Morlife is a solid & solid typeface with a unique form of the 90s era. This typeface is perfect for event posters, magazine covers, hipster fashion brands, t-shirts, totes, quotes, or stylish text overlays onto any background image. Files include: TrueType (.ttf) Open type (.otf) Features : Lowercase & Uppercase numbers and punctuation multilingual alternates PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Bhekof is typography with strong characteristics. Explore several other eras of art and combine them into a strong Bhekof characteristic. A great typeface for your next design project. Looking for a typestyle that has strong characteristics? Look no further than Bhekof! This awesome typeface has a vintage look that will make your designs stand out from the rest. With strong characteristics like this, it’s no wonder it makes your design very popular.

Reminiscing the old era of historical books (seriously, that old), circa 19th century. We crafted the letters by connecting the dots from the past with research for every flow, ornaments, look, and feel, to precisely aim for that perfect shape. Ephemera Blackbooks are born with a dark and robust personality. Feel the European historical mood right away, even with just typing it with your keyboard. You don't even realize when the design is done cause we make it so easy as a one-click-time-machine to your works using Ephemera Blackbooks font. It will be a perfect armory for a vintage headline, old book cover concept, sign, posters, playing cards deck design, vintage labels, beer labels, bar decoration, apparel, merchandising, you name it. OTF Features : Stylistic Set 01 to 07 and Ligature Glyph Count : 355 glyphs Language support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, VunjoZulu

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

Hello I'm really excited to introduce Pinkponk designed to become a groovy and vintage, this font has the potential to bring each of your creative ideas to the highest level. Combine with ligatures and special alternative glyphs so you can create a lots with layouts and compositions. Pinkponk brings a touch of 80's and 90's era bespoke custom typography to logos, websites, social media quotes, wedding branding, and more. Whats Included ? Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Thank you so much for checking out my shop, and please get in touch if you have any questions! at: dedukvic@gmail.com find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/?hl=en

“Hand Stamp Gothic Rough” is based on real vintage rubber stamp letters from Germany. A classic american gothic face mixed with a modern condensed sans serif type. Rough & dirty with a authen­tic hand stamped look for a warm analogue vintage charm. It star­ted ana­lo­gous with only a few rubber stamps and finally it was digi­tal 776 gly­phs. With 4 × A–Z, 4 × 0–9, 4 × a–z and many other alternative glyphs like @. Plus modern OpenType Features like contextual alternates (automatic generated loop for letter variation). The different variations from the dynamic pressure by hand inten­ded to show the hand-made nature and crea­tes a live­li­ness in the display font. The font has 80 decorative extras in the form of symbols & dingbats like arrows, hearts, smileys, stars, further numbers, lines & shapes. A range of figure set options like oldstyle figures, lining figures, superiors & inferiors. Additionally stan­dard liga­tures, deco­ra­tive liga­tures (type the word “show” for ☛ and “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S) and many emojis & symbols. Example of use It’s your turn … for example everywhere where it makes sense. The hand stamped font would look good at head­lines. Advertising (big headlines), Corporate Design (type for logos & branding), Edi­to­rial Design (maga­zine or fan­zine headlines), Product Design (typographical packaging) or Web­de­sign (head­line web­font for your web­site), flyer, pos­ter, music covers or web banner … How To Use – awesome magic OpenType-Features in your layout application: ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the Glyph panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Tech­ni­cal Spe­ci­fi­ca­ti­ons ■ Font Name Hand Stamp Gothic Rough ■ Font Weights Regu­lar & Dirty (Bold) ■ Font Cate­gory Dis­play for head­line size ■ Font For­mat.otf (Open­Type Font for Mac + Win) ■ Glyph Set 776 glyphs ■ Lan­guage Sup­port Basic Latin/English let­ters, Cen­tral Europe, West European diacritics, Turkish, Bal­tic, Roma­nian, OpenType Features, Dingbats & Symbols ■ Spe­cials Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (4× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 80 extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & shapes. ■ Design Date 2016 ■ Type Desi­gner Manuel Vier­gutz ■ License Desktop license, Web license, App license, eBook license, Ser­ver license

Hawaii Summer is a fresh and playful display font, designed to bring a unique style to your projects. Its natural look makes it perfect to be integrated into exotic environments, thanks to the warm vibes that its lines transmit. It is suitable in multiple situations, like for: food and beverage, bar signs, packaging, t-shirts, flyers, magazines, posters, ad campaigns, social media, banners, etc... Stylistic alternates are included for letters: “m” to be the inverse of “w” and thus be more symmetrical, for example, if a logo design requires it “p” and “r” with a slightly decreased contrast to appear neater, especially for big size text like headlines Hawaii Summer supports multiple languages to be tourist-friendly ;) Get ready for the summer!

Graham Cracker is a fun, cartoony and child-like font that can't help but fill you with happiness! The font was inspired by hand-drawn lettering on an old 1960s movie poster, and contains over 175 interlocking ligatures that add a hand-lettered feel. Stylistic substitutions like this are where the OpenType technology really shines, allowing computer fonts to more closely mimic the variations of hand drawn lettering. The ligatures can be found under the Discretionary Ligatures OT feature, or applied from the glyph palette. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Hey guys! Meet our new font "Honey Vineyard"! It's time to pick up on the wedding trend of script-style fonts, and Honey Vineyard's sophisticated and stylish design is perfect for announcing your elegant wedding. A unique wedding font featuring flourishes of creativity and a graceful design won't leave anyone indifferent. This font includes stunning swashes and ligatures that will make your design even more attractive! Some commonly used letters have multiple swashes, while some rarely used letters have none at all. We also would like to note that when creating this font, a purely calligraphic approach was used. This means that all the letters are not the same: some letters are much thicker and some are thinner, as is the case in real calligraphy! The font also includes the Cyrillic version.

Brohan Black is a monospaced font: each character has the width of the piece of paper from which it was cut with a pair of scissors. The loss is minimal, as the counters are as small as possible while still retaining maximum legibilty. To save ink, print negative. Recommended for cement companies, post-industrial record sleeves and heavy poetry. Also great for temporary signage.

Jetlab is a typographic time machine that drops you squarely into the techno-futuristic optimism of the 1960s, 1970s and 1980s! While certain weights may conjure familiar space race-era logos from the sci-fi movies, board games, sports teams, new wave bands and sneaker brands of the late 20th century, the complete 45-weight Jetlab font family is loaded with modern features to power your retro-futuristic designs with near-infinite versatility. Features: 45 weights provide widths from squeezed to stretched and weights from light to heavy, plus reverse-stress (that's thick horizontal strokes with thin verticals) high, medium and low crossbar options upper and lowercase letters provide two distinct styles a four-axis variable font provides precise control of width, vertical & horizontal weight, and crossbar height 500 glyphs support 223 languages, including Western & Central Europe and Vietnamese

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Fishmonger originated from a commission of two fonts for the corporate identity of a fishmonger shop. When sketching the elementary principles for the lettering, the idea for a modern, extensive font family with a large number of styles was born. The first step consisted of defining the range of widths and weights. Then the master design Medium Regular was completed. The next step was adjusting the Extra Condensed Thin, the Extra Condensed Bold, The Extra Extended Thin and the Extra Extended Bold weights, as they are the vertices of an imaginary square map of the face. This meant that, in order to achieve a harmonious result, the x and y axis needed to be defined. From top to bottom, from the widest to the most condensed cut, the proportions are linear. However, from light to black, the line curves gently, allowing lesser difference between the light cuts, and a dramatic one between the heavier cuts. To ensure the original parameters were respected each position on the vertex was checked against the Medium Regular. After sorting out the ideal set-up, the remaining characters of each of the weights were drawn, and the remaining cuts were interpolated according to the principles above. Fishmonger is a functional, clean design, free of any buoyant, ornamental shapes, almost minimalist. Maybe this is what lends the type family its unique appearance.

Regatino is an geometric display sans font, and with a style that is very different from the others. This font comes in Regular and Oblique Version. Regatino is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank You.

Kayshi is a stylish, clean, and modern display sans font, with a very different style from the others. Kayshi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats – and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font and have fun! Thank You.

The Antiquary font collection was designed and illustrated, to reanimate the art of vintage advertising design. The fonts are inspired by the old ad posters and product labels, as well as the art of sign-making. The 4 typographic styles are combined with shapes and ornaments to create a variety of designs. They are ideal for logos, packaging, branding and all kinds of advertisements. Typographic styles: Antiquary: Old fashioned, serif, with 2 styles (Regular and Outline), stylistic alternates and ligatures. Antiquary Wide: All caps, bold, serif, vintage, with 3 styles: Regular, Inline and Outline. Antiquary Script: Modern brush calligraphy with terminal forms, contextual alternates, stylistic alternates and ligatures. Antiquary Thin: All caps, minimal, old fashioned. Antiquary Elements: 52 symbols, ribbons, frames and ornaments. The font collection supports Western, Central, Eastern, European, Baltic, Turkish and Greek languages.

The font DXOldStandardGroteskNo2 was developed on the basis of the Grotesk Condensed font, which was issued by Russian type foundry from the beginning of the 20th century.

This decorative, headline or logotype geometric font consists entirely of uppercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes. The font is an extension of the Paragraph fonts family, however the capitals of ParaCap and lower case glyphs of Paragraph are not designed to be used together. That said, you are welcome to try :)

A little cartoony, a little retro, a little coquettish, Miss Kitty Delux is ready for fun. Used in a non-OpenType aware application, she's a lively little typeface. Use her in an OpenType aware application and she really shines: Contextual Alternates automatically dress her up the way she was meant to be. Gussy her up even more with swashes, ornaments, and more ligatures than you can shake a stick at. Use Stylistic Sets to dress her down or dress her up even more. Take her out to play!

Are you ready to travel back in time? To a world of neon lights, high-tech logos, and a retro-futuristic style that defined an era? Then you’re ready for Forgotten Futurist. This industrial typeface is the perfect blend of old and new, with a vintage feel that still looks cutting-edge. Its letterforms are inspired by the 1960s and 1970s, when technology was just starting to take off and the world was full of possibilities. But Forgotten Futurist is more than just a tribute to the past. Its rounded technical corners and sleek lines are timeless classics, just as relevant today as they were decades ago. And with ten different styles to choose from, including Ultra-Light, Extra-Light, Light, Book, Regular, Semi-Bold, Bold, Heavy, Black, and italics, you’ll have all the flexibility you need to create a truly unique design. So if you want to add some retro-futuristic flair to your next project, look no further than Forgotten Futurist. It’s the typeface of the future, inspired by the past. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Sometimes you need a slim, elegant good old fashioned serif font. And, voila! Here you are - Valuable Time fits all those needs. I didn't spend much time cleaning up the letters, so they stand out just the way they are: organic and handmade!

Lunga is a wonderful condensed font. It was designed to be a legible type. It has lots of decorative glyphs and ligatures which were possible thanks to the open-type format! Lunga Real Ligada is the most complete style. The Open Type format contains all the ligatures and alternates. It also contains the SMALLCAPS function. Lunga Exacta has the right quantity of glyphs. The necessary ones if you are not a ligature lover. Lunga Versalita is a SMALLCAPS font. These glyphs are also contained in Lunga Real Ligada. Lunga Extras shows some ligatures and alternates which are actually contained in Lunga Real Ligada thanks to the Open Type format.

This script font was inspired by the type called “Bastarde Flamande”, a much appreciated one in the Duke of Burgundy’s court at the end of 1400s for handwritten books. A book titled Histoire Romaine (Roman history), from Roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawing the lower case characters and many of the upper case. Each character was written by hand with a quill pen on rough paper so as to look like the originals as much as possible. This font includes “long s”, naturally, as typically medieval , also a few ligatures, final and initial characters but there aren't any abbreviations because the text was written in French rather than Latin. Instructions for use are enclosed in the file and identify how to keyboard these special characters. This font can be used for web-site titles, posters, fliers, ancient looking texts, greeting cards, indeed for many types of presentations as it is a very decorative, elegant and luxurious font. Large type size shows this font at its best.

Beware: Here be Dragons! It Be Dangeroues to Venture Yonder! This warning, inscribed on a rock at the entrance of a cave in an inaccessible mountain in the far north of Scotland, provided the inspiration for the font DragonFyre. While I have not seen the actual rock myself, I have based the font on an accurate drawing of the original inscription. DragonFyre speaks of lands beyond our ken, of wistful faerie kingdoms, of dark happenings and white magic. Use it at your peril, for its very use will conjure up worlds long forgotten, places of faeries, elves and hobgoblins, of ogres and giants. Those who read texts written in this font may well have their lives strangely changed. I have included a complete character set of 242 characters; upper and lower case; as well as all accented and special characters. All characters have been carefully letterspaced and kerned. For maximum dramatic impact I suggest you use combinations of both upper- and lower-case characters.

Linotype Zapf Essentials is the modernized version of Zapf Dingbats and was also designed by Hermann Zapf himself. Over 372 characters and symbols are included within six fonts and make life a little more communicative, a little more informative, and a lot more interesting. The fonts contain symbols for both professional and everyday uses. With their markers, ornaments and arrows they are informative as well as versatile, timeless and lively. An interesting note to the story of Zapf Essentials: in 1977, Hermann Zapf created about 1000 sketches of signs and symbols. ITC chose those which became known around the world as Zapf Dingbats. For a typesetter, dingbats are the characters in the corner of the type box which can be used for just about anything. The last decade has seen the appearance of new symbols for e-mail, fax, mobile phones and other developments. These are now part of Linotype Zapf Essentials, just as they are now a part of everyday life. For a quick overview of the different Linotype Essentials variations, see the keyboard layout PDF in the Gallery section. It shows the keyboard layout of each font. A helpful hint from Hermann Zapf: Linotype Zapf Essentials should be used sparingly so that the characters retain their emphasis.

Happy Heinrich has the looks of a typewriter font, but he's far to funky just for that!

Scratch was designed by Andrew Smith in 1995. It looks as thought many fine lines were drawn next to and over each other with a felt-tipped pen. Small bits of white peek out among the strokes and give the font its dynamic character. Flexible and sketchy, the forms are based on those of a classic sans serif cursive typeface. Scratch is meant exclusively as a headline or display font.

Introducing the new Diem Gibling Ligature Serif!!! Diem Gibling is an elegant and classy serif typeface – This font is both modern and nostalgic and works great for logos, magazine, social media. Already matched up and ready to be used together for your next design! For those of you who are needing a touch of elegant, stylish, classy, chic and modernity for your designs, this font was created for you!

The Ray Johnson font was inspired by the Father of Mail Art. It's based on the block lettering style used by Ray to add the names of his correspondents to their bunny head portraits (the film How to Draw a Bunny is a superb introduction). The font includes blank bunny heads and other Ray Johnson graphics as scalable vector images, and separate bitmap images are also provided as jpegs and gifs.

Introducing the new elegant Maulie Script! For those of you who need a touch of elegance combining classic style with modern calligraphy style for your design, this font is made for you! Whats INCLUDED? Maulie Script was built with OpenType features and includes initial and ending stylistics, alternative characters for most lowercase letters, numbers, punctuation, alternatives, ligature and also supports other languages. There are more than 404 glyphs in this font.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

This font, as indicated by its namesake, was designed and started by the late Bob Alonso. It represents the first of his unfinished work to be completed by friend and colleague John Bomparte, following Bob's passing in December of 2007. It is a font that speaks with a distinctively robust voice; and would be a great choice for a wide variety of uses. Central European languages are supported through OpenType, and Windows/Mac OSX TrueType versions.

A dramatic contrast between thick and thin strokes, “ball” shapes at stroke terminals, and straight hairline serifs are main Evuschka characteristics. In this font, the x-height is specifically accentuated in relation to body height. In spite of its extreme geometrical shape, Evuschka exudes fairytale romance. Belonging to decorative type fonts, it is best suited for headlines, titles, and small amounts of text in large sizes. Evuschka was selected for TDC Certificate of Typographic Excellence 2017.

When I was a kid, I loved the story of The Boy Who Cried Wolf. I thought it was pretty stupid of the boy to trick the villagers into believing wolves are attacking his flock of sheep. But I also thought it was a bit sad that the sheep are eaten by a wolf in the end. I didn’t really feel sorry for the boy (he really was stupid), nor the wolf (he just does what he is supposed to do in life), but I did feel sorry for those poor sheep. I guess this is what disinformation leads to in the end. Cry Wolf is a bit of a scary font: it was made with a really old and battered brush, using Chinese ink and some quality French paper. It has a slight tilt to the right and I added some inky splatter for dramatic effect. Use Cry Wolf for your book covers, product packaging and headlines; use if to spice up you invitations and your halloween posters. Comes in a slightly tilted Regular style and an outright Italic style.

Ever since I first designed Ellida in 2005, that elaborate script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer, I wanted to add a very high contrast cut to the family. I finally did so. But the result looks so much different to Ellida that I had to give it another name, hence "Eloise". Eloise should actually be written with a 'i' that has double dots, but that would be difficult for international use. Eloise is a beautiful first name not only for French girls. Pronounce: Ay-low-eese. If I would have had a daughter, I would have called her "Eloise" (with double dots!). But instead I have two phantastic sons, so I never got the chance to use it. Actually one of my sons discovered it on his little boys sand shovel, it was called Eloise. Your decorative designer with a heart for sand shovels Gert Wiescher

Gandarita, a vintage serif typeface, exudes timeless elegance and sophistication. With its carefully crafted letterforms, inspired by classic typography, Gandarita seamlessly blends tradition with a contemporary flair. The typeface boasts distinctive serifs that evoke a sense of refinement and nostalgia, making it an ideal choice for projects that require a touch of vintage charm. Its balanced proportions and intricate details lend a sense of authenticity, capturing the essence of bygone eras while maintaining a versatile appeal for a wide range of design applications. Whether used for editorial layouts, branding, or signage, Gandarita imparts a sense of enduring style, making it a standout choice for those seeking a classic serif typeface with a hint of character and sophistication.