Futuramano was the kind of typeface we scribbled in those old days, when I was an art-director in advertising agencies. We used it to simulate the headlines and the subheads, so the client could read what the copywriters had in mind. As Futura was the font of choice in those days (as it still is), our scribbled typeface looked much like Futura. The second half of the name “mano” means hand, so that is what it is, kind of a handwritten Futura. Futuramano is very practical if you want to have that unfinished touch! Yours very nostalgic Gert Wiescher

A strong geometric font of lowercase letter only, with the look and feel of Jazz-age neon. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

This very free freehand script bounces across the page and enjoys every moment of it. Use it to liven things up! Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Qiltray is a good example of how handwritten fonts can be made for use in long texts. With clear and readable letters, Qiltray may be used in any kind of publications. Includes Cyrilic and CE character set support.

Display Board JNL is based on Futura Display, which was designed in 1932 by Paul Renner as an extension of his original (1927) Futura family of typefaces. According to Wikipedia, the font was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926 Display Board JNL is available in both regular and oblique versions.

The multi award winning ESTA is back, renewed and improved in OpenType format. Now named Esta Pro, is available in Regular, Italic, Bold, Bold Italic, Display and Swashes. Includes plenty of features, like SmallCaps, Alternates, Ligatures and CE characters.

A simple, modern sans serif; clean and elegant, just like its inspiration. The name is a play on Futura.

Frankie remains a classic among classics. A pioneer of the Type-Ø-Tones catalog, this is their personal eroded Franklin Gothic.  Avoid imitations. Try Frankie, today still their best-seller. Now, in this updated version with a complete CE Character Set.

Lettering specimens from 1910 by an unnamed Dutch calligrapher provided the inspiration for this quirky and somewhat mischievous Art Nouveau font. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Equalis Stencil is a slab-serif typeface. This OpenType font comes in three weights, alternates and symbols, with support for CE languages. Equalis Stencil can be used as display type, headlines, packaging, signs routing and a wide range of projects.

Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Autobahn Std has a full Latin 1 character set but no CE, Cyrillic or Opentype features. For the extended character set and Opentype features, see Autobahn Pro.

In Egyptian mythology, Seshat was the Ancient Egyptian goddess of wisdom, knowledge, and writing. She was seen as a scribe and record keeper, and her name means she who scrivens, and is credited with inventing writing. Miss Seshat font is a fun, charming and expressive handwritten font with 900 glyphs. They have many advantages of the OpenType futures to choose from: stylistic alternates, contextual alternates, and a full set of standard and discretionary ligatures, Swatches, Beginnings and endings, as a rich set of 120 ornaments, connectors and catch words. Miss Seshat Pro version supports all diacritics for CE languages. They've been specially thought to obtain endless possibilities of composition and to help to make each creation unique and interesting. Miss Seshat font can be used in packaging design, children books, advertising, logotypes, greeting cards, web sites and much more.

Argonautica is based on a relict of the future that was left on earth by time-travelling extra-terrestrials. In 1947, an UFO crashed in the New Mexico desert. There were unknown glyphs found on the spaceship which couldn�t be deciphered to date. Based on one of the unknown glyphs, Gabriele Lindemann developed a complete alphabet readable for human beings. Argonautica is particularly suited for colored typography and can be read much better with growing distance.

An unreleased typeface called "Aragón", designed by Enric Crous-Vidal, provided the inspiration for this decidedly retro face. It’s quite useful for distinctive and commanding headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

A WPA poster announcing the latest production by—guess who?—the Big Tent Players inspired this eye-catching, if somewhat unconventional, typeface. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Parabrite arrives as a vision of the future. The future is brite - Parabrite - this is unavoidable now. The composition of Parabrite is found to be based on a set of technical behaviors defined from a set of four sub-glyphs and their interactions, similar to the make up of our D.N.A. (A,C,G,T). Likewise, Parabrite's block matrix is composed of four units (S,L,I,C). These units are only allowed to group together according to predefined set of mathematical rules, and affect each other symbiotically. The smallcase letters stand five feathers high, while the capitals add an extra two feathers width. Parabrite is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications. Use Parabrite when you dream of a future world. Since Parabrite is adapted to be quickly read by a wide assortment of electronic scanners, legibility to humans suffers a little, although robots report it is much easier on the eyes. They are happy to read it for you too, if you are having trouble.

Alf Becker called this offering "Rounded Modern Bold." The geometric forms, strong contrasts and unexpected turns of this serious Art Deco typeface command attention. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

P22 Bastyan is a hybrid Italic Blackletter. This typeface resembles Carolingian miniscule scripts and has a timelessness that evokes formality but defies specific historical categorization. It is available in an optional Opentype Pro version with CE language support, multiple styles of figures, ornaments, and ligatures.

Every type library needs a generic, comicbook-style “POW!” font, and this one is ours. Breezy, bouncy and bold, it’s the perfect choice for rock-em, sock-em headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Maggiore Font is a versatile and unique display typeface with a style all its own. The convex strokes and concave stroke ends set up a singular interplay of blade-like sharpness and plump softness. Maggiore can work very well in loads of different contexts and applications: product labeling and branding, cosmetics, fashion, social media banners, the performing arts, t-shirt logos, and even quaint vintage futurism. Combining the unique with the highly legible, Maggiore will be a great addition to any font menu.

The Tempo font family was designed by R. Hunter Middleton and released between 1930 and 1931. The instant success of Futura in 1927 led to many similar designs, and Tempo is the version produced by the Ludlow foundry for large headlines in newpapers. Like Futura, Tempo font is basically geometric, but shows some humanistic influence. Tempo is popular for newspaper and commercial printing, and the heavy condensed font is excellent for headlines.

In the Dynamic Seventies, "prismatic" typefaces were all the rage, and few were more popular than variants of Paul Renner's Futura and the Herbert Bayer-inspired Bauhaus. This family of fonts features Futura-like forms in the uppercase and Bauhaus-like forms in the lowercase, so you can mix or match to create just the perfect headline. As always, all versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Dan X. Solo's book of Showcard Alphabets featured the pattern for this devil-may-care face under the name "Conway". Not too pretty, not too proud, but a whole lotta fun. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

The exuberant, if somewhat unorthodox, letter stylings of British poster artist Cecil Wade inspired this offering. The font has extensive kerning to keep the letters packed tight. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Houschka Rounded is the companion family to Houschka Pro, featuring CE, Baltic, Turkish & Cyrillic language support plus small caps, stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka Rounded may be a softer & cuter sans serif than her big sister but she's equally versatile.

Schrifti Alphabeti, a delightful collection of Cyrillic typefaces for posters from the former Soviet Union, strikes again, this time with a way-out West (Vladivostok?) theme. Extrabold, extra wide and delightfully different! Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Another tip of the hat to the halcyon days of woodtype, this cap-small cap typeface takes its name from the bustling Mexican metropolis just across the Rio Grande from Brownsville, Texas. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Lettering on a 1927 menu by prominent poster artist Razzia provided the inspiration for this decidely Deco typeface. The restaurant itself was the setting for one of Georges Simenon’s many Inspector Maigret novels. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Sans-Skript is a display typeface that is inspired by Javanese Script (or Sanskerta in Bahasa Indonesia). Javanese script is one of Indonesia’s many traditional scripts that were commonly used by Javanese people from mid-15th CE to mid-20th CE. Though not commonly used anymore, it is still taught and used in cities across East and Central Java. Sans-Skript translates the high-contrast, modular and organic features of the Javanese Script into the Latin alphabet. (Hence the not-script naming) The typeface is aimed to be used for large format prints, above 100 pt, and can be used alongside Javanese script. Typefaces that pair nicely mimic features of Javanese script, and Hatton by Pangram Pangram Foundry is an example.

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!

A single weight rounded font, similar to the popular Futura font with several new twists. Usage recommendations include captions, packaging, invitations, cards, posters, ads, book jackets, and manuals.

A 1928 poster by Italian designer Neri Nanetti for Snob Cognac provided the inspiration for this attention-getting offering, named after one of the Marx Brothers' most memorable movies. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

An offering by lettering artist Harvey Hopkins Dunn for the 1930 classic, American Alphabets, provided the inspiration for this graceful, engaging typeface. Use it liberally to exude elegance, or to turn on the charm. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

An unusual blend of block and script letterforms, based on poster lettering for an Italian fashion house of the same name, designed by Wilman Schiroli in 1935, and notable for its very jolly lowercase c. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This quintessential nineteenth-century offering is based on a typeface from the 1912 American Type Founders catalog called Lining Central Antique. Quaint, yet crisp and clean, it is equally suitable for headlines or body copy. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This decidedly Deco offering is based on a rather unconventional stencil lettering treatment offered by F. A. Pearson in his 1923 tome, Ticket and Showcard Designing. Strong and stylish, the design has aged remarkably well. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Considerable heft and clean lines—with a few whimsical grace notes—characterize this font, based on a typeface originally named "Ryter Night". Powerful yet playful, this gentle giant is the perfect choice for engaging headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Another gem from the Blandford Press Pen and Brush Lettering and Practical Alphabets, this in-your-face typeface features strong geometric elements, delineated in blueprint fashion. A surefire attention-getter. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Slab Serif fonts are also sometimes referred to as ‘Egyptian’, hence the Egypt in the name. This lovely and complex font is based on old woodcut fonts. The upper case only font is brilliant for striking headlines. This OpenType font has support for CE languages and I hope you like it.