Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Meet Coastly, a handwritten font that makes you think about vacation, summer, holidays, friends and family. It’s a calm and relaxing font that works great headlines, posters, product design, quotes, branding, marketing materials and more. This font supports latin alphabet with its accents and glyphs. It also covers the most used punctuation marks and glyphs. Coastly is your friendly go to font. We made it thinking of the Amalfi Coast in Italy and its lemons, explaining its name and colour palette. Thinking of limoncello, lemonade from fresh squeezed lemons, granita, ice cream, beach and ferry trips. But we’ve also associated Coastly with your yearly holidays as: Christmas, Thanksgiving, Easter, New Years Eve, Mothers Day and so on. It’s a celebration of life and what its delights.

Powder Script is a showy brush style script family of three weights -regular, bold and black plus matching Ornament and Pattern set. Powder Script is packed with almost 800 glyphs per weight and is full of features. To activate alternate characters click on Swash, Stylistic or Titling Alternates in any OpenType savvy program or manually select from even more characters from the Glyph Palette. Inside each weight is a set of block capitals that you can activate by turning on Small Caps. You can use Small Caps to create evenly lined text blocks to support your design. Engage Powder Ornaments and Powder Patterns to complete your designs while using Powder Script. For the best price purchase the complete Powder Script Family.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Rotulo Variable is a contrasted sans family which combines the Thick & Thin signpainter's style and some 70s feeling in a huge font family with three axis: Width, Weight and Slant. A visit to an exhibition of Spanish movie posters by Jano was the beginning of Rótulo (Spanish for Sign) project. Classic thick & thin signpainter style was featured in many letterings of those posters, as it was a very common style in 60s and 70s Spanish design. Unfortunately, today very few Contrasted Sans are seen, something that was quite common years ago has fallen into disuse in favor of Helvetic monotony. Rótulo recapture all that personality, with an extense range of weights and widths to be used in striking headlines and short texts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Bitcrusher is not your ordinary typeface. It is a futuristic, ultra-compact sans-serif font that draws inspiration from the sleek design of automobiles and cutting-edge consumer electronics. Its unique compression capabilities allow you to pack more words into a single line than most techno typefaces can ever dream of. Available in five weights and four widths, Bitcrusher is a versatile font that gives you unprecedented control over your typography. If you need to fit more text into a tight space, Bitcrusher Condensed is the perfect choice. And if you want to push the limits of font compression, Bitcrusher Compressed has already reached the standard limit. For those who demand even more compactness, Bitcrusher Crammed has an abnormally small footprint, while Bitcrusher Crushed has an absurdly high density that defies all conventions. But no matter which variant you choose, you can be sure that Bitcrusher delivers consistent stem, space, and gap widths that allow you to break the rules of scaling and tracking. With Bitcrusher, you have complete control over your typography. Want thicker stems? Simply scale a narrower width to a bigger breadth. Need to go even tighter than Crushed? Make it even thinner. Bitcrusher is a font that cannot be broken. It is the ultimate tool for designers who demand precision and control over their typography. Choose Bitcrusher and discover the power of true compression. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

Lovers is a romantic, elegant handwritten calligraphic script, with well over 300 additional characters, including standard and discretionary ligatures, swashes and stylistic alternatives. Use of its extensive OpenType features enable the designer to create text that constantly changes, giving the impression of genuine handwriting, but handwriting that has all the flair and styling of hand-done calligraphy produced towards the end of the twentieth century. Lovers is based on traditional calligraphic ideals, but I've combined these with my own brand of relaxed, handwritten spontaneity, to design a font that is formal yet free and accidental, traditional yet contemporary. The font’s extravagant curves and swashes make it perfect for valentine’s day and wedding media, book covers, greeting cards, and certificates, in fact for any design work that requires a romantic or opulently elegant look. The range of stylistic alternatives and swashes enable users to create a wide range of moods in their work. In many ways it is a calligraphy toolkit. Lovers contains the accented characters used in the major European languages. What sets it apart from most other calligraphic fonts is that it appears so genuinely handwritten and avoids the uptight formality that characterizes so many of the fonts in this genre. Try Lovers, enjoy its wealth of OpenType features and let its vigorous yet elegant exuberance delight you and enhance your creativity!

Van den Velde Script Pro is the definitive edition of the original Van den Velde Script, by Intellecta Design, a free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). This font has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script, merges modern necessities or better legibility without loosing the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith an evocative and voluptuous style of calligraphic script: Van den Velde Script PRO has - more glyphs than the original Van den Velde Script. We created hundred of new glyphs, deactivated old non-representative glyphs and redesign the remaining library of original glyphs. Van den Velde Pro is more functional, soft and beauty than the original. - to keep the powerful of this unusual kind of script we make a tour-de-force kerning work: 771 glyphs in this font was adjusted in 5400 kerning pairs handly. - hundreds of contextual alternates combinations, some of them with three or more letters, - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; .... and, much better, Van den Velde Scriopt PRO is plus cheap than the original font !!! In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. Van den Velde Script PRO has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Rollerscript is, in effect, a more modern version of Olicana whose letterforms were drafted using a nibbed pen and ink. Handwriting tends to change depending on what instrument you're using and with Rollerscript the outcome is decidedly more casual and informal than Olicana, though equally realistic. Pronounced pressure points where characters start, end or join make for a very authentic hand drawn appearance which is enhanced still further through the use of over 100 standard ligatures. Character pairings like ‘tt’ or ‘gg’ in normal handwriting fonts never look natural but in Rollerscript will now automatically change as you type! Rollerscript’s handwriting credentials are given a further boost with the inclusion of multiple underlines and sketched icons, arrows and emoticons. There is an extra stylistic set for alternate styles of cursive r and z. You can also choose between Rough and Smooth styles.

Bonjour! Murberry a fashion chic display font. This font was carefully crafted and inspired by one of leading fashion brand in the world. In general, it creates a luxurious and elegant look in design. Coming to you with 50+ luxury ligature and 30+ alternate in 4 weight – light, normal, medium and bold – to create a perfectly beautiful, classy, chic, elegant, and luxurious design. Use this font for your fashion brand, resort, cosmetics, invitations, wedding, branding, packaging, magazines, boutique, social media, restaurant, spa, greeting cards, headers, headline and many more. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates – It’s OpenType support but you can easily call alternates character using special combination like a.2 c.2 e.3 etc so you don't need special software. To get results like the preview just type Mu.2RBe.5RRY

Standbury - a calligraphy font consisting of 2 versions (Normal and Thick) that is designed very skilfully and thoroughly so that they can be combined. This font is perfect for wedding postcards. Or you can create logos, blogs, stationery, marketing, magazines, invitations, models, branding cards and other designs that are perfect and unique :) Standbury includes a complete set of large international letters, numbers, punctuation marks and binders. All lowercase letters include the beginning and end of the attack. Also, follow the multilingual symbols. The script is coded with Unicode PUA, which allows full access to all additional characters without special design software. Mac users can use Font Book, and Windows users can use Character Maps to view and copy additional characters to be included in your favorite text editor / application. Thank you and have a nice day. CooldesignLab

The official terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses one's desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this - vertically shaded - trend in type face production. In his Manual we can also find type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works. Genre's basic design is fairly light in colour, which is why it looks good in illustrated magazines and short texts and directly calls for graphically striking, contrasting headings. It shows off beautifully next to photographs, on diplomas and on printed materials connected with a person's death.

The 1960’s and 1970’s are the inspiration for Sugarbang! Everything from music packages, beach party movies of the 60’s to cereal box art of the 1970’s are reflected in the kooky style that this font evokes. Sugarbang! is built on a random baseline so letterforms bounce up and down adding to the “zany” look of the design. Look to the second font, Koo Koo Puff, to be the next release in the Cerealboxx collection. Available now. It is a minimal font set which includes uppercase and lowercase letterforms. Suggested uses for the font would be above 42 points in size. Please note its normal tight spacing and that cap “T” and cap “L” have been specially kerned to account for the overhang of certain other letterforms. Sugarbang! - just add milk and it’s sugar frosted font goodness.

In 2014 I designed the Nizar font here https://www.myfonts.com/fonts/sultan-fonts/sf-nizar/ It was prompted with great interest by graphic designers, today I am developing the Nizar Pro font, this font does not replace the previous Nizar font but rather continued it, in a way that does not depend on the literal transmission of Nizar Qabbani's method of writing, as the new script relied on the inspiration of Nizar's writing and imparting it Improvements and corrections to the previously designed Ruqah script rules found here https://www.myfonts.com/fonts/sultan-fonts/sultan-ruqah/ The Nizar Pro font includes wide and Normal pens, so it provides all flexibility for the user to process the text and creative work. The font Nizar Pro includes Arabic, Persian, Kurdish, Urdu and Latin languages In the font Nizar Pro has many of OpenType features

Lamaesa is a versatile and original design sans serif typeface. Designed to be used primarily on medium and large point sizes. Designed so you do not get tired of reading it, but at the same time, so that you notice its particularity. Oriented for use in headlines and continuous text, with a solid appearance, but with a slight aroma of handwriting, which gives it an ambivalent and original character. It is perfect for magazines, company letters, websites, advertisements, restaurant menus, and any support and function where it is essential to attract attention in an elegant and non-abusive way. Basic Latin characters. It consists of 217 glyphs (ISO 8859-15): uppercase, lowercase, numbers, currency symbols, and special characters. It consists of six fonts: light, normal and bold as well as their oblique equivalents. Carlos Maeso González is the designer of the typeface “Lamaesa”.

CA Kometo is an oblique headline typeface that consists of two styles, “Regular” (the Shadow) and “Fill”. Kometo has come to save the world. A superhero typeface featuring the super powers “shadow” and “imperfection”. It comes to save you from a world of boredom. Join Kometo and experience the fun of stacking fonts! Write something with “Fill”, copy paste it to another layer and switch to “Regular“. Maybe you will want to give it a little offset? Or you can also try to use the “Fill” style for body text, but do so at your own risk, spacing and kerning is optimized for the use with the “Regular“ style, so don't be too harsh if the results looks more vivid than text normally does. The character set is well built, supporting Western and Central European languages.

Varisse spans over two centuries of type design and draws its inspiration from well-loved classics that are as fresh today as they were when they were created. The range stretches from a quintessential 18th century transitional serif to an uncompromising 20th century sans. Think Baskerville, think Gill. The idea was to create a family that shared similar forms and the same vertical metrics, allowing them to be mixed to provide impact and readability as required. With a generous x-height and a host of options, the Varisse family is ideally suited to branding, packaging, magazines and editorial. It also provides a wealth of opportunity in website presentation. The fonts are divided into five subfamilies by degree of ‘serification’. Varisse Sans Varisse Soft Sans Varisse (normal) Varisse Soft Serif Varisse Serif Each subfamily contains six weights and accompanying italics.

The Overleys is a handwritten font with quick dry strokes and a signature style. perfect for branding projects, homeware designs, product packaging or simply as a stylish text overlay to any background image or posters. The Overleys has an entire alternate glyph set. This is accessible simply by their own separate font file - just install this as normal and select 'The Overleys Swash' , ‘The Overleys Alt' or ‘The Overleys Brush’ in your text-tool. The Overleys includes 3 Font files: 1. The Overleys - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. The Overleys Alt - The second version of The Overleys, with a completely new set of both lower and uppercase characters. 3. The Overleys Swash - A set of 26 hand-drawn swashes, with cool touch to underline you’re The Overleys text.

BLOCK CAPITALS is a square, geometric, small caps display face that avoids fashionable foibles and exudes the neutral, unpretentious functionality of time-honoured block lettering. The family has three widths (Narrow, Normal and Wide), and the Bold weights are loosely based on well-used squared nets – 3x5, 4x5 and 5x5. However, the typeface escapes its grid origins whenever necessary with slightly modulated stroke weights, sensitive spacing and careful kerning. The aim is to retain the strength and simplicity of strictly geometric characters while introducing barely perceptible refinements that add elegance and usability. That said, letters and numbers line up horizontally without overlapping the capline or baseline, even the tail of the Q does not descend below the Baseline. Diacritics are modesty proportioned, accented characters extending no farther than necessary, allowing the leading on multiple lines of text to be kept to a minimum.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Standing tall as an Illinois cornfield in September, Cornhusker Regular is a strapping condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & charming characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Regular is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Regular includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

Spective is a unique and stylish Display serif font that is absolutely perfect for editorial headlines. Her natural, bold and slender figure is perfect for posters, t-shirts, and magazine and movie covers. This calm and bold typeface is a content creator's best friend. Hope you enjoy this font!

A traditional Sans serif with a modern flair and uniform consistent weight to the vertical and horizontal stokes. Vanquish was designed for all media and can be used in a wide range of point sizes. Vanquish was kerned for text point sizes but requires subjective display kerning and compensation.

Harvey is a work of American graphic designer Dale R. Kramer. It is an all capital sans serif typeface which features a distinctive, light-hearted look and includes both conventional and unusual letter forms. Alternate letters give Harvey even more flexibility, making it a great typeface for any headline.

Although appearing at first as a no-nonsense bold titling face, Gordon actually offers a much greater complexity through the addition of a wide range of special superscript ornaments. This adds an element of spice and depth to the face, creating a wide variation of creative typographic possibilities.

Emphasis is the work of lettering artist Martin Wait. Its eye-catching double line effect highlights any display in an authoritative, contemporary style. Emphasis is an all caps alphabet which offers an alternative to conventional brush lettering styles, giving a casual yet robust look wherever it is used.

Rabenk is a fun quirky look serif. With a modern look, it looks perfect when paired with conventional serif/sans serifs. It can be used for mastheads, posters, business identities and just about anything. Use this font to beautify your designs and make your work look more beautiful.

Useful links: TT Supermolot Neue PDF Type Specimen TT Supermolot Neue graphic presentation at Behance Looking for a custom version of TT Supermolot Neue? TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs. First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Basic subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies. In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning. Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

Introducing a vintage font Simply Royal. This typeface has a victorian medieval look. It's an all caps typeface with decorative classic style. Simply royal has three layer fonts for more conenient recoloring. Thank you and have a nice day!

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

Chrome Balance is an experimental bitmap font created by photographing hand-modeled play dough and adding a chrome effect. It has a unique and dynamic look and is designed to accompany bold and simple designs such as album covers, posters etc.. The vector version of the same form has also been converted to the vector format, font named Amorphic. IG: algzl