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.

Stu is based on the penmanship of the late Raoul "Stu" Stuart. Raoul's penmanship was always admired by those who saw it; it was a first glimpse into the artistic and creative side of an otherwise easy-going, funny guy. The print variants exude a soft yet masculine feel, while the scripts evoke a sense of sentimentality and romance. Stu features dingbats which say something about Raoul: affectionate and romantic (heart), a big coffee drinker (coffee cup), a great cook (spoon and fork), a music lover (musical note), and a prankster (winking smiley). (The winking smiley is available in all the font styles, while each of the other four dingbats is unique to one font style.) Stu is a tribute to the coolest dad in the world.

The Bacony Script family is a bold script family of fonts. This rustic font is expressive, and is constructed of fat brush strokes and heavy letterforms. Use it for a comical logotype or headline to give your work that genuine handpainted look. The Bacony Script family consists of four high-quality fonts: Regular, Italic, Bold and Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

Glitter, flashing cameras and fame – now you know how to deal with this stuff! Freshness and brightness is what defines the Blushes fontfamily, which is created for beauty and fashion industries. Blushes is a vibrant part of you that emphasizes your character. Glamorous makeup and trendy clothes are now harmoniously enhanced with our fonts which follow every trend of both industries. Blushes can do it all: create edgy prints on T-shirts, use it for beauty products packaging design and fashion magazines layouts as well as advertising brochures. Blushes works perfectly in the contemporary digital environment. For instance, it is great for an edgy designer clothes on-line store’s website layout, as well as for a beauty products manufacturer’s app

Sinkin Sans Narrow is a simple, pleasantly proportioned and easy to read sans-serif, available in all 9 standard web weights, 100 to 900, plus italics, so the face is a comprehensive illustration of the CSS web font numerical scale. Sinkin Sans fonts are designed with tiny, inconspicuous notches that sink into verticals at the intersections of strokes, adding highlights to congested corners. The incisions make right angles appear sharper and improve definition in more intricate characters. Sinkin Sans Narrow inherits the enviable clarity and readability of the luxuriously wide original family. The Narrow typeface, however, is designed to economise on space within busy web pages and has been sensitively condensed for maximum legibility. Each weight of Sinkin Sans Narrow is supplied with a free Italic.

ITC Portago was designed by Luis Siquot, who admits to a tendency toward unusual typefaces that can be read in text yet also work well in display settings. ITC Portago is a robust alphabet of caps and slightly smaller caps. It is a stencil face, based on the lettering on crates and luggage. Siquot says that his intention drawing Portago was to obtain a neutral, classical, very condensed grotesque stencil shape that is readable in text sizes, showing at the same time the 'movement' produced by the nicked edges. And of course the more obvious rough effect in headline sizes." At small sizes, Portago is best set with slightly looser letterspacing, as capital combinations usually do. Portago includes numerals in both full and small caps proportions.

Hatsch Sans is a modern uppercase typeface. With balanced letterforms in a fresh appearance, this grotesque font is a new take on classic sans-serif design. It is legible and clean, optimized for a non-complex design or headline. The Hatsch Sans font family consists of Thin, Regular and Bold, and each weight as Italic, totalling in six styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Gabriel Sans is a font family inspired by the original Sans Serif fonts of the Transitional age like Futura and Grotesk, but with a modern twist. It is clean, elegant and straight-to-the-point. It has features similar to the classic Helvetica - like the endings of the capital C - but goes one step further. It also has a quadratic look, which makes it easily distinguishable and easy to use - the height is nearly as long as the width. It is professional and equally suited to your business or your personal lifestyle; it can be used in logotypes as well as in typeset text. It’s an all-purpose font offering the best of both worlds! Gabriel Sans comes in six weights, italic and normal.

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.

Thertole is a dramatic display font with a strong background. Because of its rock-inspired design, this typeface is dashing and bold for individuals who dare to be distinctive. If you use this font for a variety of outdoor events, you will get an exquisite and unique look. Standard ligatures, character choices, and international language support are also included in this typeface. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Death Mohawk is a rough metal font. This Korn/Slipknot style typeface with is distressed letterforms is optimized for a musical logotype. Its eroded and destroyed edges gives it a heavy and grungy look. Use parenthesis symbols ( ) [ ] { } < > to make wings around any word. Example: [Heavy Metal] Use % after any letter to make it symmetric. Example: MayheM% or Roxo%R% The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

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.

This is a deco-style text OpenType Pro font loosely based on Koch's Locarno as seen in KochAltschrift a recent free German tribute to Koch's work. I was familiar with Meek's Letraset presstype version called Locarno, but I never liked the proportions used by either Meeks or Koch. So I radically revised ascender, descender, and x-height to make them more usable and brought the shapes within my sense of design. Mine is probably closer to Meeks than Koch, but hopefully it is a tribute to both. Astaire looks much more modern and it is much more usable. I added oldstyle figures, small cap figures, small caps, several ligatures, and more. There are an italic, bold, and bold italic also in this family

Hiragino Sans Rounded (Maru Gothic) is derived from the basic design of the Hiragino Sans (Kaku Gothic) with its wide counters and comfortable appearance. It features gentle typeface that provides graceful roundedness to the tips of all the strokes of a character. On the flip side of this gentle impression is the fact that every single element in the Hiragino Sans upon which this typeface is based has been carefully polished down in every respect in pursuit of an elegant roundness that makes it possible to handle carefully executed typesetting. That approach is clearly different from the general rounded typeface that makes full use of the body, and makes it possible to respond the requirement of professional typesetting. It is never-uninteresting design whose letterform is rooted in the traditions of traditional printing type. It is a font that of course can be used on its own and easily formatted just like Hiragino Sans while adding splendid coloring to the page. Furthermore, when used with other Hiragino fonts such as Hiragino Sans or Hiragino Serif (Mincho), the fact that all their designs are oriented on the same vector creates a multiplier effect. The user may be surprised at the sense of unity that cannot be experienced when combining it with other typefaces.

Beautiful, richly ornamented shadowed letters in the Empire fashion, similar to the fonts of the Parisian type founder J. Gille', cut around 1810. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters.

The 1892 MacKellar, Smiths & Jordan specimen book featured this jaunty little face, designed by profilic in-house designer Herman Ihlenburg. Happy, hoppy fun. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

A beautiful brush font created directly from original drawn characters. Deft Brush features a number of ligature and alternative glyphs to add to the hand drawn look. A great front for bold headlines, titles and crafty logotypes. Available as both .otf and .woff

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Summerhaven JNL and Summerhaven Italic JNL were partially inspired by sign lettering spotted in an old black and white movie. These fonts are somewhat reminiscent of the Art Deco style, and their casual look can be applied to both formal and informal messages.

The Flowrite typeface combines timeless elegance with modern flair. It offers six weights in both regular and italic, alongside a stylish script in modern calligraphy. Designed for broad appeal, Flowrite supports 87 languages, perfect for global communication in branding, editorial, and design.

The 1897 specimen book from Barnhart Brothers and Spindler showed a enchanting little face called Dotted Roman. Here's a faithful revival, ready to warm up the 21st century. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Fun frames and borders in a variety of styles. Note that the pennants can be typed in 2 lengths-- typing abab gives you a continuous pennant border. This works for all of the pennant and bunting styles-- abab, cdcd, efef, ghgh, ijij, etc... :)

The 1895 specimen book from American Type Founders included the pattern for this face, originally called Outing—Art Nouveau with a laid-back vibe. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Schriftatlas: Alphabete von A bis Z strikes again with this dazzling display of geometry at play, originally named Concentra. Best used at larger sizes for maximum impact. Both versions contain the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

"Kamila Arthur" was inspired by clean handwriting with a natural monoline flow. It contains lovely beginning, ending and connecting lowercase heart swashes. It appears to be an excellent tandem for minimalist wedding designs. Please, note that heart glyphs connect only lowercase letters.

Here's a new, softer take on the classic typeface Koralle, released by Schelter und Geisecke in 1913, and as fresh today as it was then. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The thirty images contained in Printers Parts JNL are another assortment of wonderful dingbats from various vintage sources. Brackets, ornaments, end caps, arrows, pointing hands and advertising phrases are part of the wide and various choices and styles found within this font.

Here's an unusual take on the classic Tuscan face of the 1880s. The unusual finials lend a slightly spooky feel to the face, hence its current name. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here's another collection of ornate border elements gleaned from the 1888 specimen books of James Conner's Sons United States Type Foundry in New York City. Refer to the PDF guide for detailed, yet simple, instructions for constructing nine delightfully different border patterns.

Long legs, long neck, low x-height, it’s Hopeful giraffe. Each of both styles of this family of font contains two stylistic sets. With its ornamental capitals and its varied numerals, you can modulate the aspect of your texts as you want it.

It's a wood type! It's a stencil font! It's BOTH! Clarenwood Stencil JNL was originally designed as a solid alphabet (Clarenwood JNL) modeled from vintage wood type. The stencil treatment was applied to add a fresh look to a classic lettering design.

Here's an unusual take on a "modern" typeface, based on a 1936 release from England's Stephenson, Blake foundry, which serves well for interesting headlines. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

A 1925 edition for an orchestral arrangements catalog entitled “Carl Fischer Progressive Orchestra Edition” has the title hand lettered in a bold, stylized Roman type design. This has now become the digital font Fancy Roman JNL; available in both regular and oblique versions.

Hayden Creek started as a few letters chosen from vibrant brush lettering. It evolved into a unique font that has an underlying movement with a wonderful energy. The jaunty kick-outs on some of the lower case letters are both fun and elegant.

Introducing Votrag - 10 Modern Font Collection, a versatile typeface set that encompasses a spectrum of design possibilities. With five distinct weights - thin, light, regular, semibold, and bold - each accompanied by both clean and textured versions, Votrag offers a total of ten unique fonts.

In 1960 Ludwig & Mayer released this Matheis design which was completely redrawn, digitized and extended for most main European languages, West and East. To take advantage of all ligatures in this font, I recommend to activate both OT features, standard and discretionary ligatures.

An unreleased typeface called "Aragón", designed by Enric Crous-Vidal, provided the inspiration for this decidedly retro face. It’s quite useful for distinctive and commanding headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).