A type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

FF Infra™ is a fresh take on the robust sans serif typefaces of the early 20th century. Drawn by Gabriel Richter, it’s a friendly, inviting – and multi-talented family. Whether long blocks of editorial text, or snackable copy in web pages and blog posts, FF Infra’s 20 typefaces are easy on the eyes in both print and digital environments. The design also performs as well at petite sizes, as it does at supersized display settings. Pair FF Infra with an old style or Didone serif design and you’ll have powerful and distinctive typographic pages! FF Infra is available in 10 weights, ranging from a delicate light to a commanding black, each with an italic companion. OpenType® Pro fonts of FF infra have an extended character set supporting most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Each font also contains four sets of figures and a bevy of arrows that are ideal for wayfinding and similar info-graphic projects. A generous lowercase x-height, open counters and subtle graduations between family weights, make for a family that is at home in a wide range of sizes, and comfortable in everything from large signage, content for mobile apps, product manuals and full-scale branding projects. In addition, to provide design diversity, Richter drew alternate designs for the a, G and ß. Richter first became interested in fonts and the art of creating typefaces while studying communication design at Düsseldorf University of Applied Sciences. His first designs were experimental, but these lead a position at FontShop International in 2013, where he developed his typeface design skills. A strong background in font production, hinting and font marketing were also part of his FontShop experience. Richter worked as freelance graphic and type designer until he founded übertype in 2017. He also invests back into the type community through the type design courses he teaches at his alma mater. FF Infra is Richter’s first commercial design for Monotype. We’re sure that you’ll find it as versatile and powerful as we do.

Inspired by late 19th century’s gothic typefaces from broadsides, Flexible uses the latest font technology to allow designers to play with each letter height and width easily. This versatile uppercase typeface is available in 8 widths and 8 heights, and as a variable font which gives you unlimited font possibilities! By using the variable version you only need to install one font file instead of the entire family and you take full advantage of the tremendous scope for design. Flexible was also developed with animation in mind to create amazing kinetic typography videos. Please have a look at this video to see animation examples. This family is a perfect choice for standout headlines, displays, packaging, flyers, logos, and works well in both print and digital environments like sophisticated web design or kinetic typography. The complete family pack includes the variable font. Language support : Afrikaans, Albanian, Azerbaijani, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmål, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu

The first cuts of Kabel appeared in 1927, released by the German foundry Gebr. Klingspor. Like many of the typefaces that Rudolf Koch designed for printing use, Kabel is a carefully constructed and drawn. The basic forms were influenced by the Ancient Roman stone-carved letters, which consisted of just a few pure and clear geometric forms, such as circles, squares, and triangles. Koch also infused Kabel with some elements of Art Deco, making it appear quite different from other geometric modernist typefaces from the 1920s, like Futura. Linotype has two versions of Kabel in its library. Kabel has a shorter x-height, with longer ascenders and descenders, making it a bit truer to Koch's original design than the second version, ITC Kabel, which was designed by Victor Caruso. This version, also known in the United States as Cable, has a larger x-height, shorter ascenders and descenders, more weights ,and a diamond shaped i-dot. Typefaces in the same oeuvre include Avenir Next, ITC Avant Garde Gothic, Metrolite, Metromedium, Metroblack, and Erbar, just to name just a few."

Bordonaro Script - Bordonaro Spur’s partner - is an interpretation of the “English Roundhand” style with a strong influence by the logos of American basketball and baseball teams. It is designed from simple shapes ideal to be used in long titles and fits perfectly into the branding design. Psss...Check out the NEW Bordonaro Script with Rounded corners , same version but soft! Bordonaro has a complete set of special and original characters: Stylistic Ligatures, Discretionary Ligatures, Swashes, Contextual Alternates, Titling, ss01,ss02, ss03 & apostrophes' ligatures that work as complements to enrich the text composition. Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

Lotter blackletter with Drop caps One fine day I found a vintage book, it called “A treatise by the Dominican friar-writer Marcus von Weida on the Brotherhood of the Holy Rosary”. It was printed in 1515 by Melchior Lotter in Leipzig. The text was illustrated by hand-colored engravings on religious and liturgical themes and beautiful initials I like. Lotter was the last name of a family of German printers, intimately connected with the Reformation. An innovation by the elder Lotter was his use of Roman types for Latin, reserving the Gothic types for German. I'm happy to present to you my new font family. Lotter font family has Drop cap and Regular styles. It's all you need to precisely imitate medieval style text. Use Drop cap style as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in Regular style. You’ll get: * Drop cap & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

This font is an orphanage where all the beautiful details of classical grotesque typefaces from the early twentieth century are gathered, and thus living together, are forming a ‘new’, happy family. The aim was to collect my favorite characters in one font. The start was an eclectic collection orientated on British types from the Caslon Doric No. 4, the Monotype Grotesque, the Gill, the Franklin Gothic up to the Transport. In this amalgamation I avoided the narrow apertures in the ‘e’, ‘c’ and in the numerals ‘5’, ‘6’ and ‘9’ and enlarged the x-height dramatically. To the classical slanted form of the italics I added real italic forms for ‘a’, ‘e’ and ‘g’ in order to obtain a more distinguished italic style. DF-Dejavu Pro supports all Latin-based languages (Western, Central-European, Eastern-European, Baltic and Turkish) and includes small capitals, ligatures, inferior & superior numerals and letters, fractions, various numeral styles: proportional lining, tabular lining, proportional old-style, tabular old-style and last but not least a slashed zero.

Introducing the Vinicius font, a gorgeous typeface that combines the timeless allure of gothic typefaces with a contemporary twist. Inspired by the rich heritage of medieval calligraphy, Vinicius offers beautiful forms that attract attention and inspire courage. Vinicius offers a range of Stylistic Alternate, allowing you to explore artistic possibilities and customize your typography creations. One of Vinicius' standout features is his striking collection of ligatures. These skillfully crafted letter combinations enhance the flow and coherence of your text, giving it a harmonious and seamless appearance. Whether you're crafting a headline, invitation or logo, Vinicius ligatures add a signature touch that sets your design apart. Italic variants add a touch of dynamism and flair to your text, allowing you to emphasize specific words, phrases or paragraphs with a visually appealing slant. Vinicius font is ideal for a variety of creative projects, including branding, editorial design, packaging, and more. Its ability to seamlessly blend tradition and modernity makes it a powerful tool for conveying both classic and contemporary aesthetics.

Trovoada Mono is a monospaced font for use in print (but also looks great on display). Hand-drawing glyph by glyph, my intention was to get that old manual typewriter look, with uneven inks, but with a totally up-to-date, emotional and admittedly humorous attitude. Trovoada Mono borrows from classics like Courier and Letter Gothic, reinventing serifs here and there. The result is a font that is both familiar and unusual. As I love Greek typography, I made sure to include a full polytonic alphabet, in the same vintage spirit: the text looks very legible and matches the Latin characters. The font has no kerning, obviously, and no ligatures (this is a typewriter, my friend!), but it has important OpenType features: fractions, subscripts/superscripts, slashed zero and stylistic alternatives for some characters. The italics are 11 degrees, which brings a strong personality. Some characters have true italics, giving the text an overall texture different from the upright type. All that is missing is that nervous typewriter noise. Enjoy!

Bernhardt Standard, which was designed in 2003 by Julius de Goede, is a flowing Bastarde script. Bastarde is one of the sub-categories of Blackletter typefaces. The term Blackletter refers to typefaces that have evolved out of Northern Europe’s medieval manuscript tradition. Often called gothic, or Old English, these letters are identifiable by the traces of the wide-nibbed pen stroke within their forms. Of all of the various sorts of Blackletter styles, Bastarde scripts are the most flowing, or Italic. The first Bastarde typefaces, cut in the late 1400s, were based on French handwriting styles, especially those styles popular in Burgundy. The flowing nature of Bernhardt Standard makes it similar to some other sorts of Blackletter typefaces as well. Bernhardt Standard, because of its handwritten roots, is also similar to Kurrent, a style of handwriting that was popular in Germany prior the 20th Century. Bernhardt Standard is a very calligraphic face, suitable for formal applications. This typeface would be an excellent choice for certificates or awards. The old style figures in the font allow for nice short settings of text as well.

Gothic in a contemporary style designed with a broad skeleton. Considering line alignment, we have aimed for a sense of harmony in both vertical and horizontal typesetting. フトコロ（画と画の間の空間）を広くデザインした現代的感覚のゴシック体。組み版時のライン揃えを考慮し、タテ組ヨコ組で違和感のない書体を目指しました。木版時代から手書きレタリングへと引き継がれてきた精美堂ゴシック体をデジタルフォントで再現。手書き文字を組んだ印象はそのままに、フトコロを広く現代風にアレンジしました。遠くからでも近くからでも読みやすい、目を引く見出し用ゴシックです。

The product of 5 months of work. This unicode font supports 1 latin and 16 ancient languages. When you install this font, the latin alphabet will appear if you do not have the appropriate software. Although there are other unicode fonts that print these ancient texts, this font has the design I use in all my fonts. That's the difference. You can easily use this font with related software. https://www.babelstone.co.uk/Software/BabelPad.html you can choose my font with babelstone babelpad software at this address and write it here and then copy and paste it to the relevant place. This font includes the following languages. Latin, Old Hungarian, Old Turkic, Old Italic, Runic, Tifinagh, Lycian, Lydian, Carian ,Phoenician, Cypriot, Ogham, Old South Arabian, Old North Arabian, Includes, Old Percian, and Ugaritic. This is a unicode font. Please learn how to use it and buy it.

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

Overview of BD Megatoya Consists of 41 fonts, including nine upright, nine italics, nine extended, nine extended italics, all in nine weights from thin to black. 4 outline version in black weight. 1 variable with three axes (weight, width, slant). 1,470 glyphs in each font. Opentype features include small caps, stylistic alternates, ligatures, complete numeral figures, ordinal, case-sensitive forms. language support: Western European, Central European, and Southeastern European. About BD Megatoya Taking a geometric sans serif approach, we designed the letterform with details on round characters to pursue harmony and leave a slightly boxy feel to the extended style. The stylistic alternate is one of our concentrations to make them versatile yet still preserve consistency in stem and metrics to provide good readability in small text. Overall, the various treatments for each character will encourage each other to dynamic colours, flexible, and functional impressions in their application. Slicing edges The edge of the letter slice in 45 degrees will give the impression of a sparkle of light when you look at them for the first 2 seconds (our experience). This is what we did a few years ago when working on automotive branding. The word-mark logotype with slicing form gives an exclusive and different impression from its crowds. If you agree with us, does BD Megatoya deserve to be called a problem solver in branding projects? Jump over to .ss07, .ss08, .ss09, and .ss10 to find them! The Features BD Megatoya font family includes 41 great fonts in nine weights, an extended character set of over 1400 glyphs, multilingual support such as Southeastern Europe, Central Europe, Western Europe. Also advanced & useful open-type features: case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Use BD Megatoya BD Megatoya is very suitable for branding projects and many designs purpose like advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. It's a FREE Get one weight from the BD Megayoya family for Free! Apply to your amazing projects and enlarge your creative tools by adding the complete BD Megatoya family to your font library.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Othello's dense graphic demeanor delivers a straightforward, no-nonsense message. This versatile revival has a direct, experiential quality that suggests action and the outdoors. Originally released by Monotype in 1928, Othello was offered as competition to Rudolf Koch's Neuland typeface. This new digital version includes a wide variety of previously unavailable characters. Small caps, alternate letters, ligatures, and special joined logotype" characters add to the versatility of this powerful communications tool. These many letter variants create new possibilities for headlines and short text blocks in advertisements, signage, and packaging, suggesting the immediacy of woodcuts or hand-drawn lettering."

Ethna is a modern sans-serif font. It perfectly represents modern and vintage esthetics. The font includes uppercase and lowercase letters and multilingual support. This font looks amazing as standalone words and as full text blocks. Also it good for bright captions and unforgettable logos. Language support for more than 30 languages: Afrikaans, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, German, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmal, Portuguese, Romanian, Russian, Slovak, Slovenian, Spanish, Swahili, Swedish, Zulu etc. Download Ethna for your next project today! Thank you and have a great day!

Do you want energetic designs? Racer energy is a font created in capital letters with the racing theme producing courageous strong impressions in no time making it worth adding to your design list. Letters are made similar to firm rectangle blocks with sharp-angles. Enjoy other incredible features available on this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuation This font looks great on any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase it now. Happy designing.

TWT Prospero is the kind of typeface you seldom find in blocks of continuous text these days. Similar fonts based on late-18th-century work by Bodoni, the Didots, and others tend to be reserved for display type: their exaggerated contrast and vanishing hairlines can make you squint and strain at small sizes. But TWT Prospero, with its moderate contrast and fairly robust hairlines, is impressively legible in book text while remaining ideal for use in display situations. The full family has seven styles: roman, italic, bold, bold italic, condensed roman, condensed italic, and condensed bold.

'Natural Curves OG' is a friendly typeface that works seamlessly without any trimmings. It's perfect for giving any work a hand-drawn look and feel. The typeface is balanced so the eye doesn't move straight to any singular letter, which means that creating a hierarchy with other elements in your design is simple. Colour blocking to support brand identity is easy with this typeface, and it adds character simply and authentically. This typeface was created for my own brand's identity, and it's been great to add splashes of art in the form of type all over my website and collateral.

Adelios is a display typeface with 12 styles that can stand alone or with layering system. There are 6 styles that can stand alone: Outline, Base 01, Inline, Block, Wireframe, and Monoline, and also allows for mix and match to make this font more decorative by adding Outline, Extrude, Line, Cast, Light, Bottom. Traveling posters, movie theater sign, and Building art deco were the main inspiration for this font. Geometric and decorative shapes are the main characteristics of this font. This font is perfect for Headline, Poster, Signage, Menuboard, Greetingcard, etc. Hope you enjoy with this font.

German type designers Henning Wagenbreth and Steffen Sauerteig created this display and serif FontFont in 2000. The family contains 2 weights: Regular and Bold and is ideally suited for advertising and packaging, festive occasions, film and tv, editorial and publishing as well as poster and billboards. FF Prater Serif provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with tabular lining and proportional lining figures. This FontFont is a member of the FF Prater super family, which also includes FF Prater Block, FF Prater Sans, and FF Prater Script.

Based on lettering with a sharp pen, Gangfield features a rather solid character and a measured rhythm. This is named after my nephew who has an optimistic and disciplined style. Gangfield is available in upright variants, with regular, italic and bold weights. Gangfield's bright and cheerful energy shines through either in the form of short blocks of text, or enhanced on display sizes with over 1,100 wildcards and swashes that vary in size and complexity. Gangfield includes 134 alternates with various variations plus several variants of ligatures which make it ideal for special dates such as weddings and parties.

Hey guys! Once I got a book "Letters From Father Christmas" by J.R.R. Tolkien. He wrote them for the children every December from 1920 to 1943. I totally fell in love with the calligraphy in those letters. Now I created a font and you can use it to write your own letter from the North Pole. I've also redrawn stamps and patterns from that book, so you can decorate your blank. It's Icons font style. You'll get: Regular and Icons styles Numbers and symbols Multilingual support and alternative symbols Thanks! Feel free to request to add characters you need: kaer.pro@gmail.com

I found this type specimen on the statue of Jan Hus in Prague’s Old Town Square. The statue was designed in 1903 by Ladislav Saloun, and its writing is the cutest Nouveau font I've ever seen. Filling in the blanks, I realized the need for a standard lower case because the caps are so wild. The result is a very type-able and dynamic Nouveau. I encourage you to mix up your upper and lower cases for curious results. Use the lower case for running type. Go to http://facebook.com/frostfoundry to share this and see more!