Are you looking for a robust, contemporary font with strong personality? Sintesi Semi might be exactly what you are looking for. Sintesi Semi is a hybrid font which manages the “synthesis” between Sans and Serif in its own way. Due to its constant stroke the favorite font of the author is closer to a sans serif and scores with its robustness and contemporary style. Its strong serifs though evoke rather a slab serif font. Sintesi Semi builds together with Sintesi (Serif) and Sintesi Sans an extended family. Prove character too, with Sintesi Semi. Download a free trial version of Sintesi Semi with a reduced character set. Check it out!

Flexo is a geometric sans typeface, with humanistic warmth. It is a synthesis of the geometric and the humanistic. It has both mathematical straightforwardness, and humanistic refinement. Flexo has a squarish design, making it stand out in many uses. It will shine in both headlines and text. It is well suited for graphic design and corporate identity design. Flexo has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. Free demo font available. Flexo in use: 1 2 3 4 5 6 7 8 9 10 11 12 13. For more information about Flexo, download the PDF Specimen Manual.

Dignity contains a unique and neat hand written style that makes it fit to place it for your design project. Dignity is a font with distinctive handwritten characters perfect for branding projects, logos, wedding designs, media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, stationery, and any project who need handwritten dishes. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature There it is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question.Now just read this, go there and make it happen :)

CONSO is an elegant, modern and contrast sans-serif font family. It includes upright and Italic style, each of them has seven weights from thin to bold. This is a multi-purpose font that is perfect for any project, it is contrasted, modern and easy to read. With it, you can create logos, use in advertising, packaging, book covers and magazines, headings, descriptions and much more. CONSO includes stylistic alternates with a teardrop-shaped tail for uppercase and lowercase, with them, you can change the style of your project and add personality to it and make it more stylized. This font is easy to use has OpenType features.

Inversion is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book. What was the inspiration for designing the font? I found the base lettering years ago in a specimen and scanned it. I've used it perennially for assorted metal bands' logos, and finally decided to digitize it. What are its main characteristics and features? It is a spidery bit of lettering that would work well in Harry Potter movies or on album covers. Usage recommendations: Display type for use in materials that are meant to have a hand-wrought look circa the turn of the century.

FT Aessthetique is a modern classic serif font that effortlessly combines delicate lines with bold strokes. Its aesthetic captures a beautifully romantic style, blending vintage elements with nostalgia. FT Aessthetique goes beyond being a font; it's a crucial brand element that seamlessly complements other fonts, imparting a sophisticated appearance to any project. Its professional characteristics make it appealing for expressing individuality across various endeavors. The font is perfect for large headlines and titles. FT Aessthetique features 65 ligatures and 35 alternative letters, expanding its versatility and providing creative possibilities. It supports most Latin-based languages and includes an extended set of symbols, punctuation, and diacritical marks.

Isidora Soft is a new version of Isidora —a 2016 MyFonts Bestseller. Its rounded, soft terminals give it a friendly and expressive look, and its modern and contemporary style, small x-height and classic proportions make it an excellent choice for headlines, logotypes, branding, books, magazines, motion graphics, and use on web and Tv. Isidora Soft consists of two 7-weight versions: one regular and one alternative which is more expressive and playful compared to its counterpart. Both versions include matching italics, resulting in a total of 28 styles. Isidora Soft contains a set of 452 characters that support over 200 Latin-based languages.

Gemini Cows is the perfect funky, retro, bubbly font family! It includes every style you'll need to create a comprehensive website, clothing brand, poster, label, sticker, art cover, or any other graphic! This typeface is great for any project that needs both boldness and femininity. It comes with seven fonts, including Great for any projects needing a retro or throwback feel, restaurant menus, along with book, movie, and album covers. It has a feminine and juvenile feel simultaneously and can be layered for cool effects. It also has swash alternates to give your words some flare :) It has 460 glyphs, supporting a variety of languages!

We use an old hand juicer at home: a cheap plastic one that we bought a long time ago at a Swedish home appliances and furniture giant. We haven never considered upgrading to an electronic one, as it still works, it doesn’t use electricity and we don’t really use it that often. This font is called Juicer. It was not named after our manual juicer, or any juicer in particular. It was just a word that seemed to fit the font nicely. Juicer font is a handwritten, script-ish kinda font that comes in two great styles and contains a set of double letter ligatures.

Button is a solid, chunky, font, with a bold symmetry that makes it a must for products aimed at the younger set. Its unusual letter shapes all point to “NEW TREND!” It is the perfect choice for marketing companies targeting: ⁃ web-design and the creation of stylish buttons and menus ⁃ the music scene: CD covers, posters, music videos ⁃ the movie scene: posters, ads, movie titles ⁃ the theatre scene: posters, programs, ads, promotions ⁃ the fashion scene: swingtags, posters, brochures, signage, ads It has been carefully letterspaced and kerned. It contains a full character set: all upper and lower case characters, punctuation, numerals and accented characters are present.

This font is versatile and expressive, it can create appealing atmosphere and attract attention, conveying a gamut of message and emotions. It is well suited in the jobbing areas like packaging, logotypes, magazines, web pages and advertising, etc. Berta has all the advantages of OpenType features that allow a variety of combinations: You may choose to set types in connected or unconnected ways, being used as body text or headlines for its good legibility, visual impact and accurate kerning. It has swashes, standard and discretional ligatures, contextual alternates, word ending and tails. It has also an extended character set to support Central and Eastern European as well as Western European languages.

Introducing gimana sans serif display font, meticulously designed with deep inktrap details. Crafted for optimal legibility and aesthetic appeal, this font seamlessly blends modernity and tradition. Its generous proportions and balanced letterforms provide exceptional clarity and readability across various digital and print mediums. With its deep inktraps, this font showcases subtle details that enhance its overall visual texture, adding a touch of sophistication to your projects. Its humanist characteristics ensure legibility and readability, making it an ideal choice for a wide range of applications. The deep experimental inktraps add an intriguing element to the font, creating an interplay of light and shadow that captures attention.

Ashbury derives its inspiration from 18th century transitional types such as Caslon and Baskerville. It is, however, not a revival but interprets formal aspects in a new and individual fashion. With a flowing outline, it remains warm and pleasant but assertive because of its solid stroke weights. It is very well equipped for a wide range of ambitious applications. Ashbury comes in ten styles, in OpenType format, and with extended language support for more than 40 languages. All weights contain small caps, swash capitals, standard and discretional ligatures, proportional lining figures, tabular lining figures, proportional old style figures, tabular old style figures, matching currency symbols, fractions, and scientific numerals.

Cabrón, listen. Nosotros made a new fuente (only one file, cabrón, not super family – it can be variable, you just have to stretch it). Compra te, just buy it, or get it via Adobe Fonts. Go for it, amigo. Salsero hablas spanish en primero lugar, pero many other languages. German, english, french and most gringo languages tu cabeza can think of. Salsero has contraste invertido and all kinds of crazy curves, curvas locas, amigo. If you compreende this text, then you surely have compatibilidade, compatibility with Salsero, cabrón. No doubt you will like this fuente full of happy and not so happy mistakes, erritos.

Cruller is a display typeface that is based on a rare bit of lettering from a 1910 German lettering book. What was the inspiration for designing the font? I found the base lettering years ago in a specimen and scanned it. I've used it perennially for assorted metal bands' logos, and finally decided to digitize it. What are its main characteristics and features? It is a spidery bit of lettering that would work well in Harry Potter movies or on album covers. Usage recommendations: Display type for use in materials that are meant to have a hand-wrought look circa the turn of the century.

Bósamble is a striking and contemporary Bold Display Sans Serif typeface that effortlessly commands attention with its bold, geometric letterforms. Its distinctive design features a perfect balance between thick and thin strokes, creating a sense of power and modernity. Bósamble’s uppercase characters exude a sense of confidence and boldness, making it an excellent choice for headlines, posters, and branding projects where a strong and impactful typographic statement is desired. Its clean lines and clear readability make it a versatile choice for a wide range of design applications, allowing Bósamble to stand out as a compelling choice for those seeking a bold and assertive typeface.

Everestoria is a stylish brush marker font that captures the essence of artistic expression and boldness. With its fluid and expressive brush strokes, Everestoria emulates the look and feel of a hand-painted masterpiece. Each letter exudes a sense of dynamism and flair, showcasing the authentic texture and character of brushwork. Its sophisticated yet approachable design makes it perfect for projects that demand a touch of elegance and creativity, such as logos, branding, and invitations. Everestoria's versatility shines through in its ability to effortlessly convey both a contemporary and timeless appeal, making it a go-to choice for designers seeking a captivating and stylish brush marker font.

Serial: a killer font takes influence from the Son of Sam letters. Depicting an unstable mind and ill motives, this font is as erratic and discomforting as its author. Containing two similar but discernible font styles, you can mix and match to create your own story. Serial Regular is neater and more thoughtful. It is controlled and has an obvious flow. Serial Alternates illustrates a very different frame of mind - it is turbulent and rushed with little to no consistency. Serial Regular contains a secondary A-Z set, and a latin character set. Serial Alternates contains over 60+ ligatures (which gives it its natural handwriting style).

Introducing Kawa Sans - the ultimate level of flexibility in sans-serif fonts. Kawa Sans seamlessly blends classic elegance with current flare and comes in a variety of weights, from delicate hairline to dominating heavy, making it suited for any design demand. Its simple lines and precise curves ensure readability while also projecting sophistication, making it an excellent choice for a variety of design tasks. Aside from its visual attractiveness, Kawa Sans has important international language support, making it suitable for a global audience. Elevate your ideas with confidence, knowing that Kawa Sans embodies the ideal blend of classic charm and contemporary elegance, offering excellence in a variety of design projects.

The type family consists of six well-distinguished weights, from hair-thin all the way to the one black as the deepest night. In line with the current trend, it touches all boundaries, it stretches beyond technical possibilities and in extremes, it is almost illegible – the counters are reduced to a hairline. All italics have the same proportions as their corresponding regular styles, which emphasises the block-like appearance of the set text. Monopol was designed to thrive on posters, exhibit stands, book covers, magazines, and in complex visual styles. Its twelve styles make it an ideal tool for creating a dynamic composition using solely typographic means.

Marmaris this is a soft and elegant serif font. It carries a bold weight, round shapes it is well readable and works well in headlines and with text. This font is suitable for a wide variety of projects such as: logos, labels, branding projects, magazines, homeware designs, product packaging, mugs, quotes, posters and much more. It can also be more expressive and playful, thanks to the many alternatives and ligatures that are harmoniously combined in this font and make it more attractive and versatile. Try to change the alternatives, ligatures and you will get a lot of options for your project that will make it unique.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

Lauthan is a bold handwritten font, carefully handcrafted to become a true favorite. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile.

Jh Hikmat is a modern arabic font; it is derived from the Naskh and Ruqaa calligraphy script. It is ideal for kids books, greeting cards and advertising projects.

is a sweet and friendly handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs. The only limit is your imagination!

Schlub is just plain weird. It looks like it was drawn with the left hand of a right-handed person using a gloppy pen yet remains very legible.

A fantastic font that I came up with after 3 weeks of work. It was a nice and attractive version of the Latin alphabet. Use it with pleasure.

The Graf Call is a beautiful, stylish script font. It has a modern and elegant style which makes it perfect for; labels, posters, letterheads, badges, and much more!

Rogue - A Display Font : Rogue is a carefully crafted display font. It has Extended Latin and Cyrillic characters. It created for poster, web, brand and social media designs.

Happy Dreamer is a simple handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs. The only limit is your imagination!

Linguista is a gorgeous monoline script, full of personality and curves. It features a natural flow that makes it perfect for any project that requires a handwritten feel.

Holly Groove is a sans serif font with beautifull swashes, masterfully designed to become a true favorite. It maintains its classy calligraphic influences while feeling modern and fresh.

Light Sleeper is a messy and scratchy grunge, metal, surfer, grafitti, skater and punk font - but even though it is wild and crazy, it is still super legible!

Introducing Andhibath Bold Script Font, a captivating script typeface that exudes elegance and versatility. With its bold strokes and graceful curves, this font is perfect for adding a touch of sophistication to your design projects. Whether you're creating invitations, branding materials, packaging, or any other creative work, Andhibath will elevate your designs with its unique charm. The Andhibath font features both uppercase and lowercase letters, allowing you to mix and match different letterforms for a customized look. It also includes numbers and punctuation, ensuring that your compositions are comprehensive and well-rounded. With multilingual support, you can effortlessly incorporate various languages into your designs, making it suitable for projects with a global reach. One of the standout features of Andhibath is its PUA encoding. This means that accessing the font's special ligatures and glyphs is a breeze, giving you even more creative possibilities. The ligatures add a natural and handcrafted feel to your text, enhancing its visual appeal. With its script style, Andhibath captures the essence of handwritten elegance. It is ideal for a wide range of design applications, from wedding stationery and logos to social media graphics and advertising materials. The versatility of this font allows you to adapt it to different themes and moods, whether you're aiming for a classic, modern, or whimsical look. Experience the beauty and versatility of Andhibath Bold Script Font. Let its graceful curves and bold presence make a lasting impression in your designs.

During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. Shentox PDF

Clean and welcoming, the distinct look of Yorkten is remarkably satisfying to the eye. Straight to the point, Yorkton features a fashionable, geometric composition with angled main stems. There are no fewer than fifty-four fonts in the family, all of which are characterized by one of three widths – extended, normal or condensed. Each individual subfamily is equipped with eight weights from Thin to Black with respective Italics, giving Yorkten a breathtaking range of fonts to boast. The greater value for you, though, is its members’ ability to work well together. With a deep toolbox of weights and widths to choose from, this family provides you with significant value and a broad number of design solutions, making sure you have the tools you need for each challenge. So where should you use the font? Jeremy Dooley designed Yorkten’s underpinning structure to be compact. Combined with its superior features and terrific legibility, this versatile font can be used effectively for many jobs, whether in print or on screen. Use it freely for e-books and apps. Yorkten is particularly great for headlines, banners, posters, and websites. As with all insigne fonts, fonts that are well received by the market are expanded into future variants such as rounded or slab serif types. Yorkten’s later expansions will increase the versatility and functionality of the family. There’s no need to wait for these future releases, though. This new face already complements a number of other insigne faces, such as Grayfel, Look, or the Cabrito Superfamily. So what are you waiting for? Get Yorkten today and bask in the rich potential it offers! Get Yorkten and luxuriate in its straightforward multifunctionality!

MB NEGATIVESPACE was inspired on a trip to Birmingham with my wife, seeing a billboard with the main text and parts of it missing. The idea is to use it sparingly; use a good amount of tracking to fill in the blanks and it works even better. Great for headlines, displays logotypes and short texts.

COS Elfish is a typeface with stroke contrast and has a unique shape. It has a structure that is well suited for display purposes. It has small serifs throughout and features curvilinear elements in some letters. It is suitable for use in various media such as unique and individual graphic design or web design.