A modern humanistic san serif typeface. The horizontal structure of the font gives it a clean lateral dynamic that is ideal for on screen uses. Also the proportions have been condensed to maximize the use of space across various layouts. Details include seven weights, a full character set, manually edited kerning and Euro symbol.

A humanistic sans-serif typeface with subtle chamfer detailing. It’s strong lateral emphasis is combined with open apertures to create sharp and legible letter forms. These balanced and narrow proportions make it ideally suited to a variety of online applications. Details include 8 weights, a standard character set, manually edited kerning and Euro symbol.

In 1921 the Klingspor foundry released Walter Tiemann’s Narziss™. This beautiful and elegant font was completely redrawn and redesigned and extended to cover major European languages East and West. The font contains also a 'long s‘ and related useful ligatures which can be reached by using the OpenType features historical letters and historical ligatures.

Eyeballs was designed at Bitstream by designer David Robbins. Its beginnings can be found in Bitstream’s Old Dreadful No. 7, where Mr. Robbins first conceived the capital I. He was later asked by Bitstream to develop the entire character set. The result is a humorous meld of cartoon and typography. A word of caution: Watch how you use it!

Dirty Money SRF is a novelty font with a limited character set emulating the lettering found on U.S. currency. The typeface was designed by Brad O. Nelson of the Brain Eaters Font Company. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

For decades, Samuel Welo’s “Studio Handbook for Artists and Advertisers” was a source of inspiration for sign painters, graphic artists and designers. In later years, many digital revivals of Welo’s hand lettered typography have been made available. Western Trail JNL is the latest member of such digital fonts, and is available in both regular and oblique versions.

The agressive moves, the lateral spurs and the heavy leaf endings of Trochera resemble the silvan plants behavior giving it a very expressive and festive personality. Its features make Trochera very useful for flamboyant and colorful purposes, but it is also attractive in black and white, the saturation of the ornaments will give an appealing texture to headings.

Zenia, offered in regular and bold weights is a homage to the streamline era of the later 1930s. It's a distinctive display family, glyphic yet still intuitive and easy to read. Use it anywhere you want that 30's streamlined feel, or perhaps in science fiction inspired work particularly those that have a 'past inspired future' feel...

This engaging slab serif face made its debut in the 1906 ATF specimen catalog, and wears well over a century later. Its warm lines and a wide stance ensure that your headlines will be noticed. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Bella was designed in a hurry for the birthday party of a little girl named Isabella. The character set was expanded later and works for a variety of uses. It has a fun, informal quality that made it ideal for a preteen girl's party, but the sharp serifs and thick strokes make it equally suited to edgier occasions.

Melissa Hella is a beautiful, modern script font that's perfect for wedding invitations, t-shirts, branding, and other romantic projects. The font includes OpenType features with alternative styles, ligatures, and multiple language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to alternate / swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use a style font set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs

Village was originally designed by Frederic Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's Village Press. The design was very much influenced by William Morris's 'Golden' type. Paul Hunt began working on a digital version of Frederic Goudy's Village type prior coming to P22 in 2006 for an internship (which evolved into a staff designer position at P22.) Around this time, The Tampa Book Arts Studio was looking for a digital version of Village to complement with a letterpress edition of a book called "The Rich Mouse" by JJ Lankes. Many years later the Rich Mouse project has been completed, so we decided to release the Village type on the same day as the release of the Rich Mouse Book!

Dumm DUM. Dumm DUM. Duh dum duh dum duh dum DUMMMM... Just when you thought it was safe to get back in the water, this font surfaces to take one last bite out of your summer vacation skinnydip! Scream and scream again — it won’t do you any good, SHARKSNACK is rough and ready to EAT YOU ALIVE! It’s too late to close the beaches, Chief Brody, this particular set of saw tooth letters has already consumed Dracula, the Werewolf, the Frankenstein Monster and any number of 70s comic book characters foolish enough to dip a toe in its maw!

Gene Gable is known to many graphic artists from his on-line column 'Scanning Around with Gene', which was on the Creative Pro website for a number of years, covering a variety of topics ranging from printing techniques to paper ephemera; water applied decals to lettering stencils. Gene has also been a great help in providing vintage source material to Jeff Levine, which resulted in many additional font designs. It seems only fitting that he should be bestowed with his own-named font as well. Gene Condensed JNL is offered in both regular and oblique versions.

Linotype Sjablony is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. Designed by Dutch artist Mark van Wageningen, the typeface with its interrupted strokes has the characteristics of the stencils seen on crates and barrels. The difference lies in the raw contours of this font, which make the characters look as though they were slowly eroded away by water and wind. Linotype Sjablony is composed exclusively of heavy capital letters and is particular suitable for initials and headlines with point sizes of 18 and larger.

Originally drawn in 1999 as a college project with the ambition to make the ‘most beautiful’ alphabet in the world. After these heroic beginnings Spaghetti lay dormant in the VLNL vaults for many years, appearing to silently peter away. Now look at it! Ten years hence, it is finally being served up in glorious OpenType, precisely al dente. As automated special sauce, each lowercase character before or after a space receives a nice little ball ending to round things off. And finally, the parmesan cheese sprinkled on top is like a tasty bunch of ligatures – enough to make your mouth water.

Linotype Laika is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. This fun font was created by Dutch designer Mark van Wageningen, who based its forms on those of a sans serif font but gave them wavy, irregular contours. They look almost as though they lie just under the surface of a pool and the movement of the water gives them their undulating appearance. The dynamic Linotype Laika is especially good for headlines in larger point sizes or shorter texts in point sizes of 14 or larger.

In the spirit of the old days, before water sparkled and before typefaces were known as fonts, Chank is proud to introduce Chippewa Falls the font. This font comes with fancy swirly uppercase letters and stout small caps for lowercase, as well as a heart-warming story. Chank rescued this former custom font from an abandoned design proposal. He gave it some TLC and before long a retro typeface emerged, with lettering worthy of good old fashioned sleigh rides and candy canes. Enjoy this font as you would a cup of hot cocoa next to a potbelly stove on a snowy day.

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

SchmalfetteCP is the result of another collaboration between designers Jason Walcott and Rob King. King suggested that Walcott revive this wonderful and somewhat forgotten sans serif typeface from the mid 1950s. Originally designed by Walter Haettenschweiler in 1954, Schmalfette Grotesk was used for many years in the German magazine "Twen". The typeface was notoriously hard to acquire at the time and graphic designers in the USA often resorted to cutting letters from the Twen magazines and reusing them in their own designs. Later, when digital type came along several typefaces very similar were created that claimed to be digital revivals of Schmalfette Grotesk. However, they are actually only loosely based on the original. The proportions are different and in some cases a lower case was added. The original font was all caps. At Rob King's suggestion, Jason Walcott has strived to recreate the most faithful digital revival possible of the original Schmalfette Grotesk with the new version of SchmalfetteCP. In some cases small changes were made to accommodate today's digital needs (e.g. web fonts), but anyone who has ever searched for this typeface now has a version available that most closely resembles Haettenschweiler's original work. Schmalfette CP comes in OpenType format in both .ttf and .otf files and offers support for all Latin based and Eastern European languages.

Walter Foster art books strike again, this time with a bouncy script based on the work of Al Mack, from his Lettering: Brush & Pen in the Single Stroke. Light and lively, this typeface proves that it don't mean a thing if you ain't... The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

A 1766 specimen by Isaac Moore, former manager of Joseph Fry’s foundry in Bristol, England, shows many types inspired by John Baskerville’s. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore, restoring oldstyle figures, full-length descenders, and historic swashes to this regal serif in two styles.

The idea for Granat goes back to my mysterious typeface Telepiu and later Teleneue. The straight horizontal bars in combination with the round joins create a very unique character. With Granat I wanted to push this style even further. Like in Teleneue Granat comes with a monocase version without any ascenders or descenders for all 7 weights from Regular to Ultrabold.

Let's say a San Francisco punk group used letters from a theatre marquee to create a flyer in 1979 for one of their shows. Then the flyer showed up in the background of a newspaper photograph, and the photo, twenty-five years later, was enlarged and the lettering on the flyer was turned into a font. Santa Mensch has arrived.

A refinement of Roman inscriptional capitals designed by Bruce Rogers as a titling design for signage in the Metropolitan Museum. Rogers later designed for the Monotype Corporation a lowercase based on Jenson’s work, turning the titling into a full typeface, Centaur, the most elegant and Aldine of the Jenson derivatives. Centaur® font field guide including best practices, font pairings and alternatives.

An extreme headline font with six optical variants. Black 24 is loosely based on ITC Grouch (1970) by Tom Carnase. It has some 2000 hand-adjusted kerning pairs for TNT (that’s Tight, Not Touching), a very popular type treatment from the seventies and eighties. Take your pick, or get them all, so you don’t have to buy another one later on.

This multipurpose display alphabet combines medieval-inspired uppercase letters drawn by famed book illustrator Walter Crane with charming, if somewhat quirky, lowercase letters by J. W. Weekes. The net effect is a typeface which can add style and warmth to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

This typeface came out as a side idea while I was working on one logotype. Suddenly I came up with an idea of creating “tuned” version of the typeface, based on that logo. The “tuning” turned me in a completely different direction and in a few hours of haste I was looking at a completely different typeface. A few days later I made this font available for free, since it wasn't meant to be at all :-). A few months later, I saw my typeface used in the menu in one pizzeria. I was amazed and glad and happy and proud, all at the same time. Oh, by the way: the logo I was working on was of different style and even of another stem’s widths. So, this is truly a font of it’s own design. Naftalin has both Latin and Cyrillic sets, since it was used with both.

An AMBUSH. An ATTACK. EXPLOSIONS. We know who our friends are. We know our ENEMIES... and we know their WEAKNESSES. There WILL be be paintball blood shed. There will be imaginary fatalities. There are multiple targets involved in Comicraft's strategical font deployment; non-lethal airsoft gun and small water pistol fire may be augmented by minecraft, large waterpistols and first person shooter video gameplay. There has already been a lot of virtual damage to the inline AND italic versions of this font. Don't worry, we knew going in that this was a TRAP. Load these fonts into your console, it'll all be over in a minute.

Cansum Hand, 24 fonts and 448 glyphs. It was made to brighten your projects, everything more beautiful. Cansum is my daughter name. Mean is life water. The hand drawn sans serif - display type family is intended to be used in applications like: websites, print, motion graphics, logo design, packaging design, t-shirts, food, clothes, living, wedding stationery and more... Cansum Hand for professional typography. As an exclusively OpenType release, these fonts have an extended character set to support Central and Eastern European as well as Western European languages. Alternates, Ligatures, Oldstyle, Fractions, Superior, Numerators, Denominators, Inferior and much more. You can enjoy using it.

Sign and Display JNL is a long-overdue companion font to 2009’s Sign and Poster JNL. The original design models were Art Deco influenced die-cut cardboard letters and numbers manufactured by the Duro Decal Company of Chicago. Square in shape with rounded corners, the thick cardboard letters were used for making show-cards and other display signage. Subsequently, Duro used the same style of lettering to manufacture water-applied decals for boat identification and other uses. It was a set of these decals (with a black outline and yellow interior) that inspired the outline typeface Sign and Display JNL, which is available in both regular and oblique versions.

Are you hungry for a font design that will blow you away? Do you want to invoke the rustic smell of wood smoke, the mouth-watering thought of antipasti, olive-oil, open French doors in the summer? Well before you book your ticket to Rome, check out the new font from Thinkdust, Rustick. Four weights (and italics) of indulgent, home cooked comfort, warm, earthen and familial. Before making its point, Rustick gives you a cup of deep, rich coffee and double checks you're warm enough. Just one look will start your stomach rumbling. Ideal for food packaging and warm, homey branding, Rustick will never let you go home hungry.

Meticula is a sans-serif font family meticulously crafted with geometric shapes and inspired by modern sans typefaces. Comes with 8 uprights and an outline font with italic counterparts. It’s aesthetic, minimal design and diverse font styles cater to all kinds of typography and graphic design work. Supports major Latin based languages, advanced open type features, full set of ligatures, punctuation and major currency symbols.

German designer Erbar drew the Candida typeface for the Ludwig & Mayer foundry shortly before his death in 1935. The typeface was released posthumously in 1936. An italic designed by Walter Höhnisch was published the following year and a reworked version was produced in 1945. Bold weights followed in 1951. Thanks to its clarity and readability in small sizes, the Candida family remained popular in the digital age.

The model for this monocase typeface was issued in the early 1900s by Barnhart Brothers & Spindler with the rather prosaic name of Steelplate. A hundred years later, it still retains its currency (ouch!), which is how it got its name. Complete Adobe character set except for superior numbers. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

For decades, spot illustrations - whether by hot type, photoengraving, clip art or (in later years) digital means provided decorative and often lighthearted breaks in reading printed copy. This collection of twenty-six cartoon images has been meticulously re-drawn in digital format from 1920s-1930s era source material. By adding a simple caption underneath a design, your ad copy can be enhanced with these wonderful period pieces.

Furius is a display typeface inspired by the split serif style of woodcut or chiseled letters found in roman inscriptions and later popularized by the western genre in the United States. Created as a display typeface, Furius combines a host of Opentype features and equally incoporates a full extended latin and cyrillic character set to provide a versatile and complete design solution for titles or display settings.

Local Market is a wonderful handmade font and art collection. Local Market comes in three font styles, multiple weights, extras, labels, and banners. The handwritten font styles include Local Market Basic, Display, and Script. Extras come with hand-drawn market animals, market food, catchwords, numbers, symbols, kitchen tools, farm icons, leaves, and ornaments. Local Market works perfectly for restaurants, catering, markets, cafés, and marketing.

BlinkHead is a powerfull block typeface inspired by industrial revolution and machineries. It comes in three styles for the moment with possibility to be added more later. It has a dynamic, curved letter ending that makes it perfect for some modern logo designs purpose and even powerful headlines. The folded style comes as an option to change some letters in plain text for more dynamic appeal.