Caracas is a new family of sans serif fonts, looking friendly, sweet and comfortable to read. Where text flow between straight lines and round by becoming transparent in the interest of readability. Caracas is ideal for working in small letters and texts of a technical nature. Caracas is a humanistic approach to reading sans forms.

Frantic Pace JNL is based on hand lettering found on the lid of a late 1950s or early 1960s edition of the Print Craft alphabet printing set once manufactured by the Superior Marking Equipment Company of Chicago. The free-form spurred serif lettering is fun and casual; giving the impression of movement or action.

The type design which inspired Stencil Maker JNL comes from a 1920s-era machine used in movie theaters of the day. It rendered tiny punched out letters (some characters solid and some in stencil form), enabling the user to make projection slides of important messages or general notices for the theater audience to read.

ITC Redonda is the work of Montreal designer Gerard Mariscalchi and based on a common style of 19th century French handwriting. It comes with two sets of caps, both highly flourished, which are complemented by a refined lowercase. ITC Redonda is a distinctive upright script with intricate forms and will lend elegance to any application.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs. Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch. Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above. Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos. Altogether these three typefaces form 36 styles – each supporting numerous Latin-based languages as well as major Cyrillic languages. In roman styles the Cyrillic script comes in two flavours accessible via OpenType alternates – to choose either more traditional and curvy (default) or more formal and rigid type texture. In italics this feature affects uppercase and small caps. Also, each style is packed with OpenType features: ligatures, small caps, six sets of digits, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Polish kreska, Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for Turkish/Azerbaijani i/ı. Some of the styles of Anglecia Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Moritza Script is a calligraphy script font that comes with a very beautiful character change, a kind of classic decorative copper script with a modern touch, designed with high detail, it took time since July 2019 - September 2020 to present an elegant style. Moritza Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters. The classic style is perfect to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any type of advertising purpose. Moritza Script including various language support. With OpenType features with alternative styles and elegant ligatures. The OpenType feature does not work automatically. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. Moritza Script is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, please let me know. I'm happy to help. Thanks & Happy Designing! New Update • Moritza Script! Moritza has now been updated to include 3 styles; bold version, regular & italic version. This gives you the option to completely change your font style with the click of the mouse, whether you're looking for a smoother style, a bold version, or an italic finish. And don't forget the elegant touch of ornament.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Dingocittà with its 12 fonts, contains a large amount of features like small capitals, different figure sets, automated fractions, ordinals, standard ligatures, contextual alternates (generates letter combinations to avoid form collisions by simultaneous maintaining word fugue) and discretionary ligatures. Dingocittà is suitable for a wide range of applications and can be readily combined with other fonts.

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

Hello, now I tell you. its time for "Kelphyn". Yes you heard right. Kelphyn is a serif font family that allows you to try out new, innovative designs that suit your taste. Created to support all forms of design, art and ideas. especially for modern magazine designs, website layouts and supporting branding layouts. Grab it fast here Free updates

An original type family designed for ParaType in 2001 by Zakhar Yaschin. The fonts were created within 'One Touch' project. The aim of the experiment was searching for a grapheme through primitive forms and intentional avoiding 'adjusted' characters. The family includes Wood style imitating woodcut letters, and a set of pictograms. For use in advertising and display typography.

Rhapsody is clearly showing Unger's love with Blackletters and Gothics. Other than many of the existing Blackletters, Rhapsody is really easy to read. The calligraphic forms of the upper case in connexion with its lower case appear very special, very unique. Rhapsody, having its origins in the 50ies, was redesigned, completed and expanded by Unger for the URW++ FontForum.

“Drawing letters is my passion,” says Erik Faulhaber, the designer of the Xenois typeface family. Pronounced “zeeno-is,” the design distills character shapes into what Faulhaber believes are their purest forms. “I studied many typefaces, carefully examining their structure, before I began drawing Xenois. Then I actually wrote out a detailed design brief establishing the goals for my design.”

A 1928 menu for the restaurant “Rotisserie Du Cardinal” had the word “Cardinal” hand lettered in quite an unusual Art Nouveau type design consisting of thick and thin lines using angles to form the letter shapes. This eccentric (yet charming) style of lettering is now available as Rotisserie Menu JNL in both regular and oblique versions.

Manito was designed by Garrett Boge in 1989. He employed a wide pen and angular, sturdy forms to simulate rough-hewn woodcut letters. The font, consisting of both capitals and small caps, provides an ideal graphic complement to collateral of a natural or environmental character. It is named after a native American word for 'Great Spirit'.

Dutch type designer Max Kisman created this display FontFont in 1991. The family contains 3 weights and is ideally suited for festive occasions, film and tv, music and nightlife as well as poster and billboards. FF Fudoni provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Atipla ND is a contemporary sans serif typeface. It works best at large sizes, with softened ink traps pair legibility with aesthetic, while its strict horizontal and vertical terminals give it a rigid yet friendly appearance. The typeface contains a stylistic set, case sensitive forms, symbols and arrows, and the font covers all Latin Extended-A languages.

Created for captions and similar serif situations where small type is required, Freight Micro is amazingly illustrative for large type too. This half-wedge, half-slab design provides the firmest of foundations to build your design on. The abruptness of the sharply carved italics take emphasis to a higher form. Freight Micro is an exercise in whispering very loudly.

I design this Sketch font from my own handwriting. I was inspired by Sketch Writing when I designed buildings. Fond This can be used in writing books. titles of books, magazines, clothes and can also be used as branding. You can choose several alternative capital letters and ligatures according to your wishes in writing your writing form. Thanks.

The concept of this letter is calmness. I created a variety of sans-serif fonts, and when I listed the fonts I had created, I was surprised that their shapes were not very different from each other. Among them, this font calmly caught my eye. The power of quiet progress is felt in this unremarkable form.

Tazugane Info is a Japanese typeface family developed by the Monotype Studio, an alternative set of kana designed to match the kanji and Latin alphabet which retains the original form of the Tazugane Gothic. In contrast to the Tazugane Gothic, the kana of Info family is more systematically designed in order to give the text a calm, restraint look.

I happened to come across a facsimile of a sample of text with typeface made by Sweynheim & Pannartz in 1476. I scanned the sample, and redraw all the available glyphs from the sample in RobFog. After that I added the missing characters by copying and pasting the forms of the original characters, and filling in the missing parts.

The first flower that was created was for a the cover of a cultural magazine in Montréal (Québec). Then we couldn't stop and we've created a whole font with interesting forms of flowers. Please note that this font is unusually detailed and its complexity may exceed the memory limitations of drawing programs such as Adobe Illustrator or Corel Draw.

British type designer Neville Brody created this display FontFont in 1993. The family contains 3 weights and is ideally suited for advertising and packaging, film and tv, poster and billboards, software and gaming as well as sports. FF Dome provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Schoolyard Blues JNL is based on the hand lettered title found on the sheet music for the 1938 song "I Was Late for School". A condensed sans serif with chamfered corners, it reflects the Art Deco influences of the day in some of the letter forms. This type design is available in both regular and oblique versions.

ITC Temble was designed by Andreu Balius and draws influences from the European mediaeval period of King Arthur. The characters combine the angular qualities of mediaeval metallurgy with a modern tempo and the symbols included in the font exhibit the same stylistic forms. ITC Temble is perfect for work which should have a mediaeval or mystical appearance.

Rolls Sling this is a font that comes from its predecessor with us modifying it into a soft tattoo and very friendly to use, this design will depict luxury in a very confident form, there are several alternatives that you can use, to make your design look more manly and bold include : numeric punctuation alternate Thank You Very Much

Dive into the rhythm of design with Guitar Rocker, a compelling serif typeface that harmoniously blends bold elegance with distinctive character forms. Perfect for a myriad of design projects, from product packaging to branding, this font's PUA encoding guarantees seamless access to a wealth of unique glyphs and swashes, promising exceptional outcomes for your creative endeavors.

Stripy strokes with more open to curves, designed for Young Urban, Professionals! PRC series fonts are in Unicode encoding and consists covers GB 2312 character set. It conforms to GB12345 standard. The character glyphs are based on the regular simplified Simplified Chinese writing form and style. It is generally used in China Mainland PRC and Singapore.

Jungle Drums JNL is based on the hand-lettered title on the 1929 sheet music of its musical namesake. A bold, free form design with a hint of the Art Deco movement of the coming decades, this casual typeface has the vintage charm to enrich many design projects. Jungle Drums JNL is available in both regular and oblique versions.

In 1913, Leipzig-based foundry C. F. Ruehl released a hot-metal font called Caesar-Schrift which was cut by the engraver and medalist Georg Schiller (1858-1937). This humanist sans combines successfully traditional classic forms with the flowing lines of the Art Nouveau period. Now revived as Caesar Pro, this font was carefully extended and made multilingual.

Cats is a whimsical font made up of two different sets of cat alphabets in upper and lower cases. Happy cats are pictured in a variety of poses forming the letters they represent. If you love cats, you will not want to miss having the Cats font in your collection. Includes full set of accented characters.

Canadian type designer Bruce Alcock created this script FontFont between 1993 and 2011. The family contains 4 weights and is ideally suited for advertising and packaging, festive occasions as well as film and tv. FF Soupbone provides advanced typographical support with features such as ligatures, case-sensitive forms, and stylistic alternates. It comes with proportional lining figures.

Austrian type designer Markus Hanzer created this display FontFont in 1994. The family has 6 weights, ranging from Light to Black (including italics) and is ideally suited for editorial and publishing and poster and billboards. FF Irregular provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Free-form hand lettering on a 1979 poster for the Washington, D.C. exhibition of watercolors and etchings by the Elie Abrahami inspired Art Director JNL, which is available in both regular and oblique versions. This type of lettering was most popular in the late 50s through the mid-60s for movie titles, greeting cards and poster text.

Albion’s Marker No.1, as the name suggests is the first in a series of ‘Marker Pen’ typefaces- merging good type design practice with deliberately casual and hand-drawn letter forms. Inspired by the great classic typefaces such as Bembo and Caslon, the design of Marker No.1 offers a unique blend of legibility and relaxed randomness.