Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Graduating Class JNL was inspired by the hand lettered titles found on a 1934 high school yearbook from Richmond Hill, NY called "The Senior Dome". This Art Deco era type design is available in both regular and oblique versions.

The real handwriting script. Very powerful impression because of its heavy, wide and speedy shape. Award Winning No. 1 font 2007 at MyFonts and Rising Star. There is one more script designed by in the same concept. -Banana -Nothing

Muraba Font is a one-of-a-kind, bold vintage serif display typeface, defined by its distinctively thick, squared-off serifs that offer decorative flair. This versatile typeface is ideal for various applications, including logos, headers, and display text

Amalligna Monogram is an incredibly beautiful and romantic handwritten font, featuring little hearts as ornaments. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch.

The face exudes Edwardian elegance, based on a 1905 release from American Type Founders called Meriontype. It's evocative of simpler times. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Who says Werewolves don't exist? Well, they do here! LD Werewolf looks like it was clawed and scratched into the very paper it's printed on. Adds a nice touch to a spooky Halloween Party invitation or accompanying fun memories!

Black Stamp is a unique, strong, and original handwritten font. Natural and elegant, this font can be used on a wide variety of designs such as headlines, titles, headings, logos, branding, posters, invitations, books, and any other creative design.

Here is it, Tasty Matcha Fonts. Based on my favorite drink become a fonts called Tasty Matcha. The fonts looks good, stunning, great, ease reading. What's Included Inside The Fonts ? Uppercase Lowercase Symbols Numerals European Multilingual Thank You, Regards!

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short descenders, tall ascenders, the narrow, italic version, completing the Gothic Special family of 5 fonts in total, sans serif.

Dekros has the look and feel of an Art Nouveau font when a key feature in much of the design of the 1890s was characterized by intricate linear and flowing curves that were based on natural and organic forms.

Reserv was inspired by a logo, which I crated for the company, EVROTERM. Once I saw this logo I asked myself: "Why not font based on this? In two or three weight?" For use in advertising and display typography.

Totem Forms is based on a series of aluminum and rubber wall constructions currently showing in Europe and the United States. Mirek's work has been shown internationally for many years and this is his first foray into type development.

A mysterious beauty hidden away on a secret island by her eccentric wizard father? No: An elegant display face influenced by Aldine old-style letterforms, Miranda brings classic sophistication to any project. The family includes regular and bold weights.

Ampersorts JNL is a collection of many wood type ampersands along with a smattering of question marks, exclamation points, dollar signs and cent signs. A vintage wood type embellishment is also included on the keystroke for the number 6.

FP Dancer attempts to combine a constructed face with an upright script face. The goal was a type family that combines softness and friendliness with more strength. Typographica.org selected this font as one of the best typefaces for 2007.

Free form Art Nouveau hand lettering found on many early-1900s ads for various personal care items manufactured by the Colgate Company were the design inspiration for Stylish Nouveau JNL, which is available in both regular and oblique versions.

Introducing a vintage look label font named "Green Mexican". You can see all available characters in the posters. This font has 4 styles. This font will look good on any retro design like poster, t-shirt, label, logo etc.

Zapped is a grungy font with a sort of extruded look. I was working on a poster for the punk band MAXILLA (they are hot check'm out). It looks like it came out of a war zone. Abuse it!

Inkblock is based on various ink printing and rubbings from an ancient wood type set. Inkblock the alphabet has lots of detail, so looks great printed large. It's a good headline font or whenever an antique look is needed.

Fairport is a fully functioning display font based on the lettering from the 1960s folk band Fairport Convention’s debut album. In lieu of lowercase letters, Fairport features a full array of stylistic alternates to add variety to any text.

Yang is a new Sans typeface that has a little bit of Ying in it. This combination makes it a very versatile font. Just give it a try and you will see. Yours working on the "Ying", Gert Wiescher

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Antidote is a grungy 3-D font. It is hand drawn and has been given a 'cracked' look. Looks great in headlines, titles and on packaging, but I wouldn't set a text in it as it is quite heavy.

Deco Bevel is a filter font based on Deco, an original Open Window classic. It came about while I was experimenting with light and shadows using 3D rendering software and Photoshop. Its ideal use is as a display font.

Binia is an experimental and playful display font. It contains two different character sets. One set you will find as lowercase, second under uppercase + several alternates. Mix as you like. Great for logo, posters. Look best in large size.

Toscography is inspired by vernacular and naive hand-painted walls and signs from Brazil. It feels organic, spontaneous and fresh and it has a light texture on its characters that makes it feel like it is starting to decay.