Calla is a scripted typeface with an interesting personality. Each letter was created many times so you can get a truly distinctive look to your designs. Notice when you type with open type feature switched on, your letters will bounce around and change as you type? This feature ensures you get a new version of each letter throughout the words you use! Want to get even more custom? Pair all caps words with your lowercase words to create hierarchy!

The Times Europa Office family is designed after the model of the original serif family produced by Walter Tracy and the Linotype Design Studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for The Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Akira Kobayashi, Linotype’s Type Director, brought Times Europa up to speed for the new millennium in 2006. Now optimized for office communication instead of newspaper design, Times Europa Office offers a familiar yet refreshingly new appearance for serif text. Because of The Times of London’s specific printing conditions in the early 1970s, Times Europa originally had some intentional errors built into its letterform design. These inconsistencies created an even image in newspaper text in the long run. However, these design elements bear no role on modern office communication and its needs. Kobayashi redrew these problem forms, eliminating them completely. Now Times Europa’s font weights appear clearer and easier to read than ever before.

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Based on one of the many hand lettered typefaces found with in the 1960 edition of Sam Welo’s “Studio Handbook for Artists and Advertisers”, Poster Slabserif JNL is available in both regular and oblique versions.

Desk Job JNL is an Art Deco-influenced typeface based on hand lettering found on the packaging of a vintage Hotchkiss No. 52 stapling pliers. The typeface is available in both regular and oblique versions.

A German travel poster from 1927 became the design inspiration for a type revival because of its pleasantly hand lettered sans serif type style. Euro Travel JNL is available in both regular and oblique versions.

The Art Deco design of Riverside JNL was based on the hand lettered title found on the 1932 sheet music for "By the River Sainte Marie", and is available in both regular and oblique versions.

With a rounded shape and a burlap texture, what else could we call this font? Circus Peanut is oblique and comes equipped with its own drop shadow. It's meant to be used at large sizes.

The hand lettered title on the cover of the 1914 tune “I Want you to Meet My Mother” served as the inspiration for Nouveau Date JNL, which is available in both regular and oblique versions.

Deco Edition JNL gets its inspiration from the hand lettered title of a 1943 anthology of musical compositions for schools entitled "Junior Laurel Songs - Teacher's Edition", and is available in both regular and oblique versions.

Within the pages of the 10th edition of the Speedball Lettering Book (1927) is an alphabet called “Vanitie”. This had been redrawn digitally as Merriment JNL, and is available in both regular and oblique versions.

Bases Loaded JNL is a contour outline variant of Ebbets JNL, which was in turn a stylized variant of the retro-inspired Base Runner JNL. The design is available in both regular and oblique versions.

A poster for the 1917 Charlie Chaplin comedy “Easy Street” had Chaplin’s name hand lettered in thick, round cornered block characters. This inspired Silent Comedy JNL, which is available in both regular and oblique versions.

Hand lettered production credits for the1930 film “Holiday” inspired the digital type revival Summer Holiday JNL; available in both regular and oblique versions. An Art Nouveau influence is reflected in this pleasant, casual serif typeface.

The 1963 German release poster for "What Ever Happened to Baby Jane?" features a creepy, sinister, hand-lettered type design that became the model for Creepy Events JNL, available in both regular and oblique versions.

Are you looking for a modern typeface? Geometrico. Round without Compromises. Now 12 Italic Styles added. Even more futuristic than the classical Bauhaus typeface Futura, “Geometrico” is a geometric typeface based on round shapes as suggested by its name. Designed without compromises, neither in form nor in function: Geometrico is ideal for logotypes, headlines and other modern typographic purposes. Would Paul Renner be delighted? Or would he turn around in the grave? Make your own opinion. Try Geometrico for free. Download a free trial version of Geometrico with a reduced character set. Check it out!

Interweave is a square display face with rounded corners, inspired by beefy fonts from the 60s and 70s such as Bullion and Deutsch Black. An alternating criss-cross effect is borrowed from Hunyady Gothic, the opposing lowercase a, e and s providing a basket weave or parquet floor appearance.

Eirlys a Gothic serif typeface with a touch of Celtic feeling. A combination of sharp serif and smooth joint gives a sweet & smart characteristic. Font comes with 4 weights: Light, Regular, SemiBold, Bold and suitable Italic, Especially Small Caps, Swash styles and dozen of alternates for your own experiment.

A caps-only typeface with a modern twist. When the joy and corpulence of the mango fruit meet the gothic aesthetics, Mango Grotesque is born. In this territory, fun and creepy are mixed. Just like a tropical beach in an expressionist film. Cause it's a bittersweet symphony this life...

Here's a faithful rendering of an old face from the James Conner's Sons specimen catalog of 1888, alternately known as Aetna or Painter's Gothic. Its compact descenders allow for tightly-spaced headlines. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Heavy as hell, awkward, asymmetric, sort-of-gothic… Four alternates for every letter, carefully kerned together and nicely shuffled for you by OpenType apps… Blunt has the sharp corners ever so slightly rounded off for a softer look at large sizes. Wired chops everything up for an origami angle…

In 1885 Heinrich Wallau, printer and typographer in Mainz, picked up the idea of creating a rounded gothic font written with a broad nib. This idea was then realized by Rudolf Koch between 1925 and 1930. RMU Wallau is a bringing back this beautiful font for present typography.

Bondoluo is a geometric font family developed by Álvaro Thomáz in 2012, The creation process was inspired by 3 geometric forms - triangle, circles and squares - and 2 amazing fonts - Futura® and URW Gothic. The Bondoluo Display font was inspired by Diamonds by HVD. Be fashionable with Bondoluo fonts!

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

JMTF Robin is a new post-modernist typeface in the spirit of Art & Crafts, born as a concept of a reformulation of a Gothic traditional building structure. Interestingly medieval structural architectural rescue form is for creating a font of traits absolutely contemporary without losing its artisan flavor. JMTF Robin is then a modular typography with very specific characteristics that provides an innovative texts while an appearance of great personality. Early versions of Robin was winners in Letras Latinas 2006. JMTF Robin representing a before and after in terms of contemporary texts composition. JMTF Robin is a typeface family that is presented in a wide variety of forms, from JMTF Robin in condensed forms to other roman proportions like Robin9, ideal for text, also JMTF Robin comes in Shadow and Double Outline. I dedicate this letter to creative genius William Morris father of modernism.

This is the rounded, softer version of Canada Type's popular Press Gothic. Originally done in 2011 for a global publisher, this font has already seen plenty of magazine and book cover action, perhaps even more than the sharp condensed face that spawned it. And like Press Gothic, Soft Press comes with small caps and biform/unicase forms, in addition to the main upper/lowercase set. The extended language support covers a wide range, including Greek and Cyrillic, Turkish, Baltic, Central and Eastern European languages, Celtic/Welsh and Esperanto. The Pro version combines all three TrueType fonts into one OpenType-programmed font, taking advantage of class-based kerning, the small caps feature, and the stylistic alternates feature for the biform shapes.

The Monotype Typewriter" series contains three typefaces. These were made to enable type to be set that could emulate output from real typewriters. Use where a typewritten look is required for reports, tabular work, where the fixed pitch nature of these faces is an advantage, technical documentation and correspondence. Typewriter Regular is the base style of the family. Typewriter Elite is lighter than Typewriter Regular, and is monotone in weight, being designed to retain readability even when multiple carbon copies are produced. Typewriter Gothic is a medium weight sans serif typewriter face designed to give good readability from a fixed pitch typeface. Originally made for daisy wheel printers, the Typewriter Gothic font is useful for tabular work, technical documents, correspondence and reports."

The first Tuscan lettering was penned in the mid-fourth century by the calligrapher Furius Dionysius Filocalus. The style was still in common usage as calligraphy when Vincent Figgins designed the first Antique Tuscan for print in 1817. Antique and Gothic Tuscan woodtype fonts appeared in the 1830’s. By the 1850’s, Tuscan fonts had become popular in America. These styles continued in print use into the twentieth century. Tuscan Antique and Gothic styles, borrowed from print and calligraphy, were perfect for signs, posters, handbills and other large format advertising. Sign painter, Frank Atkinson demonstrated several Tuscan forms in his book Sign Painting, A Complete Manual. Modified & Spurred Tuscan Romans were inspired by this and other works of the same period.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Magdalena Script Magdalena Script New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !! If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows). If you have any questions, please feel free to contact me via email. Thanks and good luck :-)

Introducing Willond. new font for all of your fun projects! perfect for large design project like Tshirt, mugs, Advertising, bags, quotes, food , poster, fashion, custom sticker, magazine, and many others. It completed with numbers and punctuation. Multilingual support, alternate, ligatures and came with PUA encoded. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at zeenesia@gmail.com. Thanks for purchasing and have fun!

Micheliya has a font script that is provided with great tenderness to be presented with a variety of stunning character models. Micheliya combines a new design that features free, warm, modern features. taste. The diversity of weights provides a variety of choices that will help you find the best design colors for your project. Lighter weights are perfect for heavier body text ideal for high impact headers. Alternative styles available provide different characters that give your logo or business card a unique display.

A wide and thin hand lettered Art Deco design from the vintage French lettering book "L'Art du Tracé Rationnel de la Lettre" was the inspiration for French Deco JNL; available in both regular and oblique versions.

The Art nouveau era sheet music "Goodbye Sweet Old Manhattan Isle" (1905) offers up a classic hand lettered sans reflective of that era. It is available digitally as Trolley JNL in both regular and oblique versions.

The hand lettered, condensed stencil title on a movie poster for the 1950 film “Customs Agent” inspired both the digital typeface and the font’s name. Customs Agent JNL is available in both regular and oblique versions.

French Wine JNL is an Art Deco thick-and-thin type design based on the hand lettering from a vintage poster for Monarch Cabernet Sauvignon wine. The typeface is available in both regular and oblique versions.