Introducing the "SG-SUNBLUM" font, a modern sans-serif typeface that stands out from the crowd with its extraordinary design elements. This font features sleek, elongated lines and bold, asymmetrical letterforms that give it a dynamic and eye-catching appearance. It also includes an extensive range of special characters and multilingual support for added versatility. Whether you're looking for a font for a headline, logo, or any other design project, SG-SUNBLUM is sure to make a bold statement and capture attention.

As the Latin tag for one’s college or university, Alma Mater seemed to me to be an appropriate title for a font family reminiscent of the lettering commonly used on college sweaters and sports jerseys. Essentially Alma Mater is an extension of my Oscar Bravo font family, but the lively demand for Oscar Bravo Blank persuaded me to go the whole nine yards and and offer inline, outline and shadow variations on the theme. Pick 'em up and run with 'em!

Humboldt is an ultra fat headline face. How bold can you go? Humboldt is an experiment to push the boundaries of character recognition: Its forms are extremely bloated yet highly distinctive. Open type savvy features provide an unexpected embellishment: small capitals, both lower case and upper case figures and several alternate glyphs are intrinsic in the design. Humboldt makes nice headlines and striking poster typography or logotypes. It can to some extent be used for setting even short phrases of text.

Contempo Gothic is a modern sans serif with a geometric approach. It comes in 18 weights, 9 uprights and its matching italics. Designed with opentype features including stylistic sets and tabular figures. Contempo Gothic includes extensive language support, fractions, arrows, ligatures and more. Perfectly suited for graphic design and any display use at any size. It could easily work for websites, blogs, signage, corporate identities, publishing and editorial design to name a few. Contempo Gothic is super versatile for everyday design use.

Rukola, a friendly brush script that follows in the footsteps of sign painting, features an extensive character set and language support. Turn on the OpenType function and swash alternatives for a more authentic, original appearance. For select characters, simply use the number of spaces after the character to choose from an array of swashes on the final character. Rukola contains small caps for writing in large letters. The typeface is an original script for your poster, package and brand designs.

Sincerity Stencil is the new extension of the typeface Sincerity. It's a fierce and elegant typeface identified by its high contrast, sharp shapes and triangular. The stencil component of this new version will add originality to your designs. Its large variety of glyphs, including accents, old-style numbers and ligatures will give uniqueness to your designs. It's a great fit for branding, magazines, newspapers, and so on. Sincerity Stencil is available in 16 styles, from thin to black in roman and italic.

Cowling Sans AOE is a charming Art Deco architectural style typeface. It is the cleaned-up, refined revival and elaboration of a lettering design from “Lettering for Commercial Purposes” by Wm. Hugh Gordon published in 1918. What began as a basic character set of Capitals, lowercase, and two styles of ampersand has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular, proportional, and oldstyle figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. This lettering style exudes the charm of its era with every word set in it by way of the small details that set it apart from other sans typestyles.

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

This font family is based on the alphabet designed by Frank Lloyd Wright for the "Eaglerock" project in 1922. The Eaglefeather Pro family features expanded OpenType font options. It contains 15 pro styles and 20 basic styles in 5 weights- Hairline, Light, Regular, Bold, and Black. In addition to small caps, italics, and a unique "informal" version (an upright italic.) There is coverage for Cyrllic, Greek and European Latin languages. Opentype features include automatic fractions, optimized kerning, and localized language features. Alternate forms of capitals A,H,N, & S are also included for added flexibility. The full range of weights and styles allows for expanded typographic possibilities in a wide variety of uses.

Stucco is a construction material that is used as a decorative coating for walls, ceilings, exteriors, and as a sculptural and artistic material in architecture. Stucco can be applied on construction materials such as metal, concrete, cinderblock, or clay brick and adobe for decorative and structural purposes. In similar fashion, the Stucco font is designed to be a decorative piece and is intended to support a wide variety of mediums. The font is intended to be used as a header or headline font, but a creative designer will find other uses for it. The font contains 300+ glyphs which includes uppercase letters, lowercase alternates, numbers, symbols, accented characters for multiple language support.

Celebrity is a new execution of a film type concept put forth by Willy Wirtz in 1971. The original idea, called Latus, had many irregularities and unfit characters that are now fixed and expanded in this digital version. Celebrity's construct combines extreme thicks with hairline thins to build forms that contribute to a type totality that is at once modern and techno, as well as retro-deco. Eye catching and memorable, Celebrity is ideal for use on posters, book covers, media sleeves and packaging. It also has enough geometric appeal to inspire unique logos and set attractive titling. Celebrity comes in all popular font formats, and includes a very expanded Latin character set.

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

☞ Bona Nova is a collective revival project of Bona typeface designed in 1971 by the author of polish banknotes Andrzej Heidrich. Besides giving the project a digital font form the aim was to expand the base character set: preparation of small caps, designing the alternative glyphs and multiple opentype features. Working together with the author we designed two new text versions: regular and bold – to give the family a form of a classic script triad. ☞ It is accompanied by three title versions and three contour styles under the name of Bona Sforza. All styles contains over 1200 glyphs. ☞ Bona Nova is an unprecedented typographic adventure for our team. We hope that our work will allow the cultural heritage of Bona and the work of Andrzeja Heidricha to gain new followers and fans. This project connected three generations of graphic designers who graduated the same school – the Academy of Fine Arts in Warsaw. ☞ Bona Nova isn’t only a typeface. We have also prepared a book about the project (including an interview with Andrzej Heidrich, my text about the digitalisation and a font specimen). The Bona Nova release party was a big exhibition (over 1000 guests). I’ve invited 26 graphic designers to prepare their own initials of Bona Nova – they were presented as posters on exhibition too. LINKS Bona Nova WEB Bona Nova FP Bona-Nova-(FREE-FONT) Bona Nova Book BONA NOVA IN THE MEDIA Typeroom Typography Guru Slanted Designalley Stgu Typografie Info Wikipedia Bona Nova is a non-profit project, all founds that we raise we reinvest to develop the Bona Nova project (new styles, Cyrillic & Greek, extend character set).

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Fifties is a mix of classic geometric and a bit of humanistic grotesque. The goal was to create the font for present with look to the past. In other words, I tried to came back the Modernism aesthetics of XX century into nowadays. The result gives you 60 styles including Italic (Slanted). Your typography may be airy and elegant with Expanded Thin, catchy and expressive with Condensed Bold or dynamic and sharp with Expanded Bold Italic. You will find your way to use this family certainly. Theatre posters or party flyers, vintage t-shirt or modern web service, movie titles or magazine header and even infographic – Fifties will suit you everywhere. You may use the completed styles or may use a Variable Font. To make it as you want to. Weights: Thin / Light / Regular / Medium / Semi Bold / Bold. Widths: Condensed / SemiCondensed / Medium / SemiExpanded / Expanded OTF and Variable Font (TTF) OpenType features: Stylistic alternates for A, G, K, M, N, R, W, a, e, g, j, m, n, r, t, u, w, y; Fraction figures; Subscript and Superscript figures; Tabular figures; Typographic spaces: Em / En / Third / Quarter / Thin / Sixth / Hair

ITC Newtext was designed by Ray Baker, who created a well designed and legible typeface and built into it every design refinement which could optimize its usefulness. The expanded shapes are generous and legible and the economical vertical set results in more lines to the page.

Louna is an elegant, multi purpose serif font. This typeface is perfect for projects with a beauty, elegant, expensive theme, Louna also has many discretionary ligatures to enhance the prestige feel in your project. You can use Louna for display, logo, headline, titling, and even text.

Display Ardent is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Ardent has the lowercase alphabet only, there is no uppercase alphabet. For convenience, the lowercase alphabet characters were repeated in the shift set.

Grand Rainbow Script a beautiful modern calligraphy font with Extrude Shadow Style. Comes with 2 layered font handwritten, sophisticated flows. Grand Rainbow Script offers beautiful typographic harmony for a diversity of design projects, signature, stationery, logo, typography quotes, branding, wedding designs, social media posts, advertisements & product designs.

Ovala SRF is one of a number of Ray Larabie designs provided to the Stella Roberts Fonts project and adapted by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Solanum is cosmic style sans family. It contains Latin and Cyrillic alphabet, Latin with Western, Central and South Eastern European, Vietnamese and Pinyin diacritics. Solanum is perfect for display purposes. This typeface family contains 12 styles from Thin to Regular and from Normal to Ultra Expanded.

ROTHE, A luxury vintage lettering style fonts. Inspired by the branding from the vintage classic era with the full decorative feels and complex design but still get the luxury feels right away. Armed with some swash letters to expand the style like the old lettering way.

For many type lovers, Broadway is the quintessential Art Deco typeface. Designed as an all-caps typeface in 1927 by Morris Fuller Benton for ATF, it was expanded two years later with a lower case designed by Sol Hess, who also drew the inline version, Broadway Engraved.

Mevada SRF and its oblique partner are a remix of the Ray Larabie design Devama SRF, another exclusive from Stella Roberts Fonts. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Sunnyside is groovy retro concept typographic come with duo combined, regular and extrude, bring if the old west and the 70s had a lovechild with not a unformal usage, it's the perfect typeface for adding sophisticated playfulness to any design project. fit to logo, brand, apparel, etc

Deltarbo is a medium-heavy sans-serif typeface that is designed primarily for great legibilty in graphics and display situations, with clean lines and a modern "rounded-rectangle" feel. Please note that this font is not intended to be formal, the characters are ever so slightly casual.

Romper is a slightly narrow handwritten sans in four weights and it is perfect if you want to convey a casual and friendly feel. It was designed with the idea to be used on comic books, mobile applications and children’s books, thus it has a Dancing Baseline version (Romper DB) and a Slanted version (each of them in four weights as well). The family is equipped with 450+ glyphs, has Latin Extended and Cyrillic Support (both Russian and Bulgarian) and a lovely set of extras. The family includes a lot of discretionary ligatures and alternate letters for more variety in the design. Overall, Romper is cute, amiable and really versatile, so it will fit most applications - think greeting cards, menus, merchandise, books, packaging, websites, etc.

Joaquin Display is a Brand New Elegant Bubbly Typeface with a powerful font family. It has a dependable and uncompromising style, with controlled letterforms and modern touches. It looks amazing in funny logos, cartoon posters, and movies. Joaquin Font would be perfect for kid's craft, comic posters, Captions, bubbly texts, and cute funny boards. The various weights allow you to experiment with a wide range of applications. It's created to make an impression without sacrificing its beauty and readability. It's shown a clean, bubbly, warmth, funny, yet still purposed to be versatile The Typeface includes four Weights - Regular, Medium, SemiBold, and Bold All offer wide language support Uppercases and Lowercases. Numerals and extended punctuation. Thank you for taking the time to look into the font

Introducing George Town new generation Typeface with 6 Weights. George Town Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. George Town is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Six Weights. Thin, ExtraLight, Light, Regular, Medium, and SemiBold Features: Numerals, extended punctuation & Basic Symbols(200+ Glyphs). Expert kerning and quality crafting. Uppercase Letters & Lowercase Letters 24x7 Support Thank you for taking the time to look into the font.

Xyngia is a professional modern sans serif typeface. Thanks to its excellent legibility it is a great choice both for on-screen use as well as print purposes. Xyngia is designed for use in long and short paragraphs of text, headlines and user interfaces. Its design nuances gives it distinctive character making it an interesting option for brand identification and logo design. Xyngia consists of 22 fonts - 11 weights and their corresponding italics. It has extended language support (over 1000 glyphs) and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

From the same page of a vintage German lettering textbook entitled “50 Alphabete fur Technikur und Fachschulen” (loosely translated to “50 Alphabets for Technicians and Specialized Schools”) that inspired Trippy Hippy JNL comes Eleckatrical Banana JNL. It’s another novelty, free form Art Nouveau hand lettered alphabet that works well in recreating 1920s period pieces or for designing a retro-inspired rock and roll concert poster reminiscent of the 1960s. The name of the typeface is from a line in the 1966 pop hit “Mellow Yellow by Donovan (Leitch), and his extended pronunciation of ‘electrical’: “…E-lec-a-tric-cal’ banana is going to be the very next craze…” Caps only Fonts. Eleckatrical Banana JNL is available in both regular and oblique versions.

The Lina typeface family was designed by Roy Cole and completed in 2003. The roman font, Lina 30, was drawn originally by hand and later its character set extended and digitally redrawn with the aid of Fontographer. The five additional fonts, 60, 90, and the italics 33, 66, 99 followed and were all produced digitally from scratch. Lina is characterized by economy, lightness and evenness of weight. The capitals and figures are not as tall as the lower-case but retain the latter’s weight, and the figures are designed to provide enhanced recognition. The characters are relatively large on the body and text and benefit from additional leading. Lina is essentially a typeface for text composition. Roy Cole's other typeface families are Zeta, Colophon and Coleface.

The Flowers Family is a collection of 3 typefaces in two weights, meticulously drawn by British designer Roy Preston. The Flowers fonts share a common clean and narrow design, with oval-shaped rounds and distinctive individual letter shapes that give each font a unique character all their own. Flowers Petal is the base typeface, essentially a sanserif with rounded terminal ends. Flowers Bud adds a unique inverted triangle shaped serif, and Flowers Thorn replaces that with an elegant pointed serif. All 3 typefaces are very legible and usable for text runs, and there are bold weights of each font for headlines and display applications. Flowers' extended character set supports many Western European languages and each font has some OpenType features, including Ligatures, that make them more useful.

Rumi is a script font with organic and natural feel, designed to look as true handwriting. It has a calligraphic touch and shaky, unpredictable execution, being very clear and readable at the same time. In order to achieve realistic look, Rumi features 4 variations of lowercase characters, figures and punctuation. The font mixes randomly all four versions after activating OpenType “calt” feature. Many ligatures help to create even more unrepeatable settings. Rumi has an extended character set of more than 900 glyphs containing alternate styles, standard and discretionary ligatures, symbols, ordinals and case-sensitive forms. It suppors Central, Eastern as well as Western European languages. Rumi is great for all kinds of projects that need strong, personal feeling and natural, organic look.