The "Line" style of "I am online with u" font family was inspired by the idea of the digital connection of two people living in different parts of the world. Later on this idea was expanded, including different styles such as "Dashed" or "Dotted", which built the font family taking the initial idea to another level and keeping the connectivity concept alive. This typeface works best when used in big sizes.

The revival of this 1932 classic design by W. Schwerdtner for the Stempel Foundry in Germany brings back the fashion and culture of those bygone days. Wedge-shaped vertical strokes are thicker at the top than at the bottom while serifs are somewhat elongated, thin, and pointy. Here is an excellent choice for large display settings where capturing the spirit of the 1920s and 30s is important. Metropolis SG is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

Sheet music from the 1911 stage production of the comic opera “The Enchantress” featured the hand lettered names of both the star and composer in a monoline Art Nouveau style. This sans serif type design is now available as Theater Nouveau JNL in both regular and oblique versions.

In designing the Millenium® typeface, Patrice Provost was inspired by great typographers in the great French typographic tradition to create a unique and modern variable font. His goal was to reinterpret the mid-20th century sans serif style in a variable typeface that will conform to the need of the 21st century. He succeeded with mastery in drawing large characters. In doing so, patrice provost added an exceptional dimension to the design of this typeface, a graphic personality that evolves over the styles. The attention to detail brought to each letter, each accent, each diacritic, make this font a solid tool for all Western graphic designers and layout artists. With more than 1000 glyphs per style, Millenium® can be used in more than 210 countries. With its 13 styles drawn in Classical Roman style, in Italics and in condensed Millenium® provides designers from all walks of life with a fantastic tool to bring novelty and class to your creations. Ideal for signage, Millenium, thanks to its "wide case", is also widely used for posters. It is also a gold mine for creating logos for dynamic tech start-ups. The Millenium family is made up of designs with progressive weight changes. it is very extensive. It ranges from "Super Thin" to "Extra Black". Unique in the world, its thinness makes it possible to design a very light style even to print on posters and other large formats. Designed from the outset as a variable typeface, Millenium offers a range of 900 possible variations and an infinity of creations...

Romanson - a modern display serif font with a lot of alternates and ligatures. This font can look more classic (conservative) serif, which is perfect for texts. So same he can be more expressive, playing and more modern with alternative substitutes and ligatures, try to play with them and you will get the uniqueness in your project. Just try to create a logo from uppercase, change them to create the best and harmonious and inimitable design. This font includes 205 Uppercase, 27 Lowercase alternates and 51 Ligatures.

Egory castle was inspired from the history of the medieval age. The idea was to make us interested to explore in the aspect of art and decorative letters forms. Lots of studies that we have learned from history in middle age and inspiration from many different sources make very valuable references for us to develop a new idea in the development of this typeface.

Surakarta is a display face of western characters with numerous optional ligatures modeled after the graceful Javanese alphabet still taught in many schools on the island of Java in Indonesia, though it has been replaced by the latin alphabet for most everyday purposes. This is the second in Parquillian Design’s series of fonts inspired by some of the beautiful lesser-known native scripts of Southeast Asia.

Otari is vibrant and contemporary, but serious and built to last. Its character shines in display type, but doesn’t interfere at text sizes. Otari aims to capture the essence of Wellington, New Zealand in a single typeface. The contrast of a colorful art scene and the conservative colonial British aesthetic, which is still evident in the capital city, laid the groundwork for this design.

It is necessary to keep the memories of our ancestors alive. Although the languages and cultures of the past societies were different, in my eyes the ancestor of our humanity is. Having to experience everything in that world, no matter where in the world it is. This font is a Runic member. It is a kind of variety that belongs to different geographical regions.

Peanut is a face full of bounce and playfulness but is based on the traditions of the long revered Roman minuscule. The letters are unique in that they imply “youth” without relying on cliché child-like letterforms. Peanut and Peanut Sans come in a ‘Salted’ style which features many alternate letterforms. Both the Salted and regular styles are combined into in the Pro fonts.

The Festival Titling font was cut by Monotype in 1950 as the official display face for the Festival of Britain which was staged in 1951. Used for all official Festival announcements, Festival Titling was made available for general use in 1952. The festive feel of this design together with the clean glitter and novelty make it a useful face for display and advertising use.

Sheldrake JNL is the second in a series of display fonts modeled from actual water-applied decals that were manufactured by the Duro Decal Company of Chicago (now Duro Art Industries). The font's name derives from the actual phone exchange for Duro, back in the days when a telephone listing had a name-number assignment for recognition. In this case, their number began as "SH(eldrake)-3".

Little is known of the origin of these decorative Initial Caps. Series 448 at 24 point were a different design from the 36 point on which this digital version is based. In addition to the basic 26 characters, there is a negative version contained in the lower case position and a fill character (for two color caps) option in the number and punctuation key positions.

Corpulent is a display font whose forms are extremely thick, up to the extent of being nearly illegible. In the 1980s, these construction principles were explored to their very limit. So if the lyrics of Eyes Without a Face resonate in your mind, the feet turn numb in super-tight trousers, and you fancy a big hair style, this font is the one for you.

It is necessary to keep the memories of our ancestors alive. Although the languages and cultures of the past societies were different, in my eyes the ancestor of our humanity is. Having to experience everything in that world, no matter where in the world it is. This font is a Runic member. It is a kind of variety that belongs to different geographical regions.

Alta Mesa is a revival of an old type design from the 1800's that was sold by most of the type foundries in the US and Europe of that time period so it is difficult to know the foundry of origin. New with this version are the fill fonts and plain styles, the fill fonts may be used as stand alone fonts, however the letter spacing is much wider, the plain versions are recommended if you desire a solid black weight. The regular Fill font is in registration with the Regular and Open versions while the Fill L font is in registration with the L and Open L versions. This was a very charming font in its time which was heavily used on old billheads and letterheads. We're pleased to bring this type design, which hasn't been used for over 100 years, into the digital world today.

Excritura is the third typeface created by the Spanish designer Alex Camacho. The robust personality of this original calligraphy-derived italic font will undoubtedly also win you over.Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre. Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre.

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Introducing a funny, playful doodle font with soft sloppy glyphs. Easily turning text into handwritten. Font family is cool for complementing a design with a doodle or sketch illustration, the font does not have complex spelling of letters, therefore it is suitable for a children's audience and will complement a children's book, as well as fit into any design with a playful holiday theme, and much more. Family has 2 font styles with different interchangeable letters (different only uppercase and lowercase, other glyphs are identical) - can be used as alternate's. Family of 6 fonts is divided into 3 types: regular/basic, italic and outline. Features: 6 fonts 2 styles (Regular, Medium) with different interchangeable letters (different only uppercase and lowercase, other glyphs are identical) 3 types: Basic, Italic, Outline Kerning ld.luxfont@gmail.com

The letterforms for this unique face were found on a luggage tag designed by the Richter Studio of Milan in the 1930s; the treatment was suggested by a recent Dutch ad for the opening of a service garage. The meeting of the twain results in a three-dimensional delight. Various transitional elements can be found in the ASCII tilde, {brace}, dagger and double-dagger positions. Both versions of the font contain characters to support all major European languages.

The first photo-typesetting machine in operation, the Uhertype, was introduced in 1925. It was a combination of manual phototypesetting machine and make-up machine. The machine’s typefaces were designed by Jan Tschichold. The patents on Uhertype were bought up at the time to prevent the invention of filmsetting spreading. Jan Tschichold has been very influenced by Gill Sans (1928) for this humanistic sans serif drawn in 1933/36 for Uhertype.

Fatum™ is a new original ultrablack slab serif typeface that was initiated by the impression of the TDC 2011 exhibition. Redundant stem thickness and closed character shapes make a feeling that counterspaces are the narrow slits cut in massive character bodies. Fatum can be used in large sizes in placards, playbills, in the headings of magazines, newspapers and Web-pages, as initials in book setting, for typographic illustrations and compositions. Ultrablack weight also gives a possibility to insert pictures, ornaments or other decorations into the contours of letters. This typeface was designed by Sveta Morozova and released by ParaType in 2013.

Stray might be the lonesome cowboy in this big odd world, but it's his just public façade. Stray is handsome player that works well with any team or in any environment. He doesn't have a horse, but he can be the one, he can carry any weight. OK, let's talk serious now: Stray is distinctive geometric sans serif family in 9 weights and matching Italics. By it's design, Stray flirts with humanistic typefaces in some elements, while on the other side, we can see vintage letter forms as well. It is well balanced typeface, fully legible in any (reasonable) size, with power to present versatile tasks and situations. Specific joining of letter stem and bowl is one of design characteristics of Stray, so it is not just another geometric sans family, it really differs in it's own details. Contains extended Latin character map support and Cyrillic (no localizations, sorry). As any serious working horse family, it is equipped with decent OpenType features like Small Caps (for basic Latin only), Fractions, Tabular Figures, Denominator, Numerator, Ordinals and Ligatures. It also comes with small interesting set of dingbats. This Stray is not homeless, he just looks for the proper job :-)

A poster for the 1952 film “Diplomatic Courier” featured the title hand lettered in a bold serif stencil design. With some modifications, this served as the model for Government Stencil JNL, which is available in both regular and oblique versions.

Courant means "newspaper". Courant font was modeled on 17th century Dutch newspapers and most of the glyphs are authentic. The 'modern' glyphs, like @, $, €, * and several others have been designed by me, as they were not in use in the 1600's.

Based on Alan Dempsey's design for Letraset in the 70s Pinball, these dots will add dash to any headline. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

“Sandigan" is an rustic, organic, sturdy and expressive display typeface that is inspired by the characteristic and vibes of male filipinos. Sandigan also means foundation in english. This typeface is developed with the intention to be used in display medias to maximize the stylized shapes of each character. This typeface is best used when you want to express elegance, class and sophistication in your designs. *This font includes letters, numbers, multi-language, and all essential marks needed.

Bixa is a chromatic typeface designed for display use. Bixa comes in 13 different layers containing 11 weights for beautiful color combinations. Bixa was originally designed for the Typewood project in 2015. Read more about this project here. In 2016 we launched the chromatic web version of Bixa. More information about Bixa Color here. Bixa was awarded by the Type Directors Club New York and the European Design Awards in 2016. Bixa is designed by Novo Typo in 2015. Youtube

Achispado which means tipsy or slightly drunk in Spanish is the name of a crazy funk font that was designed by Richard Yeend in 2003. Full of comic almost architectural elements bit and pieces of the entire history of lettering come together to create the letterforms of this typeface. Text set in Achispado will look just plain fun if a little tipsy at the same time! Achispado could be used in large display settings, in fashion or on jewelry items.

Derived from a photograph Rian Hughes took in Hong Kong, the Roadkill family of typefaces is a literal interpretation of rough and worn road lettering. The original provided almost all of the key character shapes, with the others being designed to keep the unique hand painted feel intact. Most of the letters have alternate versions provided. This font works equally well at wider letterspacing settings. Roadkill Alternates provides curved versions of the 2 and the S, a G with higher crossbar, and less worn versions of several other characters. The heavy version packs even more gritty wallop in a non-condensed and blacker weight. Roadkill Heavy packs even more gritty wallop in a non-condensed and blacker weight. Use in conjuction with the original Roadkill and Roadkill Alternates. A set of arrows and other road symbols again taken directly from tarmac to Mac, thus preserving the worn and eroded appearance of the original characters is also part of the Roadkill family.

EraMax 123 is a multi-layered display geometric sans serif, meant to be set BIG, for large, colourful statements. It's the perfect face for packaging, posters & branding, where a strong, colourful voice is needed... Did I mention posters? The "Max" in EraMax comes from the ultra bold weight, but also, and mainly as a tip of the hat to Peter Max, the designer and artist, known for creating so many images which have come to be emblematic of the sixties and seventies. The bold gradient effects in some of his posters were the inspiration behind the dotted and striped layers. This font's vintage flavour truly stand out in a retro setting, but also has a modern flavour that lends it the flexibility to work well in a more contemporary context. This is the second of what is to be an extended family of typefaces based on the original hand painted signage found in the T. H. & B Railway station in Hamilton Ontario, a classic Art Moderne building, designed by the New York architectural firm of Fellheimer and Wagner for the Toronto Hamilton and Buffalo Railway line and completed in 1933.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total. A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the humanist tradition. The sans serif part of the family, Aptifer Sans, is designed without excessive details disturbing the reading. Its sibling, Aptifer Slab, with its wedge slab serifs is more eye-catching but still suited for text settings. The italics fit well into the text flow of the roman. They are a bit narrower than the roman and have cursive characteristics. Both Aptifer Sans and Aptifer Slab are highly legible typefaces and can be used both in print and on screen.

DASEGO, our newest font, is now available. A display typeface with an Asia theme that we made to fulfill the needs of your project with an Asian theme that you may use for projects that can be understood by audiences all over the world. We created this typeface by paying close attention to the individuality of each letter, abstract while still prioritizing optical harmony, and your project will look stunning with it. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

The Craftsman font is a faithful reproduction of the logo, or Title typeface used for Gustav Stickley's "Craftsman" Magazine, the foremost journal of the American Arts & Crafts Movement during its publication years of 1901-1916. It is an All-Caps font, with condensed and closely-spaced characters, specifically designed for titles and headlines. The "Craftsman" font is available in two versions: "Craftsman Regular" and "Craftsman Outline." Each is two fonts in one, in the sense that the capital letters are contained in a hand-drawn box (as on the cover of "The Craftsman" Magazine). Lower-case characters are identical, but without the box. Thus, the two may be used separately, or in combination, to achieve a desired effect.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Rakugaki means "scribble" in Japanese. This font expresses casual handwriting with warmth and simplicity. The bold weight of Rakugaki is harmoniously integrated in all three writing systems, Katakana, Hiragana and Latin. The enclosed key charts give instructions for character placement in Katakana and Hiragana.

In 2006 the art director of Emotion, a women’s psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs. In the composition I wanted the two extremes to work together. All the other elements had to be harmonized. The proportions needed to match the magazine’s requirements. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes. As you can imagine, the emotion-job never happened. In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.

I dedicate this font family to Nima Yooshij (1896-1960), the great poet and innovator of Persian poetry. Nima is a new creation of Naghi Naghashian. Nima design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Nima's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Nima was developed for multiple languages and writing conventions. Nima supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.