PT Bazhanov™ was designed at Polygraphmash type design bureau in 1961 by Michael Rovensky (1902-1996). Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova.

Comixed RP Bold and Comixed RP Bold Outline are two new fonts designed by British designer Roy Preston and released by BluHead Studio, LLC. Comixed is a bold, condensed cap-only typeface, with a lively, animated charm. The Outline version turns up the fun factor by adding a drop shadow. Used alone or together, both are great for snappy, eye-catching headlines!

The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text face of the Ionic – "Legibility" group.

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Cyrillic letters were designed by Natalia Vasilyeva in 2016. Iowan Old Style Cyrillic was released by Paratype in 2017.

Hand drawn by Michael Browers, Ekkehard is inspired by multiple blackletter typefaces that appeared in an 1862 printing of "The Doctrine of the Simple and the Power of the Powerless" by Hans Nielsen Hauge. The result is an eclectic distressed font that is ideal for logos, product packaging, headlines, posters, merchandise, greeting cards, and other projects requiring a vintage, hand-made feel.

Caligraf is a classical calligraphy script. It was drawn and created by Måns Grebäck during 2019 and 2020. The character design blends traditional soft flowing handwriting with a modern, sharp look, and its angle and weight balance gives it a determined and progressive pace. Caligraf is a multistyle font family, composed of Thin, Light, Regular, Bold and Black. Its range ensures usability in any context, while also giving the ability to emphasize phrases or words. Use it in an invitation, a diploma, a logotype or in a decorative body text. Being a font with over 850 glyphs, it is guaranteed to contain all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering European and Asian Latin scripts.

Oliva & Oliva Italic are two strong and funky display fonts. Influences came from typefaces like Futura Black by Paul Renner and Motter Ombra by Othmar Motter, but also Stilla by François Boltana and Allegro by Hans Bohn lay on the desk. All these ingredients were mixed to a new and contemporary type experience and packed in proper OpenType files Oliva & Oliva Italic are OpenType Pro, featuring full Western, Central European, Baltic, Turkish and also Cyrillic language support. They contain ligatures, superior numerals, and a stylish set of decorative ornaments and arrows.

Although brass line rules were a common feature in almost every vintage type catalog, these were recreated from those by the Franklin Type Foundry. Filling the Numerals and all Capital and Lowercase glyph slots are a total of 62 traditional Brass Rule designs, all extendable by combining with other rules, or by extending the pin line by simply typing a dash "-". A truly sleek and simple utilitarian font for invitations, menus, business cards, and whatnot. Download and view the "MFC Brass Rules Petit Guidebook" if you would like to learn a little more.

Black Raven is a sans serif font that has an eerie feel to it. It is meant to be used as a contemporary take on anti-design. It maintains an eclectic design and something that you normally wouldn't see every day. Use it for movie posters, book covers, etc.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

EXPRESO was inspired by the extinct art and craft of urban Lettering applied to buses and other kind of cars for public service of transportation. Since the mid of last century, main cities of Colombia - as Bogotá, Medellín and others - were growing in population and brought urban area expansion with it and serious traffic problems due to the lack of political will and urban planning. The problem of urban transport in Colombia's largest cities has not yet been resolved, despite adopting some examples of mass transit system in other cities in the region. Before these actions, public transport in cities such as Bogotá was quite varied, leaving space for popular culture that survived for a couple of decades, until the massive dieback of these old buses early this decade, either by practices associated with Lettering it was displaced by some technological, some expressions of art street and city that evolved or disappeared. EXPRESO can be used mainly in titles and display texts. You have a multitude of options using combination of layers from the basics of the font family to the various textures and shades. Supports East Europe languages.

A little-known design by Futura designer Paul Renner gets a long overdue update by Linda Hintz and Toshi Omagari, in this reliable and impactful industrial sans serif. Neue Plak offers more weights and widths than the original 1928 design, extending its use for branding, editorial, logos and UIs. The pair based their updated and extended version on the original Plak wood type, uncovering lost details and incorporating them as alternates – including the choice between open or strikethrough counters. Neue Plak's outwardly stubborn personality is counteracted by unexpected details, which make for an unusual juxtaposition of severe and playful. “It felt like we should pay Paul Renner more tribute,” says Hintz, who spent time researching the typeface in Hamburg's Museum der Arbeit. “The forms themselves are partly quirky, partly really fun, but with a German stiffness that makes for a strange mix.” Neue Plak offers 60 weights, including a new text version that pairs well with the display weights, and allows the design to function in print and digital environments, and for a wide range of uses. Neue Plak Text Variables are font files which are featuring one axis and have a preset instance from Thin to Black.

This font is based on the Latin-based font for Linear B syllable writing. It contains all the characters. To see some full characters, you can use Turkish characters by selecting the font from the add character section of the word program. Linear B was a syllabic script that was used for writing in Mycenaean Greek, the earliest attested form of Greek. The script predates the Greek alphabet by several centuries. The oldest Mycenaean writing dates to about 1400 BC. It is descended from the older Linear A, an undeciphered earlier script used for writing the Minoan language, as is the later Cypriot syllabary, which also recorded Greek. Linear B, found mainly in the palace archives at Knossos, Cydonia, Pylos, Thebes and Mycenae, disappeared with the fall of Mycenaean civilization during the Late Bronze Age collapse. The succeeding period, known as the Greek Dark Ages, provides no evidence of the use of writing. Linear B, deciphered by English architect and self-taught linguist Michael Ventris based on the research of American classicist Alice Kober[5] is the only Bronze Age Aegean script to have thus far been deciphered.

King Tut is a restoration and expansion of the original Egyptian Expanded, a single bold face cut in 1850 by Miller & Richard, the famous Edinburgh founders. This aesthetic, though originally issued to help drive simple print advertising of those days, is perhaps the longest lasting genre of typeface. This aesthetic flourished in the later part of the 19th century, helped by the surge of similar faces from England (such as Figgins' Antique 6 and Expanded Antique), and became the defining index of the old American wild west that continues to this very day. King Tut serves up its impact through a balance between the wide, compact letterforms and elegant curvature that manages to come through even in confined areas. The family's weight variety allows for more options in counterspace use as well as precision in the amount of curve definition and contrast needed by the typographer. The lighter weights completely oppose that 19th century boldness and expose the alphabet's skeleton in a strive for simplicity that fits modern applications. With generous language support to boot, King Tut's diverse offerings make it an essential addition to today's designer repertoire.

Inspired by old nature field notebooks, Natura was born out of the passion for new modern hand-calligraphy, designed first with a flexible fountain pen and then digitalized glyph by glyph to get the natural feeling of the dry ink on smooth paper. This family includes five different fonts. Natura regular is an upright script with lots of swashes and ligatures and offers a wide range of flexibility with its many Opentype features. You will also find that its initial and terminal letters can enhance your designs in new and creative ways. Natura Slanted font offers the same functionality than Natura Regular but we changed the angle 16 degrees, creating an elegant feeling. Natura Notebook, is a narrow serif font with a stylised grunge effect with strong, legible vertical height. Natura Icons and Natura Stamps complete the whole family with incredible flourished elements and capital letters inspired by nature. Hand-drawn leaves, plants, flowers, as well as large and small animals add original detail while complementing the font perfectly. Natura is ideal to use for event invitations, special purpose cards, signatures, labels and packages. Check out also ‘Modern Love Slanted’ Turquoise Nautica

Wildest is a basic serif font. It's casual charm and classy features make it suitable for a wide spectrum of applications. Add it confidently to your projects and you will love the results!

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.

Be a trendsetter and get prominent with the best style from the Finest Romance. Finest Romance is a duo font from mixtures of serif and script fonts. This harmonic duo font work hand in hand to produce marvelous designs because it expresses modernity, elegance and a little romance. Additionally, the geometric serif font’s letters are simple and consistent for a great legibility purpose. On the other hand, the script font’s letters are designed to be similar to a handwriting by adding more variations to the letters with curves and final swinging wipes. You can use this font together or separately based on your necessity. With this font’s amazing features, you can enhance your design products. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Finest Romance fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, invitations, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. 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.

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

In 2019, P22 Type Foundry met with Milton Glaser (1929–2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. According to Glaser: “The inspiration for my Babyteeth type face came from this sign I photographed in Mexico City. It’s an advertisement for a tailor. The E was drawn as only someone unfamiliar with the alphabet could have conceived. Yet it is completely legible. I tried to invent the rest of the alphabet consistent with this model.” P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. Babyteeth includes an expanded character set to support the majority of Latin languages.

Biotrons is not your ordinary bold display serif font—it's a visual powerhouse that commands attention with its unique design. This font is a daring exploration of boldness and precision, bringing a cutting-edge aesthetic to the world of script typography. The characters in Biotrons are defined by their bold strokes and sharp corners, creating a strong and impactful visual presence. The deliberately uneven outlines add an element of unpredictability, giving each letter a sense of individuality and flair. Biotrons is a font that thrives on breaking away from the expected norms, offering a dynamic and modern take on the traditional script. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Biotrons 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.

Bullterrier is a bold type of font that has a unique character than other bold fonts, Bullterrier has a strong but soft character, with an elegant and fresh theme, Bullterrier is provide your something different unique bold font . Its weight excels in logos, posters, social media, magazine titles, clothing, large print formats – and anywhere you want to see it. Inspired by the design styles that are currently popular, let’s make your imagination come true with Bullterrier.

Soliden is a neo grotesk san serif font family with solid letterforms. Designed and published by Eko Bimantara in 2022, Soliden became a suitable choice for large display and functional purposes. The letterforms are built in large x-height with spacious counters. It consists of 8 weight from Thin to Black and 3 width; Condensed, Normal and Expanded, which make it a large font family with 48 styles. Soliden has 394 glyphs which cover broad latin languages.

Retroovy Vibes is a playful and groovy font that encapsulates the spirit of fun and nostalgia. Inspired by the retro era, this font oozes a sense of carefree charm and vibrant energy. Retroovy Vibes is the perfect choice for projects that aim to evoke a sense of lightheartedness and a vintage vibe. Its bouncy and whimsical appearance makes it ideal for posters, album covers, and party invitations, injecting a dose of retro coolness to any design.

[D]ONLINE is the first font family designed by Don Citarella for his blog, [D]ONLINE, and was created to provide a signature feel for its namesake. It combines a strong, medium stroke with arching end caps to embue the typeface with a futuristic curvilinear feel. This display font is best used for headlines, identities, wordmarks and other instances involving minimal copy and maximal whitespace The typeface includes 300 characters, including 45 accented glyphs and 30 ligatures.

“Ending story” is experimental vintage font style that to speak instant nostalgic and retro sensation, it was inspired by the inscription on the shop/hotel/vehicle in the 90's era. “Ending story” will help you to create special and touching typographical design for your vintage and oldschool projects.Perfect when you place them into magazines, book cover, cafe product, newspaper titles, poster, and many more. It is really universal and modern font. The owner of endless possibilities!

Springate is a modern script font that inspired by streetwear lettering and combination hand lettering style. And also this font has elegant and stylish characteristics, so it is also suitable for logos or product titles. Also ideal for logos, badge, label, apparel, club, event, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Springate come with opentype feature like a lot of alternates. Its help you to make beautiful lettering. This font is also support multi language.

BHELT is a strong and elegant display typeface. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era, with a thick and solid style in each letter as if this font has a soul in it. Its weight is superior in posters, social media, headlines, titles, large format print - and wherever you want to be noticed.

This font was inspired from the medieval Dances of Death patterns, as a modest tribute to the famous engraver Hans Holbein's Alphabet of Death. We have tried to keep the spirit of the time -- its sarcastic humor mixed with its objective and frozen realism. The font, consisting in two complete capital alphabets: Initials and caps, and a lot of separate figures added, is especially improved by strong enlargements, 72 pts and more, and has very good results when printed.

Momotarō is a Japanese legend about a boy who came to earth inside a giant peach. He was found by a childless woman and grew up to be a hero. I'm in a Japanese mood - mainly because lately I have been working with brushes and ink a lot. Momotaro font is a very detailed brush font. It doesn't come with a hero inside a giant peach, but it does give your design work that extra oomph, ahh and wow.

Stereonic is a geometric display sans influenced by Art Deco style. Its 38 fonts across 5 weights offer the possibility to convey numerous moods and styles typical for different decades. As the name suggests, the music posters were considered as the perfect application for this typeface, however using it in magazines and other editorial will definitely add more style. A variety of included ligatures and alternatives will also make Stereonic a perfect choice as the base for logotypes.

Jason Uncial, a unicase font, was created by Dutch designer Coen Hofmann. Uncial hand writing began to spread in Europe at the time of the late Roman Empire (200 A.D.). It influenced both the Carolingian Minuscule as well as our present lower case letter forms. Uncial fonts are still very much in use. It is used for headlines, display, titles, certificates, and not surprisingly, very much in Ireland or for anything with a Gaelic/Irish or Celtic touch.

Sultan Free, designed by Sultan Maktari in 2005, is a freestyle Ruqaa and a winner in Linotype’s first Arabic Typeface Design Competition. The design is open, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Galdana font family is a Roman serifs typeface, whose most relevant characteristic is the slanted angle of its true italic, at seventeen degrees. Its design was inspired by one of the most prominent American calligraphers of the last century, the book designer Oscar Ogg. Galdana contains 18 styles: starting from thin to ending in a fat typeface. This family is completed with multilingual support and a set of OpenType features such as stylistic alternates, swashes, and ligatures.

Lining up on the start line is Resistenza’s DreamTeam! This fit font’s long limbs, nimble movement and shifting weight make the multiline-display (inspired by bestseller Afrobeat ) perfect to grab attention on signage, print advertising and editorial applications like book covers. DreamTeam’s distinctive forms also make it ideal for branding applications and obviously with its directional movement and the suggested speed DreamTeam’s 4 styles would be DreamSolutions on athleisure apparel and clothing lines. Check out also “Voguing” & “Afrobeat”

Introducing “Green Delight,” a quirky vegetarian-themed font that embodies the essence of freshness, health, and the vibrant world of fruits and vegetables. This display font, with its rounded edges and unique design, is crafted for those who are passionate about nature, wellness, and creativity. Each letter is infused with elements inspired by various greens - from leafy vegetables to succulent fruits - making it a perfect choice for projects related to children, crafting, or any fun and playful themes.

SK Leshiy is an authentic monumental font inspired by ancient Slavic legends and fairy tales. This font combines geometric and natural forms, each of its symbols creates a unique image of a fabulous creature that hides in the forest thicket. The SK Leshiy font has a basic and alternative character sets that allow you to expand the font's capabilities and its decorative functions. The font supports a multilingual set and an extended table of Cyrillic and Latin characters.