan is not just a font; it's a celebration of the Ramadan spirit with a playful twist. It's a versatile choice to convey cultural richness, joy, and a welcoming atmosphere. The characters in Happy Ramadan are crafted with soft, rounded shapes that evoke a sense of joy and friendliness. The font's letterforms resemble bubbles, creating a unique and whimsical appearance that adds an element of fun to your text. In addition, you can also enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Happy Ramadan fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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.

Introducing Featherful, a handwritten brush font that embraces the bold and vibrant strokes of a paintbrush. With Featherful, you have a handwritten brush font that speaks the language of artistry. The characters in Featherful boast generous proportions, ensuring a visually striking impact in any design. The thick weight enhances the font's presence, making it suitable for various creative applications. What sets Featherful apart is its rounded letter shapes, creating a friendly and approachable vibe. The details within each letter mimic the expressive strokes of a paintbrush, adding an authentic and artistic touch. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Featherful fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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.

Rome Ionic is a serif display font inspired by architectural features in ancient Roman building columns. The Ionic columns are taller and slender compared to 'Doric and Corinthian' columns. On the Ionic Capitol column, there is a geometric spiral like a paper roll. We used those elements in this roman style font. The base of this font is serif shaped, more slender and towering, and equipped with 8-18 stylistic set alternates. This is the development of the basic shape on which we added spiral ornaments to the left and right. This serif font's characteristic is soft and simple, not sharp and complicated like Doric and Corinthian. The composition of the softness of the basic and alternate fonts does not reduce the splendor of this font. We complemented this font with support for the Latin extend as an analogy to the Roman region. Rome Ionic is perfect for 'impressive luxury and power' designs. With this font, your branding will show the robustness and refute the splendor of other products.

Introducing “Hefuma Font” – Where Playfulness Meets Typography! Dive into the world of creativity with Hefuma Font, a playful display font that’s set to infuse charm and imagination into your designs. Hefuma Font adds a delightful twist to your projects, making it ideal for anything from children’s books to eye-catching posters. Its whimsical style captures attention and brings a sense of joy to your work. Crafted with meticulous detail, Hefuma Font’s unique design invites readers to explore your content with curiosity. Its playful appearance radiates creativity, making it the perfect choice for projects that aim to stand out. With Hefuma Font, the possibilities are endless. Use it to inject a sense of fun into your designs and watch as your creations come to life with personality and flair. No matter the creative endeavor, Hefuma Font is your trusted companion for adding a playful touch to your work. Embrace the world of creativity, and let Hefuma Font elevate your designs to new heights. – PUA Encoded Characters – Fully accessible without additional design software.

Are you planning to do an amazing piece of work to make lots of people smile happily while taking your hat off every time? If so, this is the right time to give your work a little touch with a sincere and elegant writing. Introducing Billiboldy- A New Bold Script Font Billiboldy is a cursive and thick lettered handwritten bold script font, crafted to give your headlines and logotype projects a stylish touch. This font reads as strong, dynamic and can add tons of nostalgic character to your designs. This font includes Multilingual Options to make your branding globally acceptable. Features: - Ligatures - Stylistic Sets - Multilingual Support - PUA Encoded - Numerals and Punctuation - Special underscore character 7 style - Special doodles for front and back of letters or sentences Thank you for your visit and downloading premium fonts from Gie Studio

UXB Stencil and its companion UXB Spray contain both the stencil and the sprayed letters in two fonts. The font is a headline display uppercase only character set, which is duplicated in the lowercase keys, identical in form (except for an alternate “Z”). No need to remember to hit the caps lock, the font will work with lowercase key strokes. UXB Spray is also a headline display uppercase only character set but, includes a few “drip” characters (find them in the lowercase key positions) these apply when you have held the spraycan over the stencil too long and made a mess. Use separately or together for a maximum design explosion. The fonts used together with color can create many nice design effects- by offsetting characters and putting one font in front of the other for a second effect. UXB it’s an emergency.

Introduction to Bages – Bubble Font Bages – Bubble Font is a dynamic and cheerful display font, inspired by the playful shapes of bubbles and balloons. Ideal for catchy displays, this font captures attention instantly, making it perfect for creative and fun-filled projects. Design Features Every character in Bages – Bubble Font mimics the round, buoyant nature of bubbles. The design incorporates smooth, rounded edges, giving a floating effect akin to balloons. This unique style brings a joyful and lively flair to any design, ensuring it stands out with its playful aesthetics. Versatile Applications This font’s versatility is noteworthy, suitable for a variety of design purposes. It’s excellent for party invitations, children’s books, and marketing materials, adding a fun twist to traditional text. Moreover, its engaging style is ideal for educational content, making learning more appealing to young audiences.

Stay Drips is an interesting, unique font in capital letters with uneven edge lines and ink drop details to give lovely, dynamic visual effects. The letters have soft brush wipes, and the ink drop details on some letter parts show a unique nuance of organic and artistic touch. The font’s unique, flexible characteristics can carry on various design styles such as formal, creative, and experimental ones. Designs with this font will express strong, amazing, unique impressions. In addition, bright and contrast colors will outstand this dynamic font that is more applicable for big text sizes to be greatly legible. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Stay Drips fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. 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.

Playful Garden is a display font inspired by garden plants, such as flowers, leaves, and other plants. The letters are round and organic portraying natural shapes of garden views. This font’s unique characteristic is that all of the letters are in capitals to show dramatic, prominent displays. Such big letter sizes help emphasize the messages delivered. Furthermore, such a garden-themed display font is able to create calm, quiet situations to apply for nature designs or organic and eco-friendly products. Overall, it is the right option for you to show unique, interesting displays. Moreover, Playful Garden provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Playful Garden fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. 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.

Introducing “Zonttife Font” – Embrace the Summer Vibe! Unlock the essence of summer in your designs with Zonttife Font. This stunning display font is your gateway to infusing every project with the vibrant spirit of the season. Zonttife Font’s unique style instantly transports your text into the heart of summer. Whether you’re working on beach-themed posters, sun-soaked party invitations, or any other creative endeavor, this font will bring your designs to life with a touch of summer magic. Crafted with meticulous attention to detail, Zonttife Font ensures that your text radiates the warmth and playfulness of summer. Its versatility shines through in various design applications, from tropical brochures to poolside banners. But that’s not all – Zonttife Font also supports multiple languages, making it accessible to a global audience. No matter where your creative journey takes you, Zonttife Font will help you express the sun-soaked vibes of summer. Embrace the summer vibes and let your designs bask in the sunny glow of Zonttife Font. Elevate your creativity and infuse the spirit of the season into every project. – PUA Encoded Characters – Fully accessible without additional design software.

Vintage Stage is a gracefully designed script font that captures the essence of classic calligraphy with a modern twist. Crafted with a weight that is delicately balanced—not too thick nor too thin—this font offers a subtle elegance and a versatile appearance. The consistent sizing ensures that the font maintains a rhythmic flow, resembling traditional handwriting, but with the clarity and readability required in contemporary design. The relatively low contrast of the strokes further enhances the font’s legibility while maintaining a soft and approachable feel. One of the most captivating characteristics of Vintage Stage is the inclusion of swinging ends on select letters. In addition, enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Vintage Stage fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. 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.

Introducing our new product the name Valenzka Vintage Serif Fon. Modern Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

Zombie Brush is a haunting script font that brings the undead to life with its eerie charm and brush-style appearance. Designed intentionally in large letters, this typeface commands attention and exudes a sense of horror and intrigue. Each letter is meticulously crafted with brush-like strokes, adding a touch of handcrafted artistry to the font. The brush-style appearance of this font evokes a sense of chaos and unpredictability, as if the letters were created by an unsteady hand under the influence of dark forces. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Zombie Brush fits in headlines, logos, movie posters, flyers, branding materials, print media, editorial layouts, headers, and zombie-themed projects. 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.

Rossaline Handwritten is a lovely script font of which characteristics are the connections between letters to look like a naturally connected handwriting that leaves the impression of this font being organically, spontaneously written in order to add a firm personal touch. This font has various line thicknesses to show high letter contrasts to strengthen the font’s firm, clear impressions. Besides, the letters’ height variety, meaning that some of the letters are higher than the others, makes Rossaline Handwritten more interesting and dynamic. However, the connected letters can cause difficulty to read in small text sizes, so that you need to be more careful to use this font by adjusting it to your needs. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rossaline Handwritten fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. 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.