ITC Anna is a labor of love by Daniel Pelavin. He designed the font for his wedding invitation and reused it on the birth announcement of his first child, Anna, whose namesake it is. The simple geometric forms and their proportions create a unique font appropriate for any special occasion.

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Catalogue originates from Wim Crouwel’s Stedelijk Museum exhibition catalogue for sculptor Claes Oldenburg, 1970. The cover’s soft ‘padded’ letterforms evoke the artist’s work. Oldenburg was so taken with the design, that he asked Crouwel to complete the alphabet.

Angel Koziupa's familiar brush goes upright and narrow with Pinguino. Koziupa's approach to condensed brush fonts makes use of the same elements that have always distinguished his calligraphy from any other. With Pinguino, however, we see him softening his corners and adding a distinctly feminine touch to his exotic brush. Pinguino would feel at home on sobering coffee packaging just as it would on a bouncy mixed-fruit juice bottle. Try Pinguino for your next packaging project, and tell your client an Angel told you to use it.

This font is based on the handwriting of author Franz Kafka and captures his expressive handwriting style, using the manuscript of The Trial and his diaries as the primary reference. The font presents the elegance and nervousness with which he wrote his letters and book manuscripts. To resemble naturalistic writing and remain as authentic and irregular as possible (without becoming impossible to read), a great number of extended ligatures was added. As an extra, several drawings from Kafka‘s diaries are included. A full international character set is featured.

Joe Canelli is a crooked cop working in a corrupt police force. Joe is haunted by nightmares of powerlessness. When his partner is brutally murdered and he's betrayed by his colleagues, it appears that Joe's nightmares are coming true. With his back against the wall there's only one thing he can do -- turn against the criminal network that he once embraced... KICKBACK is a fast-paced, action-filled, noir-style, crime thriller from the co-creator of V FOR VENDETTA, David Lloyd. KICKBACK is also a font. This one.

New Alphabet was created as a four weight family in close collaboration with Wim Crouwel. His response in the late 1960s to the first device for electronic typesetting was a radical experiment designed to follow the underlying dot-matrix system. With his strong interest in grids, Crouwel worked within the constraints of existing electronic technology, to produce characters that worked with the mechanical means that conveyed them. His original New Alphabet experiments have now been further developed by The Foundry into a typeface family that also includes the dot version.

Daddy’s Hand is based on the actual handwriting of my dad. He always prided himself on his fine penmanship, and to see him write was kind of like watching a ballroom dance--his pen would smoothly and elegantly waltz across the paper as he wrote, gliding effortlessly. I know if he were alive today he would be quite honored that his handwriting is now a font. This font can be used for all sorts of elegant occasions or advertising, and has ligatures & alternate letters. Digitized by John Bomparte.

Base Runner JNL is Jeff Levine's continuation of his sports-oriented type design series.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Hey, take a look at this! This typeface is just for fun, whenever you want to invite folks to take a gander, cast their eyes your way or otherwise check you out. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

For the angular, blocky look, the future is Ferrocarbon! Designed primarily as a title font, I created it way back in 2013 and promptly forgot about, so I'm releasing it to the world now. it's meant to be used for your tech and sci-fi uses, but don't let us stop you there!

Corridor 24 is a friendly, sci-fi, display typeface that shamelessly discriminates against Martians. This typeface should only be used by Earth-based lifeforms. This typeface is perfect for retro and vintage branding with a science-y flair. The consistency of the rounded rectangular letter forms make designing word art easy and quick.

So your widget’s stuck between the framistat and the whatchamacallit, there’s a spanner in the works and your avengers just won't assemble. Hey, if you want to get any more work done, you know you're gonna have to hook the hoojamajigger up to the doohickey! See the families related to Doohickey: Doohickey Lower.

Talking about the numerous types that today bear the name of Giambattista Bodoni are a kind of tribute as much to his reputation as a printer as to his ability as designer and engraver. In fact, all of them tent to be more in the way or style of Bodoni than simply copy of his letterforms. Like many other type designers, we’ve been seduced also to develop our own point of view of his work, nowadays enriched by some features of OpenType format that allows a variety of combinations: standard ligatures, discretional ligatures, stylistic alternates and old styles figures. Whereas the Bodoni serif in the capitals was of the same weight as the thin stroke but joined with a very slight fillet (Bracket) and the lowercase serif were like his French rivals, the Didots, featured straight- edged serifs that were unbracketed. The ascenders and descenders of this new Bodoni are shorter, giving in this way, more space for enlarge x high. Specially designed for editorial design and advertising, can be used in magazines, annual reports and all kind of fine print materials or web pages. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Elizabeth ND is known for being the first typeface designed by a woman: Elizabeth Friedlander. It was engraved in 1938 by the Bauersche Gießerei. It has two styles: roman and italic. Its grace, delicacy and beauty allow many compositional possibilities, making it an ideal choice for use as a display and headline typeface. Elizabeth is a Trademark of BauerTypes SL

Samsheriff is a large sans-serif family with a touch of quirkiness. It contains an eclectic mix of letter styles but is very legible. The origin of this typeface was in the caps-only letters used for the novelty font Coffinated. Adding lower-case letters, additional widths, additional weights, and italics resulted in the 30 styles that make up the Samsheriff family.

FebDei is neat, meticulous hand printing in two weights, plain and bold, each with italics. It has little contrast and appears as if it was written with a pencil or ball-point pen. Unlike many other hand-printing fonts, it has tiny serifs. FebDrei was created in the process of making the fonts AllSmiles and BringInTheFrowns and can be used with them.

Kuranji, a brand new display font. It’s quirky letterforms make this font perfect for branding, headlines, logotype, stickers, editorial design, and more. Features : Regular Italic We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Contact us if you need something! Happy Designing!

Jungle Giant is a quirky, hand-drawn sans and script duo. It has a playful and organic feel that works great for branding, social media, and marketing! The script includes over 35 alternatives with swashes and alternate styles. The uppercase print includes 2 styles - regular and italic so that it can match the tilt of the script or stand on its own.

Parten a typeface inspired by old motel signage. Available in two styles Regular and italic with alternative characters such as Stylistic Alternates, Stylistic Set, and Swash Variant. Parten very suitable to use on many of your design projects such as : Signage, Logotype, Headline, Packaging, and more. To enable the style alternative, you need a program that supports the opentype features.

Mitoga Display is a very versatile font.perfect for magazine images, to wedding invitations, to branding, poster design, and more. Files included: Mitoga Display Mitoga Italic Mitoga Outline Numerals & Punctuation Stylistic Alternates & Ligatures PUA Encoded Characters Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :)

Puipui is a sans serif typeface with a rounded, contrast stroke and minimal look. Comes with 9 weights and italics of each weight total 18 styles. Support multi-languages and Thai language. Suitable for Headline or text body. Puipui can help you to create a mood and tone of cuteness suitable for kid, pet, food product or anything about cuteness content.

Stibium is a mix between a garalde character and a transitional character. It is inspired by the humanist calligrahy of the Renaissance, the axis is oblique but with more compact proportions and pointed serifs inspired by the pen drawing. It has 7 different styles with the italics. Each contains 685 glyphs with an alternate "A", small caps, Old Style numbers and symbols.

A clear and simple sans serif typeface. Straight lines are combined with precision curves to form a functional and versatile font best suited for a wide range of applications. Developed to meet the needs of the professional user, details include 9 weights with italics, 540 characters, 5 variations of numerals, small caps, stylistic alternatives, manually edited kerning and Opentype features.

Dutch type designer Donald Beekman created this display FontFont in 1999. The family has 8 weights, ranging from Regular to Bold in Normal and Expanded (including italics) and is ideally suited for music and nightlife and poster and billboards. FF Tsunami provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

Calserif is a serif font combined with a calligraphy serif font. With its blend of classic elements and contemporary designs, this serif family has two versions, a choice of regular serif styles and italic calligraphy styles. These fonts are perfect for your design needs such as making nostalgic but still clean and elegant designs such as headlines, magazines, logo designs, packaging, editorials, invitations.

Lucilee is a full featured, OpenType script font from Michael Clark. It is a sweeping italic with many alternates, including ligatures, beginning and ending swashes, and a full Central European character set. It is a joining script that is fluid and also suitable for titling. Lucilee was designed with packaging in mind, but can be used for a wide variety of uses.

Saloon Girl is a revival of an old classic font used by sign painters and includes the rarely seen lowercase. Saloon Girl comes with extra fill fonts, you will need an application that works in layers in order to use the fill fonts that come with FontMesa fonts. In this all new 2020 version we've added case sensitive form, small caps and italics.

Swagg is a unique and friendly sans that looks great at any size. Originally starting as a branding project, Swagg is now a full fledged family with 5 weights. Swagg is loaded with goodies like old style figures, tabular figures, true italic, arrows and much more. Most proudly Swagg shows off a Greek alphabet, making it an ideal workhorse family for your collection!

Rileno Sans is sharp with geometric forms and strong personality. It is constructed in a geometric manner and inspired by the constructivist typefaces of the 1920s with a humanistic quality. It comes in 6 weights, 6 uprights and their matching italics. Rileno Sans is equipped with opentype features like Alternate charates, Fractions, Monospace Numbers, Superscript/subscript, Arrow, Roman Numbers, Ligatures and More.

A simple, mechanical typeface without distractions. Slightly condensed curves are developed from a compact grid layout to produce a crisp, fresh and legible type family. The unadorned letterforms work perfectly with complex information-based applications such as user interfaces, mobile devices and websites. Details include six weights with italics, 480 characters, five variations of numerals, stylistic alternatives, manually edited kerning and Opentype features.

Rashela is a Decorative Serif Display Font, Modern, Luxury, and Elegant Come with 2 (two) styles (regular & italic) and is created with glyph variations like alternates and ligatures. Perfect for your design projects like logos, branding, advertising, product designs, stationery, photography, art quotes, wedding designs, fashion designs, and more. Featured with Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features.

Heartland font family is a pack of the bold connected script and rounded sans. Font is great to use for logotype, menu and product labels, prints, posters, branding, social media. This pack include 3 fonts: - Heartland Script - Heartland Sans - Heartland Sans Condensed - Heartland Italic Sans - Heartland Bold Sans Download Heartland for your next project today! Thank you and have a great day!