HeyPumkin is a letterbat font designed for use in the late autumn, when the leaves are falling and the harvest is underway. October 31 is an especially good time to use it. The upper- and lower-case letters are almost identical. If you want a version of this face without the pumpkins, try Ingone. Buried in the font is another set of letters on pumpkins. They are on unicode characters in the 2400 block, circled digits and letters. These characters can also be accessed using the OpenType stylistic sets feature. (The alternative characters are further developed in a separate typeface, part of the InsideLetters family.)

MTT Roma is designed to re-create the atmosphere of the city of Rome of the 21st century. The studio for the letterform evolved from the Trajan Column alphabet. Suitable for both display and body-text usage, stylistically MTT Roma aims to distance itself from the proliferation of geometric sans-serif families of its time. The result is a sharp, subtly humanist typeface inspired by modern day Rome, the city of contrasts and eternal beauty. Featuring an extended character set to support Central and Eastern European as well as Western European languages, the typeface comes with six weights – from thin to black — with matching italics.

SK Femme Fatale is a decorative typeface inspired by strong women and their contributions to culture and design. The typeface is built with great attention to detail, its curves are thought out to the smallest detail, which gives the symbols a unique sophisticated character. The symbolic composition is rich not only visually, but also in typesetting: the typeface supports many languages, including extended Cyrillic alphabet and Latin alphabet. For better visual communication, ligatures have been added to the typeface. They enhance the interaction of the character form. A wide range of additional characters, numbers, arrows, etc., expand the possibilities of using the typeface in various areas of design.

Shiver me Timbers and Splice me Mainbrace! There's strange goings on in Smugglers' Cove... A gathering of thieves, brigands, piratefolk and back-stabbing blackguards the likes of which have not been seen since the days of Redbeard! Someone'll be swinging from the yardarm or walking the plank if the map identifying the location of the fonts created for Grim Todd McFarlane's SPAWN: THE DARK AGES doesn't turn up soon! With full European language support, automatic alternates, Manga characters and Crossbar I Technology™, Cutthroat is the perfect font to embody a voice with authority and a biting edge.⁠ See the family related to Cutthroat: Cutthroat Lower

Octopuss is an energetic titling typeface designed in 1970 by Colin Brignall for Letraset dry transfer sheets. Brignall expanded the basic alphabet with an outline variation with a shadow, which makes the typeface look three dimensional, almost like it is floating. Octopuss font displays the unmistakable signs of the typefaces of the 1970s, as do Countdown and Harlow, also designed by Brignall. The circular strokes of the capitals that drop well under the base line are striking and unique. Because of the small white spaces of its lower case letters, the rounded, robust Octopuss is meant exclusively as a headline font and should be set in large point sizes.

At times, one source of inspiration can generate more than one idea. This was the case with the 1918 sheet music for the song "You're Still an Old Sweetheart of Mine". The cover displays the title in a hand lettered narrow Art Nouveau Sans serif style. A number of characters were revised and the overall font was compressed by 25% to create a whole new look and feel. The end result became Slim Nouveau JNL. This was the same material used to originally model Easy Money JNL, which is truer to the original lettering design. The font is available in both regular and oblique versions.

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

A retro seventies idea of the Futuristic typeface, Automatic is a reflection on the simple and innocent ideas of the future from our past. To reach to moon, to colonize other planets, feed and clothe the earth, and spread peace throughout the universe and our own planet. Those ideals of the future are now changed forever by genetics, and the progression towards automation, amongst others. Will the future still be an innocent place for our children, or something out of a Terminator or Matrix like film...? Put the retro techno edge into your designs, and bring the dreams of yesteryears future back into our future!

Bodoni Campanile Pro is a font that bridges the gap between a “fat” and a compressed traditional serif typeface. It was originally designed in 1936 by Robert H. Middleton for Ludlow. International TypeFounders exclusively licensed the family from the Ludlow Collection, and Steve Jackaman (ITF) produced a digital version in 1998. Jackaman completely redrew the font for its 2017 release. Bodoni Campanile Pro, much like its transitional status as a font, is successful in both formal and casual roles. The free-flowing aspects of the family, seen especially in the lowercase ‘g’ and the leg of the uppercase ‘R,’ give the family an air of elegance.

2015 First Prize TipoType award. Agatha is a new typeface for titles and short texts in big sizes. It can be use both in editorial publishing and brand design. From gothic geometric bases, the letters resemble the Nordic style in order to be more feminine, rhythmical and vertical. The two versions, Regular & Outline, let the designer choose between two contrasts: one heavy version that emphasize the rhythm and a lighter one that intensifies the subtlety. The third version, Blossom, combines light and color with ornaments that highlight the style. The three fonts have in addition a ligature set and some decorative glyphs that increase the possibilities of use.

After the death of Uther Pendragon, long before Arthur was King of the Britons and before Galahad was destined to find the Holy Grail, the mighty sword Excalibur appeared, thrust into a Stone bearing the inscription; “Whosoever Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of England!” While no champion worthy of becoming king was able to pull the sword, England was plunged into the Dark Ages... the legend on the stone aged, and became cracked and weathered... much as one might find on your stone tablet, ipad or mobile device. See the families related to Excalibur Stone: Excalibur Sword.

Introducing - SPIKERS a realistic brush fonts. Spikers font preserves the detail of the original shape of the handwritten characters. It comes with the SVG font that will provide a realistic look of the Fonts. The SVG format requires Photoshop CC 2017 and above or Illustrator CC 2018 and above. With this font, you can enhance your design to the higher level with the realistic looks of the font. It suitable for many projects such as advertising, clothing business, game design, and many others that needs the touch of natural modern handwritten brush font. Not Only that. In this Font, we also include our awesome ATHENA Sans Serif font as a BONUS.

Madre Script is a typeface that experiences adopting two building models: the typographic (with repetition of shapes) and the script (with the freedom of writing). The models are presented in a subtle, unobtrusive way and mainly without conflicts. The essence of each personality is present, coexisting harmoniously and enjoying the same stylistic space. After careful evaluation of the connections between characters, intelligent standards have been established for use of the ‘Contextual Alternates - calt’ OpenType feature, that used together with the ‘Ligatures - liga’ feature, offers a gentle and friendly pace. Madre, is therefore, a discreet, near silent ‘scriptypography'. It is the ideal choice for editorial, packaging and branding.

Fournier was made by Monotype in 1924. The design is based on types cut by Pierre Simon Fournier circa 1742, some of the most influential designs of the eighteenth century. Fournier's types were among the earliest of the transitional" style of typeface and were a stepping stone to the more severe "modern" style made popular by Bodoni later in the century. They had more vertical emphasis than the old style types, greater contrast between thick and thin strokes and little or no bracketing on the serifs. Fournier has a light, clean look on the page, provides good economy in text and retains an even colour.

The origins of Bookman Old Style lie in the typeface called Oldstyle Antique, designed by A C Phemister circa 1858 for the Miller and Richard foundry in Edinburgh, Scotland. Many American foundries made versions of this type which eventually became known as Bookman. Monotype Bookman Old Style roman is based on earlier Lanston Monotype and ATF models. The italic has been re drawn following the style of the Oldstyle Antique italics of Miller and Richard. Although called “Old Style,” the near vertical stress of the face puts it into the transitional category. The Bookman Old Style font family is a legible and robust text face.

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic ? its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant ? a SeaWashed. Atlantic was designed for the URW++ SelecType collection.

Scriptek was created by British designer David Quai in 1992, based on the constructivist forms which became popular after the First World War with the progressing industrialization in Moskow. Typefaces such as Scriptek were often used in the propaganda of totalitarian political systems and can still be seen on monuments like the central train station in Milan or political posters of the 1930s and 40s. The robust Scriptek has strong serifs in the upper left and lower right of characters and this, together with the diagonal strokes of many lower case letters, gives the font a dynamic feel. Scriptek is best used for headlines and display.

Shiver me Timbers and Splice me Mainbrace! There's strange goings on in Smugglers' Cove... A gathering of thieves, brigands, piratefolk and back-stabbing blackguards the likes of which have not been seen since the days of Redbeard! Someone'll be swinging from the yardarm or walking the plank if the map identifying the location of the fonts created for Grim Todd McFarlane's SPAWN: THE DARK AGES doesn't turn up soon! With full European language support, Manga characters and Crossbar I Technology™, Cutthroat is the perfect font to embody a voice with authority and a biting edge.⁠ See the family related to Cutthroat Lower: Cutthroat

The name of this robust typeface is adopted quite literally from the slice taken out of certain characters. The same sliced angle is also applied to many of the terminals, creating a clean-cut styling throughout the family. Tilted versions emphasise the descriptive name further, with an implied cutting stance. Wider versions go even further still, taking on a more thrusting, squat dynamic compared to the condensed styles. The standard Sliced family is complemented by Sliced Open, a lighter, more open set which extends the versatility and design flexibility of the typeface and comprises a total of 14 font styles, all with extended European character sets.

History, as it's said, tends to repeat itself. The round-point pen lettering used in the 1920s logo and ads for Dodge Brothers cars (pre-General Motors) is an early predecessor to the techno type styles of the 1980s. Square in shape, with unique stylization to some letters, Jalopy JNL can cross the decades and be used for a 1920s period piece and still look fresh in an ad for computer parts. Rather than round out the inside lines of the characters to fully emulate the strokes of a lettering pen, the inside lines have straight intersections for the contemporary side of this font's design.

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic ? its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant ? a SeaWashed. More? Atlantic was designed for the URW++ SelecType collection.

Synthica is the advanced version of a geometrically constructed typeface – designed for a thesis project in summer 2010 in Pforzheim. In the context of electronic music and the profound analysis of its parameters, this typeface is primarly based on a strict modular grid. Additionally, the ascender, descender and the x height had slightly been increased in order to even out a visual difference in size between the glyphs. The name „Synthica“ dervives from a basic principle in electronic sound synthesis. Sinus, triangle and square are some of the basic waveforms in the synthesizers’ oscillator section and were thus used as geometric modules for the grid. The modularity and geometry also derive from different structures of electronic music. The strong emphasis on diagonal lines creates a rhythmic typeface that connotates electronic music patterns with highly recognisable glyphs. The contrast between digital and analog is another basic idea of this typeface: while Synthica Outline has a more synthetic and fragile character, the filled version Synthica Black serves as the analog counterpart.

The design of the first "Fat Face" is credited to Robert Thorne just after 1800 in England. It is considered to be the first type style designed specifically for display or jobbing, rather than for book work. The first instance of Fat Face in wood type is found in the first wood type specimen book ever produced: Darius Wells, Letter Cutter 1828. This style was produced by all early wood type manufacturers. The style is derived from the high contrast, thick and thin Modern style of Bodoni and Didot developed only decades previously. The extended variation makes the face even more of a display type and not at all suitable for text. This type of display type was used to compete with the new Lithographic process which allowed for the development of the poster as an artform unto itself. This new digitization by Jim Lyles most closely follows the Wm Page cut. The crisp outlines hold up at the largest point sizes you can imagine. This font contains a full CE character set.

The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. Bible Gothic was created by the famous German designer Rudolf Koch. Ralph M. Unger digitized this font exclusively for profonts in 2005, keeping his digitization as close as possible to the original design of Koch in order to preserve the distinguished character and the partly unconventional, original forms. The concept of a Bible Gothic was developing for years in Koch's mind and drove the direction of his work, but only after the experience with his Neuland design could he start the creation of his Peter Jessen typeface. Produced quite like Neuland, Jessen, however, is much more refined and more accurate in detail than Neuland. At first glance, it seems to look plain and simple, but if you look closer, the richness of its distinguished upper case forms unfold to a perfectly clear flow of text

The award-winning Conrad was created by Japanese type designer Akira Kobayashi. Its design was based on the fifteenth-century type by Conrad Sweynheym and Arnold Pannartz, two German printers active in Rome at that time. They produced a unique, slightly unbalanced yet attractive type. Kobayashi says of his typeface, “I have designed a couple of typefaces inspired from the past, but this time the original print acted merely as a reference. The distinctive lowercase ‘a’ and some other letters were inspired by Sweynheym and Pannartz’s second roman type, but I revived the type in a more informal way. Here I used the historical type as a springboard. The resulting type looks different, taking on a rather temporary and lively look. I assume that the Conrad is the first revival of the Sweynheym and Pannartz type, though it does not closely resemble the original.” Conrad won first prize for the text typeface category in Linotype’s Third International Typeface Design Contest (2000) as well as the Certificate of Excellence in Type Design from the Type Directors Club (2001).

TT Norms® Std Condensed useful links: Specimen | Graphic presentation | Customization options TT Norms® Std Condensed is the logical development of our bestselling TT Norms®. Since the release of TT Norms®, we received a bunch of requests to create its narrow version and even managed to make several custom projects of the narrow TT Norms® before we decided to start creating a full-fledged commercial version of the typeface. At the very beginning of the project, we did some research and tested several options for the possible width of the typeface. Despite the fact that TT Norms® Std Condensed has narrower proportions than the original family, it inherited the classic proportions of characters, attention to detail and meticulous elaboration of each character in the typeface. The TT Norms® Std Condensed font family consists of 18 faces (9 upright and 9 italics). Each style includes a sufficient set of characters that allow you to solve most of the problems that arise in the field of graphic design, branding, packaging design or website design.

Eggad features letters on eggs. It can be a fun font to use at Easter or for any egg-related message. Some of the eggs - those on the upper-case keys - have their large end on the bottom and others - those on the lower-case keys - have their large end on the top. The font uses the contextual alternatives feature of OpenType to alternate the big-bottom and big-top eggs. If you only want eggs with big tops or with big bottoms, turn this feature off. Eggad comes in two styles, a regular style in which the eggs are outlined and a bold style in which the eggs are solid. Both are monospaced. The two styles can be layered to color the eggs. Alternatively, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters) using layers in the regular style. If you are typing numbers and you want the start to be big-bottom number, switch on OpenType style set 1.

Flexion developed out of design philosophy and ambigramatic artwork of John Langdon. Based on the contents in John’s book Wordplay, author Dan Brown hired John to create ambigrams for his forthcoming novel Angels & Demons. Mr. Brown was so impressed with his work he even named the main character Robert Langdon after John. After the success of Angels & Demons, Dan Brown wrote The Da Vinci Code. When the movie adaptation of that book was in the works, Dan suggested that John create titles for the movie based on ambigrams. John contacted Hal Taylor to create a font based on the lettering treatment to be used for the credits at the end of the movie. Unfortunately, it was decided that the film was running long and the original title concept was scrapped. By this time, Hal was well into developing a full type family, including small caps, alternate characters, lining and ranging figures. John was impressed with the way the design was turning out and decided that it had enough merit to be released as Flexion.

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

This family was inspired by the beautiful roman font used by Aldus Manutius in Venice (1499) to print for the first time Hypnerotomachia Poliphili..., the well known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The present font contains all of the specific latin abbreviations and other ligatures used in the original. The Italic style, carved by Francesco Colonna, the so called "Aldine" style, was inspired from various documents, all printed with this first Italic font. We offer the complete set of ligatures (about 60) we have been able to find, contained in the original font. In the two styles, we have made differences between I and J, V and U, to make easier a modern use. Added are the accented characters and a few others not in use in this early period of printing. The Italic style may be used as a complement to our 1470 Jenson Latin. The font contains all characters for West European (including Celtic), Baltic, East and Central European and Turkish language.

Baissano is an all-caps display typeface that is inspired by the Mediterranean culture, environment and typographical landscape. Its letterforms have been directly inspired by the many alphabets found all around the Mediterranean. For instance, the E is inspired by the Caucasian Albanian alphabet and the Y is inspired by the Greek psi letter (ψ), and that’s just to cite a few examples. Baissano also expresses the interconnection between nature and culture that has profoundly shaped the Mediterranean history and civilization. The letters have powerful and geometric stems, man-made elements, that express the notion of culture. Those are combined with smooth and curved nature-like loops and bowls that refer to the organic world. The combination of these two elements creates a poetic and unique typeface, that captures the Mediterranean spirit, its cultural heritage and its natural environment. Baissano is a titling typeface that is designed specifically for use at larger sizes, in titles and headlines, for example. Features : Uppercase Numbers and punctuation Alternates & ligatures Supported languages: English, French You can learn more about the Baissano typeface here.

The most watched and celebrated sports are A-Z, with the lower case showing the same sports flopped. The numbers 1-0 are an assortment of Olympic sports.

The BD Retrocentric font is inspired by logotypes made in the sixties and seventies. The characteristics of this font is the well balanced blend of retro and futurism.

When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

A playful handwriting of a child Twelve-year old Tobias Düsel designed the characters of this font in 2002 during his family’s furlough in the USA. He drew the alphabet freehand in pencil on a piece of stationery, and clearly had examples of the well-known college and military fonts in mind. The characters in their basic form are geometrically thought out, as well as the construction of the shadows. But remarkably, while drawing, Tobias Düsel did not reach for the obvious aid of a ruler. In fact, the strokes of the letters are not linear, rather are recognizably well-balanced with declining and increasing straights as can be seen in polished classical fonts. Originally this font consists only of upper case letters — all other characters (punctuation marks, figures and similar) have been modified from the components of the capital letters. Complementary to the original Outline-Shadow-Version TobyFont Empty, the variations TobyFont Inside and TobyFont Full are also available. ”Empty“ is, so to speak, the frame of the typeface as “Inside” is the filling, and “Full” is the sum of both. All three versions have the exact same body size so that they can be placed over one another congruently. In this way the effect of a font in two or three colors can be attained. TobyFont is excellently suitable for designing “picturesque” or “hand-carved” contents; large weights are especially charming and striking.

Stabia is a multi-purpose typeface with large wedge-angular serifs. It is delicate and highly readable at very small sizes but reveals all its strength and personality when used at big sizes. The contrast of the sharped serifs provides a fresh and very contemporary look. The family has 5 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo and branding, small text as well as web and epub. Stabia 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. As well as Latin-based, the typeface family also supports Central European languages. Stabiae was an ancient Roman town, located close to the modern town of Castellammare di Stabia approximately 4.5 km southwest of Pompeii. According to the account written by his nephew, Pliny the Elder was at the other side of the bay in Misenum when the Mount Vesuvius eruption started. He travelled by galley ship across the bay, partly to observe the eruption more closely, and partly to rescue people from the coast near the volcano. Pliny died at Stabiae the following day, probably during the arrival of the sixth and largest pyroclastic surge of the eruption caused by the collapse of the eruption plume.

Duquesne Dark Woodcut is a new typeface in the spirit of 19th century American wood cut typefaces. There is an almost rustic simplicity to its heavily serifed letter forms, ideal for capturing the spirit of the mid-west, or early Victorian Britain. Long live the era of the Cowboy and the Steam Navigation Canal!

This yeomanlike typeface features the letterforms of the venerable Underwood Victoria typewriter on steroids. The original monospacing has been generally preserved, but the letters have been carefully kerned to add to the visual impact. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface Engravers Text; it could easily be called elegant, enchanting and erudite, as well. The inline version of this font includes the complete 1252 Latin and 1250 Central European character sets; the Solid version includes the Turkish 1254 set in addition.