Calendula is a humanistic font with low contrast and one-sided serifs. There are eight styles: four regular of different weights from Light to Bold and corresponding italics. The main set of regular styles is close to upright italics, so the font is percieved as informal and friendly. However, Calendula allows you to combine business with pleasure by switching the stylistic set, and turns into a calm text font with traditional upright forms. The font was designed by Natalia Vasilyeva and released by Paratype in 2017.

Kantor's modular stroke and humanist axis defines it as an old-style 15th century Venetian serif typeface. At the same time, the lowercase Kantor alphabet is relatively compressed and has the vertical stems of a textura blackletter. However, Kantor has distinct, penformed shapes and has also kept all the organic irregularities of traditional handwriting (or punch-cutting, as it were). Kantor is not happy, not sad - but calm and dignified. Perfect for buddhist poems, fantasy video games and antique scrolls to give that "long time ago"-feeling.

I’m not trying to be sarcastic or ironic. But after looking at fridge magnets, postcards, posters and stickers with clever words about love and happiness, I suddenly found them all cheesy. You may have guessed it by now: I’m not into clever words like those…but I do respect if they brighten someones’s life. This font, however, was made to brighten people’s life by being great as a soft, handmade and organic headline font! Use for your favourite quotes, or whatever needs a legible and clear presentation!

Twentieth Century was designed for the cover of 20th Century French Poetry and was drawn with pure geometric shapes. It is the distillation of a broad variety of styles loosely known as Art Deco but, also categorized under such terms as Moderne, Streamline, Machine Age, Futurist, 70s Art Deco, Memphis among others. If there were a source in particular that I would cite as my inspiration, however, it would definitely be the work of Frank Lloyd Wright. I mean, look at the "W" for cryin' out loud!

Like traditional athletic block typefaces, Crafton is built with chiseled corners and a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like a, c, and s demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the A, v, and y are cropped in a way that further reinforces this motif.

Some words from the designer... West coast artist Teri Kahan developed a "design font" of 68 pictographs capturing the sentiments of relationship, connection and synchronicity. Many of the characters were created with phrases in mind like, "handing you the world on a platter", "howling at the moon", and "message in a bottle". Others represent life experiences. The clean, simple illustration style originates from the look of hand-carved rubber stamps, and lends itself beautifully to logos and graphics.

Victoriana arose from an inquiry from the Victorian Society for a Victorian font for their journal. As it turned out, no commission resulted, but interest in such a font was aroused in Andy Benedek. Basing the design on some woodblock letterforms, outlines of a basic set of characters were drawn. These, however, were modified to the extent that the final font bore little resemblance to the woodblock letterforms. As erstwhile cyclists, the font was named after the British and champion world track cyclist, Victoria Pendleton who was greatly admired.

For more than 70 years the 10-foot tall letters displaying the word FOSHAY have illuminated the Foshay Tower in the Minneapolis skyline. However, the typestyle has never been made into a font before. This new modern font family, dubbed Fosho Book, is optimized for book print usage as well as functioning as big bold display type on screen. The Fosho fonts are available in three styles: Outlines, Dotted Bulb Inlines and Composite with both. You can use the three styles in overlapping colors for dramatic chromatic effects.

New Jonesy Latin is a rough version of Jonesy typeface. It includes 4 Styles: Print Script, Print Capitals, Rough Script and Rough Capitals for Latin languages. Print Styles work better in middle and large font size. New Jonesy is a funny modern script with a touch of vintage. It is good for menu, packaging, posters and as a starting point for lettering and logos. All contextual alternates are built into the “Liga” feature that is turned on by default. However, when your work with the typeface, please make sure that “Liga” is turned on.

Stencil™ was designed by Gerry Powell for American Type Founders in 1938. It's a faithful imitation of a stenciled alphabet, much like those used on boxes and crates, with rounded edges and thick main strokes. The font is composed of capital letters and figures; there is no lowercase. Use Stencil™ for graphic designs that call for a rough-and-ready look, a military look, or even to create real stencils for signs and marking boxes or luggage. Alexei Chekulaev made a Cyrillic version of Stencil™ in 1997.

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.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.

This is a unique design by Elyahu Koren. He wanted to design another version of his Koren Tanakh sacred font that was for Biblical use only. So he designed Koren Siddur to be used for page numbers etc. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: tinyurl.com/2fbkuy95

Ryman Gothic is inspired by American Wood Types and Gothic Typefaces, mainly in the work of Edwin Allen and Morris Fuller Benton. The result is a hybrid combining gothic proportions with the contrast of wood types. While drawing consonants guided by gothic proportions, vowels were designed slightly wider, making them not only more legible when it comes to long text designs, but also more attractive. Ryman Gothic comes in 8 weights plus its matching italics, ranging from Thin to Heavy. Each weight includes extended language support (Latin + Cyrillic + Greek), ligatures, arrows and more.

Carnas, a new monoline sans with a light, slender and informal appearance. It is however forceful and strong enough for headlines and signage. Despite the reduction in its shapes, it is pleasantly readable for both shorter and longer text applications. The Carnas family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Diocletian fortiter in re, suaviter in modo Diocletian typeface captures the essence and glory of the Diocletian’s palace, one of the most imposing heritages of the late Roman empire. It is designed to bring the confidence and fortune to contemporary communication in a heroic and gentle manner. Diocletian typeface is based on the Uncial script, made up of wide, rounded letters. It is desirable for cafes, restaurants, shops, hotels and apartments. The typeface’s x-height is around 76% of its capitals. The font is enriched with ligatures and special characters.

Sello is a hand-drawn, geometric sans-serif with a touch of retro style. It's a unicase typeface inspired by hand-engraved, mid-1960s Spanish postage stamps, hence the name "Sello" – Spanish for "stamp". This font comes in three different weights – light, regular, and bold – with a regular and oblique version of each for a total of 6 styles. Vowels have a special third alternate glyph. Sello also contains the necessary diacritics and special characters to support several different languages. Looks great at the slightly larger point sizes, when used in header or display purposes.

Giulia is a sweet type family consisting of 12 Fonts. It was created by Hannes von Döhren and published by HvD Fonts. Besides a fancy curly version there is a second version with a more straight architecture, still owning the same soft and friendly character. Informal and easy going at first sight and perfect for display settings, however the straight architecture of Giulia Plain also makes it nice for shorter to medium texts. This contemporary type family is ideal for use in retail, packaging, games, food, kids applications and advertising.

Deep in the bowels of the earth a tortured creature tries to mimic the writings of mankind. It labors long and hard carving the letter forms on the walls of its cave. Many years later, rubbings where taken of these impressions and fashioned to create this hideous font. All kidding aside, with such a formal training in type design, it was not easy for me to create these ill-shaped letters. I kept wanting to smooth out the outlines. Anyway, it was a good exercise and we now have this antique heavy-weight.

Jan Tomáš studied at the Universität der Künste, Berlin. He is a multi-talent – the author of many ideas, a font creator, designer, modeller, technician and web designer. In 2011, he founded Future Typo, the first web portal for advanced typography with original design typefaces and 3D typefaces. When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized.

The hand lettered sans serif title on the1931 sheet music for “(Potatoes are Cheaper-Tomatoes are Cheaper) Now’s the Time to Fall in Love” presented another opportunity to create a typeface from the wealth of unusual alphabets found on the covers of vintage and antique song sheets. However, it seems that even as late as the 1930s, song writers had the urge to pen long-worded titles for their musical compositions. This thirteen word verbal excursion became the model for Casual Deco JNL, which is available in both regular and oblique versions.

Romford Stencil is a Brexit inspired typeface. It’s letterforms represent the idea of a union splitting apart and the stylistic differences between the upper and lower case symbolise the notion of being different from one another. Research for this typeface started off in Romford which is an area where the majority of UK voters wanted to leave the European Union, hence the name. Romford Stencil is designed to be readable for body copy and look impressive when used as a display typeface. However, the bigger it's size the better it looks, especially in all capitals.

Imagine there's an explosion in a comic book, the exclamation that follows is set in PAGODA INTERNATIONAL. This font is inspired by the graphics on one of Honolulu's 1950's skyscrapers - The Pagoda Hotel with the International Ballroom. Created by former wine label designer, Wesley Poole, Pagoda is the opposite of sophisticated elegance. "Big, fat, and horsy, that's what I was after. It's the wacky juxtaposition of these familiar shapes that makes it work. Just try a couple words. You'll be surprised! I'm glad this one's behind me. It's my first pancake."

This variation of Tangential (see also the Standard & Semi Serif variants) continues with the angles that give the typeface its name; however, the square terminals are half-rounded to create a softer and slightly more fluid styling. The Tangential style I envisaged for the family is complemented by the prominent use of negative space throughout, most apparent on the drop-shaped ‘o,’ which is a key feature of the typeface and a letterform I'm particularly pleased with. Available in 2 weights, Regular & Bold, in both OpenType OTF & TrueType TTF formats.

Loosely based on Bembo and Plantin, the Perrywood font family retains some old style characteristics which give the face a familiar feel, however much attention has been paid to optimizing the design to give good quality output at small point sizes and from low resolution output devices. The consistency of character shapes allows close letter spacing to give compact word shapes, excellent word recognition and an overall economy in text. Perrywood offers good legibility and, coupled with an even text color will be very useful for text setting, in correspondence, for faxes and reports.

It is reasonable to assume that a majority of people interested in typography will attempt some variation on the blackletter theme at some time or another. However, there seems to be a paucity of open-faced designs in this style and, having played around with a few thoughts, eventually I came up with RM Whiteletter. Light in appearance but classical in design, this clean looking open-face font provides a good counterpoint to more traditional blackletter designs. This font includes both the full Latin-1 Supplement & Latin Extended-A sets.

Hand lettering isn’t a perfect art form, and this is why it often has an appeal over formal typesetting. Individual interpretation can lead to variations in style, character shape and overall design concept. Case in point: The hand-drawn title for the1933 sheet music “Why Can’t This Night Go on Forever” is a simple Art Deco sans, however it mixes character widths and even angles the letter ‘C’ in a nonconventional way. Deco Design JNL is the digital version of this alphabet, which is available in both regular and oblique versions.

This variation in the Tangential series (see also the Standard & Rounded families) continues with the angles that give the typeface its name, however a semi-serif is applied wherever appropriate to create a more open, softer variant. The Tangential style I envisaged for the family is complemented by the prominent use of negative space throughout, most apparent on the drop shaped ‘o’ which is a key feature of the typeface and a letterform I'm particularly pleased with. Available in 2 weights, Regular & Bold, in both OpenType OTF & TrueType TTF formats.

Designed by Les Usherwood. Chelsea is a ‘modern’ Old Style serif font family designed by Les Usherwood (Typsettra) in the early 1980’s. Steve Jackaman (ITF) digitally engineered the family exclusively for ITF’s Red Rooster Collection in 1993. Usherwood drew influence from Frederic Goudy’s 1911 creation ‘Kennerley Old Style’ when designing Chelsea; Chelsea, however, tends to be wider with a taller x-height. Chelsea has the clean and upscale feel that is present in all Usherwood creations, and its legible design lends itself to projects of any size.

Lakony Regular, italic and display serif lacony are combined into one into a modern serif, lacony pays attention to high readability and a soft font model so that readers feel comfortable. lakony font also has unique alternates, making it easier for you to design as unique a text as possible. However, this does not leave behind the function of the font itself, namely readability, so this font is suitable for titles, posters, branding, invitation cards and much more. Lakony Regular Lakony Italic Lakony Display Uppercase Lowercase 75+ Language Alternates Font

Brokefold Sans, is a Sans Serif font with combination of rounded and strong edges. It's suited to cover various of tasks such as editorial to brand design, advertising, magazine layout and many more. Brokefold consists with plenty OpenType features to ease your tasks. Brokefold comes with all uppercase shapes. However, it comes with complete characters as well as international characters. Features: - Standard Characters (Uppercase) - Numerals - Punctuations - International Characters Disclaimer: Clips arts shown in the posters/images are not included. It is for promotional purpose. Enjoy designing and stay Safe! Tigadestd

The front page headline of the April 6, 1917 edition of the Bemidji Pioneer [from Bemidji, Minnesota] says in extrabold letters: “State of War is Declared”. The subtext underneath reads: “President Signs Resolution 1:13 P.M., Passed by House 3 O’Clock this Morning”. Thus, the United States formally entered into World War I. However… that subtext was set in a sans serif type face which was a perfect addition to the numerous newspaper-inspired type revivals offered by Jeff Levine Fonts. Morning Edition JNL is available in both regular and oblique versions.

Proudly present Brooklyn Pirates - Street Type, created by ikiiko. A hipster typeface using handwriting in street and urban style, with a large selection of swashes that you can wear however you like. This type is very suitable for making a brand logo, poster design, magazine header, sleeve cover, flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates & Stylistic Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

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.

Sola is a simplistic, stylish, and modern san serif type font with the unique addition of rounded corners. When creating this font, Bank Gothic originally influenced me, however when I made the square shapes lower case the font didn't retain its sophistication, so it was designed narrower. The result is this warm and soft looking font that works for all types of design, from posters and fliers to logos and business cards. Sola also features standard ligature, stylistic alternates, titling characters with extended width, and a set of standard pictograms.

Too often, familiarity in type design can fool us into mislabeling similar styles of lettering. The Art Deco years provided many variations of the thick-and-thin alphabet, and we tend to lump all of them together as being "a version of Broadway", as this is the most popular of the genre. However, if one looks closely at each design, they will see variations of line thickness, angles and even individual character design. One such variation is Stagehand JNL, based on a set of wood type and now presented in digital form.

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.

GULP font is a playful and fun font inspired by pop art, hippie and comic book styles. It's groovy, funky and retro with an ultra-bold and fat appearance, making it perfect for eye-catching headers and short word texts. This font exudes modernity and fanciness, making it ideal for any purpose that requires a dominant and powerful impact. The italic style adds a touch of uniqueness, giving it a playful edge. However, GULP is not recommended for long text as it can be overpowering and may detract from the overall readability of your content.

Shicken Zoop JNL is based on an old lettering stencil from the early 1950s. The A-Z and a-z keystrokes contain the bulk of the Hebrew alphabet. Additional letters are found on the exclamation point, quote and apostrophe keystrokes. Vowels are positioned on the period, comma, hyphen, colon and semicolon. Please note that this is not a normal Hebrew font; it is in effect a latin font with Hebrew letters appearing in place of latin letters. It will not allow you to copy and paste with other samples of Hebrew text.