Coluna is a friendly, handdrawn all caps font. Due to its playful, organic shapes it makes you think of cocktails on the beach and the earthy smell of the woods in the morning. It offers vast support for languages using the latin alphabet and comes with a couple of icons to make it even easier to complete the handmade look of your designs. Coluna is perfectly all sort of different use cases, such as birthday cards, packaging, children's books, branding, posters, menus and many more.

The Chrysler Building's decorative motif acted as the formal language that inspired the Linotype Spitz typeface. Linotype Spitz is a combination of pointed and semicircular elements that develop their own aesthetic value in their interplay. Neither the Chrysler Building nor the Linotype Spitz is designed on the basis of geometric rules; they both take account of optical phenomena in their design. Linotype Spitz is characterized by its elegant appearance, due to its exceptionally fine and pointed design. The font is ideal for posters and advertising.

Gemsbuck Pro is a typeface that was designed by Atok Khoirudin in 2022. It is a sans-serif font known for its bold and geometric design. Gemsbuck Pro features clean lines and a modern, industrial aesthetic, making it popular for various applications, including posters, headlines, and logos. The font family includes several weights and styles, ranging from light to bold, allowing for versatile use in different design contexts. Gemsbuck Pro has been widely used in print, advertising, and digital media due to its distinctive and impactful appearance.

Generisch Mono is a monospaced version of Generisch Sans. Generisch - a german equivalent of generic - sans serif typeface has gain its own place among designers and earn such popularity due to its "simple" design. Generisch is influenced by early grotesk typefaces from early 1900's when sans was starting to get popular and used as a body type. Some old ligatures such as ch ck and ng are present in generisch (not the ct and st tho), old style numeral for better typesetting experience and more.

Chevronne is good for any time when a clear and modern type is needed. Its futuristic and crisp looks, with a flavor of Art Deco, make it ideal for large signs or for eye-catching headlines due to its easy readability. Here is a typeface that won't deceive nonconformists, and is ideal for those who want to stand out from the crowd. Suitable for use in a logotype for an automobile or anywhere that clarity is needed. The Editorial and Press world would be delighted using Chevronne.

Gemsbuck 01 is a typeface that was designed by Atok Khoiruding in 2022. It is a sans-serif font known for its bold and geometric design. Gemsbuck 01 features clean lines and a modern, industrial aesthetic, making it popular for various applications, including posters, headlines, and logos. The font family includes several weights and styles, ranging from light to bold, allowing for versatile use in different design contexts. Gemsbuck 01 has been widely used in print, advertising, and digital media due to its distinctive and impactful appearance.

paintbrushdd was created using a real paintbrush. It is available in 4 styles including almost 3000 characters (Latin, Greek, Cyrillic, Coptic, symbols, shapes, mathematical expressions and so on). The main focus is on authenticity: The font literally looks like someone just painted it onto your artwork with a paintbrush! Just to name some examples, it is recommended for headlines, posters, t-shirts, computer graphics, and for any other purpose that need less than about 1000 words (due to the complexity of the font and the brush details).

This curly, swirly antique offering is based on a Victorian-era typeface called "Fillet". Opening and closing flourishes can be found at the brace and bracket positions, and the ribbon effect can be carried between words by using the underscore character in place of a space. Due to the highly ornate nature of this font, it does not contain math operators, fractions or superior numbers. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Four fonts entirely of decorative initials of which the uppercase basic letters of RMU Initials One are occupied by Walthari initials, the lowercase ones by Eckmann initials, both released first by Rudhard’sche Gießerei, Offenbach, Germany, about 1900. RMU Initials Two consists of Jubilaeumsinitialen in the uppercases and Augsburger Initialen in the lowercases. RMU Initials Three comes with floral ornaments, whereby the lowercase initials can be colorized by yourself due to non-joining elements. RMU Initials Four consists of hand drawn initials by Rudolf Koch and letters of a former Klingspor font called Queen.

Plastilin type family of two weights obtained its name due to the soft, curved, stroke terminals of characters (J, K, L, R and others) and the little pointed serifs, as if extruded from stroke plastic mass. The character set has a lot of additional Latin and Cyrillic ligatures, as well as several alternate letter forms. Plastilin was designed for ParaType by Oleg Karpinsky in 2005. It is for use both in display setting and short text passages. In 2008 the author added two weights (Light and Black) and improved letterforms of some characters.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Albers draws on early grid-based attempts by Josef Albers, in 1926, to design an alphabet by reducing the forms to purely geometric elements – the square, triangle and parts of a circle – and in the process creating an unusual stencil effect typeface.

Another jewel of the vast treasure of historical font designs was digged out and brought to life again. Due to the courtesy of the Quay Brothers, London, who yielded to me an age-old brochure of Albert Auspurg’s ‚Miami‘, released by Schriftguss in 1934, I was able to redesign this elegant font. This font which I called ‚Elbflorenz‘, a cognomen for Dresden, contains West and Central European type faces as well as those for Romanian and Turkish. To get access to the historical number sign please use either the OT feature additional ligatures or ordinals.

Tre Giorni, is a variant of the "Due Giorni" font with the possibility of combining between the two. This useful writing font is very expressive, fresh, agile and organic. It comes in two styles: Solid and outline (just a little shine) Each font contains 571 glyphs with many OpenType features: standard and discretionary ligatures, stylistic alternates, decorative characters, old-style figures, small caps, titles, case sensitives, and ornaments. Specially designed for creating eye-catching headlines, logos, packaging, greeting cards, advertisements and websites. It also has good readability for longer texts.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van Doesburg derives from the 1919 experimental geometric alphabet by Theo van Doesburg, whose work was heavily influenced by De Stijl theories, specifically rectangularity. The typeface has been constructed on the same 5 x 5 grid, and is limited by his ‘single alphabet’ theory.

Nat Grotesk family consists of 14 styles including 6 narrow ones. It has a half-closed sans serif design with simple and clear lettershapes. Due to compact proportions the face is very space saving, but nevertheless it is rather legible even in small sizes. The bold weights demonstrate increased contrast. The font is recommended for text and display typography as well as for headlines and advertising. It was designed by Natalia Vasilyeva and released by ParaType in 2007. The upgraded version with extended character set was released in 2009.

Boxed typography is a new and extensive 18 weight typeface, brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. Due to its extensive range of weights and subtle difference in thickness, compensating for the stain of characters between different CSS styles is really easy. It offers an extensive set of Latin characters, even the Cyrillic.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Van der Leck originates from the lettering that Bart Van der Leck created for ‘Flax’ magazine in 1941. The letterforms‘ restricted shapes and abstract, stencil-like forms reflect the strong geometric language of De Stijl and show influence from his abstract paintings.

The Xavier family of typefaces is based on the delightful deco typeface called Ashley Crawford, originally designed in 1930 by Ashley Havinden. After designing Xavier Black (Serif) and Xavier Sans Black, I added Bold Sans, Medium and Medium Sans and finally added lowercase to the medium weights. Although more manageable than Ashley Crawford, Xavier, due to its very playful nature (splayed A, M, etc.) needs to be used with care, especially in terms of spacing. Xavier is a playful typeface and I have been particularly pleased to see it used in children's books.

Scape is a precisely drawn, contemporary stencil face built from a single weight rounded end stroke. The fine, linear rounded forms create a subtle contrast to the raw utilitarian nature of the stenciled characters. Extremely versatile, Scape is highly legible due to it’s upright, consistently balanced sans letterforms. Stylistically, it exemplifies refinement and clarity with an distinct edge. Features include: Precision kerning Expanded ligature set Alternate characters (O, _, ®) Alternate zero Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Tiemann Antiqua was designed by Walter Tiemann in 1923 and appeared with the Klingspor font foundry. It is one of the modern book typefaces created in the first half of the 20th century, but differed from most in its Modern Face forms. It displays the same strong stroke contrast and flat serifs but its proportions have more in common with those of neorenaissance fonts. Tiemann Antiqua is an elegant, legible font suitable for books and longer texts, but also found in headlines, newspapers and magazines due to its classic yet unusual appearance.

Big. Bold. Beautiful. Slinkster is an intricately unique display face created by carefully overlapping equally-sized circles. The geometric patterns formed become increasingly mesmerizing the larger the type is set. Slinkster works best for display, headers, logotypes, and any other large-scale applications that allow the viewer to become hypnotized by its complexity. Due to how detailed Slinkster is, you may experience some lagging as it can take a while to render. Like this font? Consider donating to encourage further development and new fonts! Donations accepted through this Paypal address: willryan042@gmail.com

Prapen and Prapen Neu is a Monospaced sans serif family. Design with various width and weight that you can explore and combine creating rhythm and texture for comfortable reading. This font supports more than 100 Latin-based languages and has extensive Cyrillic and Greek support for languages like Russian, Bulgarian, Ukrainian, and many more.In variable version, it allows multiple options when designing, adapting to different composition solutions. Feature Uppercase & Lowercase Number & Symbol International Glyphs (Cyrillic & Greek) Multilingual support Ligature Feel free to drop us a message any time and follow my shop for upcoming updates

New Letter Gothic was designed for ParaType by Gayaneh Bagdasaryan based on monospaced Letter Gothic font by Roger Roberson, 1956–62. Due to clear and easy-to-read lettershapes of Letter Gothic the font is rather popular now for display and advertising matters. The idea was to create a font similar to Letter Gothic in lettershapes but with proportional widths of letters. For use in both display and text setting. New Letter Gothic has been adjudged an Award for Excellence in Type Design at Kyrillitsa ’99 International Type Design competition in Moscow, 1999.

Usually I prefer desserts that aren't overly sweet, but a week ago I lost my sense of tasting - due to Corona, and when I wanted something sweet...I preferred it overly sweet...of course because I hardly could taste the overwhelming sweetness! But now, I have my sense of tasting (and smelling!) back, and everything is back to normal. And since I completed this easy-recipe-inspired handmade font while suffering from Corona, I thought I'd name it Overly Sweet. And...well. because, the font is somewhat overly sweet (without being over the top sweet!)

My kids love toadstools, especially the red capped ones with the white spots (they’re called Amanita muscaria, a.k.a. fly agaric - in case you’re wondering). A couple of months ago you could find loads of them in the forest, but now they’ve all disappeared. Toadstool font will not disappear, however. It is a very legible, clean and neat text font with an uneven baseline, slightly bouncy glyphs and more diacritics than a forest has mushrooms. Use if for packaging, kids’ book covers and posters. This toadstool is the non-toxic variety, so go nuts.

Modern digital typography pushes many designers to try and achieve visual perfection with their lettering. In the days of wooden type, the premise was more in creating a font that "sold" the message (possibly, in part due to the lack of advanced tooling to achieve uniformity). In many styles of wood type (such as the one used as a model for Broadletter JNL), there are vast differences within the character design, weight and symmetry from letter to letter. This is now looked upon as "old fashioned" and "charming" - part of the appeal of this typeface.

Tucked inside the November 5, 1927 issue of a German signpainters' trade paper was a single sheet headed Der Schilder und Schriftenmaler, which featured an alphabet called "Neue Fraktur". An exuberant (if somewhat unconventional) combination of Art Deco sensibilities and blackletter forms, the font retains its freshness, even today. Included in this version are Deco bishops fingers at the bar and broken bar positions, and a styling, horn-blowing herald at ASCII circumflex and tilde positions. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

A blackletter font tending towards the gothic which was released by Klingspor, Offenbach am Main, in 1937. Claudius can be used for clerical as well as for secular purposes and shows a strong character of its own. The original esthetic atrocities of placing the dieresis within the letters A and O - due to former German industry standards - were abolished. Allow the font's beauty spread by giving it enough leading between the lines. This font contains various useful ligatures, and by activating the Ordinals feature and typing 'N', 'o' and period you get an oldstyle numbersign.

Durazno y Amor is a cursive font family. It is inspired by love, hearts, and Chilean script. It can be written in Aymara, Mapuche and Rapa Nui from Chile. It can also be written in Dutch, Maltese, and other languages. This font family is cute and fun. It has many heart decorations. The strokes are drawn with a round cap tool, with no contrast. The form is upright. Parts A have capitals with high starts. Parts B have capitals with low starts. Parts F are Final forms. Parts U are love line Unions.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Schwitters was developed from the phonetic experiments made by Kurt Schwitters with his 1927 universal alphabet, where he attempted to link sound and shape. He ‘played with’ using heavier, wider, rounded forms to convey the vowels, creating a unique visual speech texture.

Golden Grotesque - Designed by Moriztype. The whole family consists of 9 Golden Grotesque Uprights, 9 Golden Grotesque Italic, 19 fonts in all. The font is informal and friendly at first glance and perfect for any display setting, but the straight, upright Golden Grotesque architecture also makes it perfect for longer copies. Due to its large x-height, it even works well in very small sizes. Golden Grotesque - This contemporary type family is ideal for use in retail, cosmetic, food and hospitality applications and advertising. Golden Grotesque is equipped for complex and professional typography.

Introducing “Careny” – an elegant and modern typeface. This typeface has a refined look due to its sleek shape and perfect curves. Its modern aesthetic lends a touch of sophistication to any project, from magazine layout to logo branding. Careny is the ideal choice for anyone looking for a versatile and fashionable typeface that effortlessly blends traditional elegance with modern design. Careny is perfect for branding projects, logos, social media posts, advertisements, product packaging, wedding invitations, product design, labels, photography, watermarks, stationery, and more. Features : Uppercase and lowercase Punctuation and symbols Multilingual support Ligatures Alternates

Aljaraz (meaning “small bell” in english) is a curvy typeface inspired on the “Fat face" letters with an extremely bold design from the early 19th century, but with an insolent touch of brave and psychedelic distortions. Aljaraz has a regular and italic variable, and in both styles the capital letters have a swash alternative where the naughty touch reaches its maximum expression. It is ideal to recall the lysergic era of the 60s, write funny words, or simply to express small texts in a display way that powerfully attracts attention. Let Aljaraz inspire you groovy kind of love! Designed by Carlos Campos cuchi@cuchiquetipo.com Secondary typeface: 'Escuela', also by Carlos Campos _ Aljaraz (“campanita”) es una tipografía curvy inspirada en las letras con un diseño extremadamente grueso y atrevido de principios del siglo XIX (las “Fat face”), pero con un toque insolente de valientes distorsiones psicodélicas. Aljaraz tiene una variable regular y cursiva, y en ambos estilos las mayúsculas tienen una alternativa súper decorada donde el toque travieso alcanza su máxima expresión. Es ideal para rememorar la época lisérgica de los años 60, escribir palabras graciosas, o simplemente expresar textos graciosos de una forma visual que llame poderosamente la atención. ¡Deja que Aljaraz te inspire su maravilloso amor!

Tipograf�a caligr�fica inspirada nos t�tulos das canci�ns dun caderno familiar de partituras de 1941. � unha fonte creada da maneira m�is fidel posible a como se debuxar�a cunha pluma estilogr�fica do momento. Axeitada para t�tulos ou letras capitais. Non se recomenda empregar para textos longos, de non ser que se pretenda simular un arquivo antigo dun estilo manuscrito semellante. Tipograf�a caligr�fica inspirada en los t�tulos de las canciones de un cuaderno familiar de partituras de 1941. Es una fuente creada de la manera m�s fiel posible a como se dibujar�a con una pluma estilogr�fica del momento. Adecuada para t�tulos o letras capitales. No se recomienda utilizar pata textos largos, a no ser que se pretenda simular un archivo antiguo de un estilo manuscrito semejante. Calligraphic typography inspired by the titles of the songs of a family notebook of 1941. It is a source created in the most faithful way possible to how it would be drawn with a stylus pen of that moment. Suitable for titles or capital letters. It is not recommended to use for long text, unless you pretend to simulate an old archive with a similar manuscript style.

A handwritten ”font for technicians“ from ca. 1900. Very geometrical, rigid forms borrowed from the typical characteristics of Jugendstil / Art Nouveau. This script is found in an old magazine which was issued sometime in the years shortly before WWI. The original copy, produced by means of a galvanized plate, is just 7 centimeters wide. It served as the model for technical professions in which, at that time, the captions of drawings were still done by hand. ingoFonts has not only digitized this beautiful typeface, we have also extended it to a whole family. In »Maier’s Alte Nr. 8« special attention was given to ensure the ”uneven“ edges, typical of handwritten script, remained effectively noticeable even in the digitized form. As a result, this ”technical“ font retains a handmade touch, while »Maier’s Neue Nr. 8« is the clean version with exact contours. The Art Nouveau forms, which are characteristic for the period of origin around the turn of the century around 1900, look especially pretty. The high degree of abstraction also seems strange in Maier's No. 8, especially when the age of the original is known. It is generally assumed that it was not until the Bauhaus in the late 1920s that such "modern" typefaces were created. Maier's No. 8 is a generation older! So many of today's supposedly "ultramodern" typefaces look quite old in comparison. In addition to the original two weights, Light and Bold, the Maiers Neue Nr. 8 got a regular and a extra-bold weight. Furthermore, the Neue is also available in italics. Although this is only a slanted version, unlike common practice, it is inclined to the left. Maier’s Nr. 8 Pro is suitable for all European languages. It includes ”Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too. The font includes several stylistic alternates as well as a number of ligatures.

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

Extremely influenced by the new rave trend, Fiasco is a reflex of it's excesses. Way too many elements, bright neon colors, and that not-knowing-when-to-stop sort of behavior. Acid House aesthetic remixed by the nu school DJs. Neon Flamboyant.