Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments. Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script.

Slovenian type designer Mitja Miklavcic created this sans FontFont in 2011. The family has 14 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Tisa Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2013, FF Tisa Sans received the CommArts award and was also selected as one of Typographica’s favorite typefaces of 2012. This FontFont is a member of the FF Tisa super family, which also includes FF Tisa.

Introducing Regitha Script, Thanks for checking out Regitha Script! A very fun yet elegant script font with lots of energy, it lets you create beautiful handcrafted typography in an instant. With extra curves & twists, Regitha Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers, weddings and anything else you can imagine. What's really awesome is that Regitha Script comes with a full set of lowercase alternatives, which allow you to create more authentic custom-feel text. This type has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Regitha Script! Feel free to use the #Black Studio tag and the #Regitha Script font to show what you've been up to, I really hope you enjoy it! Thank you!

Information displays have an aesthetic of their own. Functional design where transmission of information is key — and best in real time. The Realtime typeface is not meant to recreate the appearance of those applications, instead it takes inspiration from them. The result is a technical yet friendly design with details that serve function and visual impact alike. As a monospaced typeface it lends itself to tabular designs, sturdy columns and tidy layouts. Nevertheless Realtime comes with a feature for setting continuous text — a proportional design employable through OpenType — it further comes in five weights, from light to black, and with a character set that covers over 200 latin languages. Please see the Realtime Type Specimen PDF in the gallery. A soft version of Realtime is available separately: Realtime Rounded. Its soft edges apply warmth to the otherwise rather technical appearance. Thanks for visiting!

Stevia is a font family designed by Carlos Fabian Camargo Guerrero. Stevia is a sweet font family created to design logos, cards, posters, book covers, blogs, packaging, walls, etc. Stevia is useful to differentiate your designs and stimulate your imagination through 5 fonts drawn with an apparent handmade lettering look. Stevia dingbats has more than 250 special monolineal icons to accompany Stevia Script Black (600 glyphs), Stevia Script Light (470 glyphs), Stevia Subtitles Bold (300 glyphs) and Stevia Subtitles Light (300 glyphs) in quotes, legends and short writings. That’s why you'll get a lot of alternative letters in uppercase, lowercase and opentype numbers as well as ligatures and flourishes ideal for beginning, middle and end of word. In summary Stevia is great for communicating naturalness and freshness in designs that need to be outside conventional typographic norms.

Geon Soft is the rounded version of Geon. Geon Soft Family is a modern sans-serif typeface that is clean, simple, soft and highly readable. Letters in this type family are designed with geometric shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Geon Soft is a versatile type family of 54 fonts. Geon Soft family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) & 3 widths (Condensed, Normal & Expanded)with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Francker is a sans-serif typeface family based on clean and simple principles of design. The letterforms' curves are inspired by the "super ellipse," a mathematical shape that is about halfway between an ellipse and a rectangle. Francker's lowercase letters appear somewhat reduced, as the a, b, n and u have no spurs. The family is available in nine weights, from Extra Light to Extra Black. Excellent areas of use for Francker signage, posters, magazines, advertisements, or logos; wherever a timeless, modern look is needed. Francker's fonts have a large character set that includes all glyphs in Linotype's W1G specification (World Glyph Set 1). Proportional figures are available as alternatives to the tabular defaults, via an OpenType feature. The Francker type was developed designed by Anders Francker (b. 1972), an engineer and designer living in Denmark.

For decades, cereal companies have included premiums [promotional gifts] inside their packages, printed on the cartons or to send for with a special coupon and redemption instructions. During the 1940s, Pep cereal [a long-discontinued Kellogg's brand] offered a series of water-applied decals within its boxes. Most likely made by the Meyercord Company (one of America's largest transfer decal manufacturers at the time), one decal in particular had an alphabet in gold letters with black outlines. (One can only presume the marketing strategy was to have kids bug their parents to buy more Pep cereal if the child needed more than one letter of the alphabet for his or her initials!) Those decal letters have inspired a digital version as the outline character font Toy Decals JNL, which is available in regular oblique, solid and solid oblique styles.

It is a modern grotesque family that can feel strong power. Hairline Styles are designed to be thinner than the average Thin Styles and have a lower x-height than Black Styles. So when you design your typography using the entire font family, you get a great sense of balance and harmony. And with creative Alternates, you can make your logo and product branding design work unique. Cropped glyphs provide meaningful metaphors for logo design. Be sure to try the Stylistic Alternates and Ligatures this family has to offer. OpenType Features Stylistic Alternates - C, G, K, N, R, S, a, e, g, i, o, s, u, y Standard Ligatures - ff, ffi, fi Discretionary Ligatures - tt, rr Fractions Oldstyle Figures Tabular Figures Circled Numbers Multilingual Support Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian Basic Cyrillic Ukraine

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Stedelijk first appeared in the seminal Vormgevers poster, commissioned by the Stedelijk Museum, Amsterdam in 1968. Crouwel created a rigid grid system across the poster of 57 vertical by 41 horizontal lines, also forming the basis for the construction of the letterforms. Although all hand drawn, the resulting typeface had a machine-made appearance. This striking black and white poster with its visible grid became one of Crouwel's most iconic designs. Architype Stedelijk now re-creates these letterforms as a single alphabet typeface in a digital font.

Dolego Display Font cool thin - black font for your retro designs. He is funny and wonderful with a brave personality. Perfect for a headline, logo, or anything your creativity calls for. Features Standard glyphs uppercase and lowercase letters Numerals, a large range of punctuation Lowercase letters Works on PC & Mac Simple installations, accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ ____ PLEASE NOTE Most of the fonts require advanced graphic software that supports Open Type Features like Adobe (Illustrator, InDesign, Photoshop), Affinity (Photo, Designer, Publisher), Corel Draw, or similar software. Image used: All photographs/pictures/logo/vector used in the preview are not included, they are intended for illustration purposes only. Thank you Hope you enjoy our font!

Designed by Alfonso García and Latinotype Team. Rawson is inspired by early humanist sans-serif English typefaces. We have added a bit of Johnston, a bit of Gill and a lot of Latinotype to the font. Rawson is an elegant font—but definitely not a black tie one—with the strength of a geometric sans but as friendly as a humanist typeface. This mixture, though not capricious, gives the font a ‘classic’ personality and a modern look at the same time. Rawson is a typeface with a large x-height, open counterforms and classical ductus. The font is well-suited for branding, signage, packaging and short text. Rawson has a 778-character set that supports 219 languages and includes alternative characters, discretionary ligatures, small caps, a variety of figures and fractions—a wide range of typographic tools to meet different design needs.

Identitype is very pleased to present Varent Grotesk, a sans serif family designed by Hendra Maulia and Aulia Rahman who was inspired by modern sans serif. The weights of the family itself contain 18 styles plus italic, ranging from Thin to Black. Ideally, it works to capture in a graphic way the universe related to technology, sci-fi, industry, and similar topics. It is a mixed family because of the construction of certain letters (as in “a”, “e”, “h”, “k”, “A”, “B”, and more). Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

Edgar No. 9 is an original design by Alex Kaczun. Edgar No. 9 is a derivative work based on his Big Boy typeface series. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. Edgar No. 9 is a heavy baroque slab serif and although it shares the underling skeleton of 'Big Boy', it is a much more compact in overall proportions and spacing. A handsome bold headline font that works well in text as well as display sizes—ideally suited for publications and advertising. Alex plans to expand the font series to include a large range of weights along with corresponding italics numbering 1 thru 9, as well as, true small capitals and old style figures. Distressed version(s) will also be available in upcoming releases. Stay tuned, more to come soon. The large Pro font character set supports most Central European and many Eastern European languages.variations to expand this 'hip' new font series. Groovin' baby.

Presenting Sapha script, with stylish and modern handwritten characters. This font was PUA encoded. Sapha is a modern handwritten style that comes with Extended Latin Characters. Sapha works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, labels, posters, badges, etc. Sapha comes with 304 glyphs and 78 alternate characters contain with opentype features (supported with contextual alternates mode) and 15 extended ligatures that allow you to make design looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com" Thank you for your purchase!

Aeris™ typeface is a contemporary book face created by the American designer Tom Grace. It combines the proportions and rhythm of a sans serif font with the high contrasts and flexed strokes of script faces, while the open counters also ensure optimal legibility. Tom Grace focuses on providing subtle differentiations in his cuts and, as a consequence, this font family has its own individual structure: there are A and B variants of the basic forms regular, italic, bold and bold italic, and a display version for use in titles that also comes in A and B variants. It is advisable to use the A variant for larger font sizes, while the slightly more emphasized B variant can be recommended for smaller font sizes. Where the basic forms are to be mixed together in a work, it is important to use the corresponding A/B variants throughout as their designs have been carefully coordinated. Aeris is available in the OpenType Pro format and thus includes a wide range of different glyphs. The font family can be used in various environments, such as books, magazines, advertisements and promotional materials, but it is also the perfect choice for printed corporate documentation.

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

Salome is a revival, normalization and elaborate expansion of a 1972 film face called Cantini. The original film type, released by a tiny independent outfit called Letter Graphics, looked like it was hand drawn with little consideration for consistency in essential lettering flow measurements, like angles, stroke widths, and vertical metrics. All these issues have been resolved in this digital version, and the original character set, including the whole lot of alternates, was entirely redrawn and expanded to include even more alternates and many useful ligatures, as well as extended support for Latin-based languages. Combining elements of early 20th century art nouveau with common 1960s and 1970s signage and poster lettering flair, Salome uses curls and curves to wave its fantastic shapes in a most hypnotic dance. Salome simply cannot be unseen. Just like its namesake, the female seduction icon, it does not hesitate to put all of its natural beauty and energy on display in order to get what it wants. Salome comes in all popular font formats. The OpenType version, Salome Pro, combines the main font with the alternates one, and contains convenient features for push-button alternation and ligature substitution in supporting software programs.

With all ego aside, Romp was designed and influenced by my daughter, Angel. For some time now, she has wanted me to design a font based on her handwriting. But each time I sit down to do it, I run into more that she needs to do and redo. On a recent attempt, I ran into the same situation again. Instead of moving on to something else, I decided to whip out a sumi brush and start making letters...for me, type design is something a little ‘serious’ and never a time to just have fun. This typeface proved that notion wrong—it really was fun. As a result, each letter encouraged another and the design grew...and grew! The happy result spawned 3 separate sets of letters & numerals (small caps and some ligatures too!). Using the beauty of OpenType, these 3 sets have been fused into one, randomly generating font set. If you are using any type of OpenType enabled application, then the Romp Pro typeface is the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional small cap and ligature sets.

Sagrantino™ shines at large sizes – and in vibrant colors. Think big posters, commanding headlines, massive banners and oversized packaging. Set headlines in the Highlight or Shadow designs and running copy in the Regular – all on the same page! Sagrantino could be called the Lava Lamp of fonts. It’s slick, glossy, retro and futuristic. Somehow, it’s fresh and quirky-classic at the same time. This is a design that challenges you to think outside the text box. In fact, Sagrantino is so lively, it took three Monotype typeface designers, Karl Leuthold, Juan Villanueva and Carl Crossgrove, to draw it. Because it’s a script, Sagrantino pairs perfectly with just about any other design – except another script. Maintain the futuristic retro vibe by combining Sagrantino with a typeface like Biome™ or Neo™ Tech. Looking for a counterpoint? Try a cool sans like Avenir® Next or Univers® Next. OpenType® Pro fonts of Sagrantino enable automatic insertions from a crowd of fancy ligatures and delightful alternate characters – in addition to offering an extended character set supporting most Central European and many Eastern European languages.

Blanchard is a revival and elaborate extension of Muriel, a 1950 metal face made by Joan Trochut-Blanchard for the Fonderie Typographique Française, that was published simultaneously by the Spanish Gans foundry under the name Juventud. Blanchard is a script that embodies the post-war narrow decorative aesthetic that would become the instantly recognizable feature of that era’s design. Its high ascenders corners make it the tuxedo of fonts, with slight and casual angles gradually revealing a trustworthy confidante, and sharp corners signaling a most expressive ally. Font. James Font. This digital version updates the original metal shapes to work within today’s design tools and designer needs. Some of the questionable metal shapes were optimized, plenty of alternates were added, and as many as five ending forms were built for most lowercase letters. Overall, this is one of the most useful packages for book cover, magazine and packaging design. Blanchard is available in all popular formats. Blanchard Pro combines all five fonts into a single one that makes use of OpenType’s cross-platform compatibility and programs that support OT’s fine typography features, like recent versions of Adobe InDesign and QuarkXpress.

Say hello to a casual handwritten font family - Dreaming OutLoud. 8 handwritten typefaces made to complement each other in the best possible way. They are easy to use and perfect for expressing your thoughts, posting quotes and simple daily updates on social media. The font package is complemented by more than a 100 transparent background marker lines (easy to change color!) - to emphasise what you are saying :) - and dingbats & doodles font. Two sub-packages included: Elementary package. Use this one if you primarily work in Canva/Cricut and similar applications and don’t want to deal with OpenType features of the PRO fonts. To access alternates - simply change the font to it’s ALT version. Voilà. You can use these fonts on your iPad in Procreate app! Charged package. You need this one if you feel comfortable with OpenType features, if you work in Adobe Suite and similar applications that have OpenType panel to access OT features. You can use these fonts in Canva-like applications as well - they are fully unicode mapped. Contact me with your MyFonts order # to get a free bonus - more than a 100 "Marker selection lines" in png and psd

Hi all, Maressy created with stylish and modern brush characters. Maressy is a modern brush script font that comes with Extended Latin Characters. This font was PUA encoded. Maressy works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, lable, posters, badges, etc. Maressy comes with 241 glyphs and 26 alternate characters contain with opentype features. Maressy also comes with 10 standard ligatures that allowing you to make stuff looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com" Thank you for your purchase!

It was in the beginning of 2008 when I designed a font named Quijote, its predecessor. In the middle of 2009, I looked at it again and thought it could be a good idea to make an update of it. Variables and Features: Quijote Sauvage Pro is the most complete variable. It includes all the ligatures, alternates and swashes. It has the OpenType function in order to alternate glyphs easily when running applications which support this. The font is also offered separately. Quijote Sauvage Standard has the right glyphs to get an equilibrium between wildness and softness. It includes standard and discretionary ligatures. Quijote Sauvage Stylistic has the sharpest glyphs. Its decorative traces are discreet in order not to have problems as regards legibility. Its upper case are less wild than the other variables. Quijote Sauvage Text is the most discreet of its partners. This one was thought in order to improve legibility. Its ascenders and descenders are shorter, so the words are easier to read in small sizes. Quijote Sauvage Contextual, Swash and Titling, are the ones with wonderful terminals. They decorate words, adding a wonderful look of wildness or passion.

Since the release of his first typeface, Zulia Pro, Joluvian has spent his time dedicatedly experimenting with an array of calligraphic styles and typography, before starting on his second typeface, Salamat. The journey began on a trip to Asia, where Joluvian was inspired by his time in the Philippines. After a series of discarded type sketches, the first stroke of what is now Salamat was then born.   What at first was a quick sketch, over time, evolved into a stylized typography; that lends to humanistic-expressive calligraphy, optimized with wide variety of swash capitals, contextuals ligatures, ascending and descending, starting and ending letters and a wide range of characters for each glyph. Salamat provides the user absolute freedom to play, create words, sentences and even very stylized paragraphs. Giving one the freedom with type, the way the Philippines gave Joluvian the freedom to explore calligraphy and typography.   Joluvian considers Salamat a new benchmark in his career. He now possesses more typography maturity, and a refined focus to put into practice all the knowledge acquired in his recent years of study, for this and much more salamat ('thank you' in Tagalog) to the Philippines.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

This font is not just historic, but classy, timeless, and in its current form, a modern classic. The original Titling Caps and icons Jacque François Rosart painstakingly carved, now meticulously digitized to be a true, accurate, and complete representation of the original designs. You can get the fully matching family with "ALL", or choose the set that meets your immediate needs: Zodiac and Constellations - The Stars Have Aligned into a Great Font So what's your sign? Whatever it is, R&F has it, and in so many ways! Pictograph, symbol, constellation and picto-constellation are all included. Constellations are useable even in scientific and education settings: based on current star charts and matched to Bayer designations, these stars shine both in design and accuracy! Includes Rosart's original moon and sun faces. Faces for the planets to match those for the sun and moon. Rosart's symbols for the planets. Astrology symbols including, Rosart’s pictographs for the twelve signs. Constellations of the Zodiac from precise star charts. Precise small star shapes, so you can design other constellations. Pinwheel, saltires, asterisks, solid stars, and even the Christmas star. Dave Lawrence, "Each symbol was carefully designed to match the main font." Alchemy Symbols - Turns A Design into Gold From labeling your cupboard of magical ingredients to getting one step closer to the golden goose, these rare alchemical symbols are a treasure trove of possibilities. Including: classic symbols for elements combinations medicinals chemistry mathematical symbols Includes music symbols for titling, as well as Verse and Response symbols. Seasons - Symbols to Keep Things Organized Throughout the Year Classic weather stylings, including old fashioned lightning and an eclipsing moon with the four-o'clock shadow. Map Markers Religious Symbols Phases of the moon. Pointing symbols: fingers, arrows, triangles, with circles Matching Italics CAL's Dimension Slant™ Instead of sloping all the pictures and drawings to an even slant, a multidimensional approach was used. And each symbol was evaluated and crafted individually. Pro World1 Font The pro world font contains all of these: Latin Standard set Rosart's original backwards X alternate. Alternate U shape. In the italic: swash variants for the J, Q, and Y. Proportional Lining (default), proportional old style, small caps figures. CAL Dimension Slant, for dynamic italics Includes Rosart's original moon and sun faces, along with additional faces for each planet. Rosart’s symbols for the planets and pictographs for the twelve signs of the zodiac. Constellations of the Zodiac along with small star shapes. Large stars, pinwheel, saltires, asterisks Symbols for chemistry Medicine Music symbols Mathematical symbols Pointing symbols like the finger, acorn, arrow and triangle. Geometrical shapes. Plus these more: Latin Pro character set for central European languages and Turkish. Rare kerns for Polish, Czech, Slovakian and others. Ligatures needed for some central European orthographies. Lowered German Umlauts for better line spacing. Cyrillic uppercase and small caps for eastern Europe, southern Europe, and Russia, with kerning. Rosart’s original Greek uppercase and small caps, but also tonos for monotonic Greek. Vietnamese, which has been kerned. Pinyin, including a special form of the Ü so that titles can be set closer. Numbers: A set of stacking (nut) fractions, along with very elegant automatic fractions A large set of currency symbols in lining, old style, small caps, denominator and numerator sizes. Our first Retail Pricing Feature: (ss03 + ss04) Just turn on the feature and type $1.99 and Rosart will do the rest. Ampersand alternates. Numerator sized musical sharp and flat symbols. Dave Lawrence, “From the moment I saw these letters I knew I had to make this typeface. What I didn’t know was that I would end up drawing most of Rosart’s special symbols... But it was too hard to resist."

Krellon invites you to step back in time and embrace the elegance of the past with its vintage style. Rounded shapes define each character, creating a sense of approachability and friendliness. What makes Krellon so special is its subtle, textured appearance. The font carries a delightful roughness that adds authenticity to your text, as if each letter has endured the test of time. Beautiful ornaments are included as a bonus. Krellon fits in headlines, logos, branding materials, and many more.

You may recognize the looks of Retroxoid - if not, then let me help you out: Retroxoid is actually a font I made back in 2007. I ran prints of the font, through a very bad copymachine, used a wet cloth to make the print look worn, scanned the prints and voila! Retrozoid, my very first Open Type font, was born! Now in 2010, Retroxoid has risen from the past, and is ready to burst your designs with clean, round and futuristic shapes!

I’m a bit of a sucker for neon lights, especially in big cities. My favourite city is Tokyo, with its brightly coloured billboards and its back alleys full of neon-lit eateries. At first sight, Neon Goo is a slightly warped font, with some funny looking glyphs and a generous spacing. When you start using it, you’ll find out that the glyphs do complement each other! Neon Goo comes with all diacritics and a set of alternates for the lower case letters.

A typographic treasure, originated at the end of the 18th and the beginning of the 19th century, had been brought back to life. With its charming touch it makes a wonderful font for poems, bookcovers, reprints and other historically relevant projects. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures; the round s you find on the # key, and typing the combination N-o-period and activating the OT feature Ordinals gets you the numero sign.

Medieval Times is a digital revival of an illuminated alphabet dating back to a text from the medieval period. Each letter is made up of several different human or mythological animal figures engaged in activities that reflect the beliefs and myths of that enchanted era. Some examples of the beings that you will find in this font are: griffins, dragons, chimeras, lions, gargoyles, unknown mythical winged creatures, peasants, priests, saints, and warriors battling with spears. Comes with a full set of accented letters.

This frivolous 6-font typeface was inspired by playing with my food one evening. I began to wonder what it would be like to draw a typeface with a pipette and liquid... the result is Fluid. A key feature are the contextual alternates that substitute an alternate second glyph when typing double letters, this gives a more natural feel to the resulting text. It’s a fun typeface from my back catalogue that was originally released in June 2018. Enjoy playing!

Samerang is built manually by hands, and reform into a clean Typeface. It can be used for just Title or even writing. Inspired by Alt Retro-futuristic, bringing back the '70s-'80s poster feels into modern time. In this font, you will get: Over 303 Glyphs Contains 31 ligatures in 3 OpenType features Some Alternates Letters Get Samerang now! It will best use for any design requirement, many fonts will coming with a unique concept. Thank you! Best Regards, FM-STCO.

A retro-style can be regarded as lack of original contemporary ideas. But also as passion for nostalgic time-traveling. Everyone wants to return to their youth at least for a moment. Inicia was one of my first designs (hence the name) from the mid-eighties. The original drawing was never finished because there were too many similar typefaces around. After three decades the shapes of the old designs suddenly became tempting to finish. Now restored and completed at Storm Type Foundry.

Eldridge is reminiscent of the sort of clear functional slab serif that was often to be seen in the 19th century. It is the plainer cousin of our Bamberforth family and the two partner together very well—Bamberforth for the eye-catching headines and Eldridge for the essential support. It is another new face, which harks straight back to Victorian times and, as such, is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.