[D]ONLINE is the first font family designed by Don Citarella for his blog, [D]ONLINE, and was created to provide a signature feel for its namesake. It combines a strong, medium stroke with arching end caps to embue the typeface with a futuristic curvilinear feel. This display font is best used for headlines, identities, wordmarks and other instances involving minimal copy and maximal whitespace The typeface includes 300 characters, including 45 accented glyphs and 30 ligatures.

Arbotek has the original skeleton that the author used for the development of his typeface Arboria, a real 'architect typography', with a basic and radical approach to pure geometric forms. The three basic styles - Thin, Light and Light Rounded - try to approach the cartographic technique annotations and their output on plotters. The voluptuous style, Ultra, keeps the same structure of the Light versions, but develops as a historic Art Decó variant of this 20s and 30s graphic style.

Rigrok is a 14 style semi serif designed by Stew Deane. The design of the typeface was intended to create a premium feel that is suitable for the widest range of tasks, while still maintaining a unique sense of character. Stew designed Rigrok to draw on his graphic design experience to create a typeface that is suitable for many a design or branding job. The result is an easy to use, versatile typeface that charms with personality and character.

Ratushy is a serif-based display font with lowercase letters that have connecting characters for a unique look and crafted with care that will make your designs stand out and modern. You can use this font for any purpose, especially to make your business more attractive. This font is also suitable for sports, e-sport logos, games or hi-tech company logos. This font also supports multilanguage. Featured Fonts: Uppercase Lowercase Numbers & Punctuation Accented characters: ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝÞŒŠŽßàááâãäåæçèéêëìíîïñòóôõöøùúûüýþÿœš ž

Hi everyone, Introducing my special font Magic Prince Magic Prince is a modern stylist serif font. Magic Prince inspired from Magic Romance typeface, have unique style and elegant looking, is well-suited for advertising, branding, logotypes, packaging, titles, headlines and editorial design. I created more much alternates variant and much natural ligatures to make this font very classy and look so beauty. Magic Prince was built with open type features make your project will be perfect.

Brody’s fonts borrow elements from both Art Deco and non-Western styles. His designs received international recognition for their innovative, computer-oriented style, reaching almost cult status. Four original Brody fonts are available from Linotype Library GmbH: Insignia, Industria-Solid, Industria Inline and Arcadia. For your convenience, we have gathered all four into one package. Industria is a font which speaks of mechanical exactness, cool and reserved. Industria Inline is a lighter version of Industria Solid.

Introducing, Space Boards, a sci-fi logo font! Space Boards is a sans based font with unique lowercase & uppercase that will make your design looks futuristic and modern. You can use this font for any purpose, especially to make hi-tech logotype. This font is also suitable for science-fiction movie poster. You can mix and match the uppercase and lowercase to make your logo more unique and stand-out. This font also support multi language.

Angustina is an elegant display typeface, it takes inspiration from classic letter styles. I chose the font name after reading the classic Italian novel “The Tartar Steppe”. I was inspired by the sickly, stoic and mysterious man who differs for his willingness to stay at Fort Bastiani. Angustina conveys distress and stinging sensation with extreme contrasts between thick and thin strokes and exasperated serifs. The alternate of hairline and bracketed serifs gives Angustina a modern and military appearance.

The Shinokai is a sans serif of two weights that is both dynamic and consequent. Originally concepted as a font for application letters by Lukas Schiltknecht it quickly became a more sophisticated piece of work. This Typeface is inspired by some of his favorite fonts the FF DIN and the ITC Officina. It is made to suit a variety of uses like advertising and packaging, film and tv, editorial and publishing as well as posters and billboards.

Hi, introducing a smooth vintage font - Pinup New. It has a nice tasty shape with a tiny separate accents. Pinup New font supports most of the european languages and also has ukrainian cyrillic characters. Pinup New consists of three fonts with separate accents for more convenient manipulating and recoloring. Also there are an extra characters with modifyed letters shape, such as ligatures and alternates. Make sure that your app does support an OpenType features to access this extra characters.

ATTENTION COSTUMERS! A new version of this font was released in 2019. Take a look: Breathe Neue Reaching a total of more than 1000 glyphs, Breathe Pro is Maximiliano R. Sproviero’s gift of the year. The aim of the designer was once more to give the user the chance to play and travel from very formal and conservative letterforms to the amazing world of swashes and flourishes. Possibilities of alternating and ligating characters in this font are absolutely fantastic. After his last creation, Parfait Script, Lián wanted to make a more universal font. Delighted by typographic works of Didot and his followers of the beginnings of 1800, Maximiliano R. Sproviero started what became another obsessive project, which is now named Breathe, “cuando las letras respiran...” what could be translated as “when letters breathe”, due to the feeling that you are reading letters that are alive. Breathe comes in two styles which have a significant difference as regards to the quantity of glyphs available inside. If you want to get the most complete style, with over 1000 glyphs, (including contextual alternates, stylistic alternates, swashes, terminal forms, titling alternates, historical forms, stylistic sets, standard ligatures, stylistic ligatures, decorative ligatures and frames) then your choice should be Breathe Pro. On the other hand, if you are interested in having a less decorative font with the nice touch of Lián’s style, then your choice should be Breathe Standard, a more limited version of Breathe, including terminal forms (leaves) and frames. With Breathe Pro you will surely have fun at the same time you are designing and that is not an unimportant thing. The world of type-designers is growing each year, and the features of Open-Type are letting them think their creations as if they were truly pieces of art. At least, Breathe Pro is inspired in the Art of our predecessors, those who with a pen loaded of ink would decorate each letter, each page in such a lovely way. Yes, -lovely- is the word. We would not have the amazing lettering artists, calligraphers, typographers of nowadays if that -love for letters- had not traveled from generation to generation. Breathe Pro is an example of this love. An example of what Maximiliano R. Sproviero feels about typography and letters. Pssst... Look for more images and the User’s Guide at the gallery section to see it in use! http://origin.myfonts.com/s/aw/original/89/0/46067.pdf

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.

Kamui is a font designed by Carlos Fabian Camargo G. and used to write headlines. Its strategy makes it ideal for covers and advertisements with Japanese-style manga comics requiring latin style. Precisely its purpose was inspired by typographical classics such as Mistral by R. Excoffon and Zapfino by H. Zapf that then were diluted by separate strokes as blackletter calligraphy. However, high doses of miscegenation and lettering untimely torn between 50% esthetic and 50% legibility. That way his radical expression is highly profitable for composing and designing words and phrases with Eastern look. And more importantly, the writing seems drawn quickly with thin-tipped brush staining over a rough surface, from that process comes the idea of corroded outlines and changes in contrast. In conclusion, some diagonal strokes, horizontal, curved and vertical stand or hide from their simulation of scarcity or abundance of ink clots. That way each stroke seems inconsistent, footprint of the 423 brush drawing glyphs in Regular Kamuy. In that sense, the OpenType features included are: Standard Ligatures, Contextual Alternates, discretionary ligatures, swash, stylistic alternates, alternatives for titles, ordinals, fractions. And to end the Variable “Kamuy Dingbats” has is 52 fictitious drawings and zamurais.

With Behrens Ornaments SIAS presents a historic revival font for the very first time. Peter Behrens (1868–1940) was a German designer and architect rooted in the style of the Art nouveau era but later became one of the most prolific exponents of the modernist movement in the 1920ies and 1930ies. The design of typographic ornaments was one of many fields of his activities. The “Behrens Schmuck” set of adornment types layed dormant for many decades, known only to letterpress freaks and specialists. After 100 years, with this release SIAS celebrates one of the creative masterminds in German design history, unearthing a treasury of 80 unique ornaments and embellishment pieces for nowaday’s use. In order to attain a faithful remake as authentic as possible, the Behrens ornaments have been photographically reproduced from a 1914 specimen book. The outlines have been edited carefully to minimize accidental visual disturbances, yet the main goal was to keep the “smell” of the original letterpress printing as good as possible. If you like fine ornaments you should also have a look at Arthur Ornaments, Andron Ornaments and Leipziger Ornamente.

Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release. This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).

Marujo is a highly decorative typeface inspired by painted pieces of Arthur Bispo do Rosário, a striking Brazilian artist who lived for 50 years in a psychiatric institution. Besides its spirited Regular and Light cuts, Marujo family brings nifty eye-catching variations adorned with dots and stripes. It also brings complementary fonts to spice things up even more: there are 2 shadow options and yet a picture font packed with doodles, mostly on nautical subjects (which are strongly present on Bispo do Rosário, a former seaman apprentice.) Bispo do Rosário's works employs a multitude of materials and are often very intricate. Words are everywhere, painted or embroidered at most. He produced a vast amount of works, and is now - posthumously - widely recognized in Brazilian art scene. The psychiatric institution in which he lived is now a museum dedicated exclusively to his work. Marujo draws inspiration not only from Bispo's works, but also from this man's potency, a persistent man who produced amazing art locked in such a tough environment for a life-long. Marujo fonts are positively adventurous and will safely navigate through a sea of feelings, reaching free spirits everywhere. To navigate is precise...

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Jim Rimmer aptly described his Dokument family as a sans serif in the vein of News Gothic that takes nothing from News Gothic. Building on that internal analysis, Dokument Pro is the thoroughly reworked and expanded of the original main set released in 2005, with different widths still in the pipeline. This new version updates Jim’s work to six Pro weights and their italic counterparts, each of which takes advantage of OpenType stylistic sets to introduce different degrees of graduation from gothic to humanist. Dokument Pro is now a unique text sans family, with an adaptable personality suitable for the kind of edgy, uncompromising corporate and media typography that just tells it like it is, instead of having to resort to the common contemporary luring and baiting tactics. Dokument Pro’s range of weights, styles and features (over 775 glyphs per font, built-in small caps, alternates galore, and support for over 45 Latin languages) allows for multi-application versatility and clear, precise emotional delivery. This is the kind of straight-shooter sans that should be in every designer’s toolbelt. For more details on the fonts' features, text and display specimens and print tests, consult the Dokument Pro PDF availabe in the Gallery section of this page. 20% of Dokument Pro’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Crypton is a modern geometric design by Alex Kaczun. It’s an alternate style variation based on his popular Contax Pro family of fonts. The look is clean, smart and sophisticated—the chiseled end strokes reflect the rage of the 1980s; lettering that represented something to do with electronics, computers and outer space. It’s a futuristic sans-serif exploration of shape and form. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong and dynamic—it can be widely used in publications and advertising. Crypton is a futuristic, techno-looking and expressive typeface with the appearance of machined-like parts—round geometric shapes and sharp edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Ebisu is a sans serif family consisting of 10 different weights. Designed by Alex Haigh in 2010, and influenced by one of his original designs from 2008 Hiruko - Ebisu loses the soft sans serif curves, for a more robust geometric styling. But it’s much more than a geo-replica. The lowercase characters also have a more exaggerated sharpness that gives the whole family a unique look and feel. The kerning has been individually crafted for each letter, with vigorous attention - to ensure that each letter from is produced in a way that works with every member of the set, for a tightly knit sans serif family. It speaks many languages too. The open type features have an extended character set to support Eastern and Western European languages. With each weight conveying a different personality, Ebisu is set to become the modern new sans serif family to sit alongside you classics for versatility, cleanliness and a crafted edge.

Stevens Titling refers to the classic Roman alphabet as it appears on the Trajan column and numerous other monuments. With its realistic brush strokes, it shows the letterforms as they might have been sketched on the marble before the stonecutter reached for his hammer and chisel. The four fonts that constitute the Stevens Titling suite are named after animals — badger, boar, sable and wolf –, each known for the specific character of its hairs when used to make painting brushes. Sable Brush is the most formal and elegant, with solid forms which show no obvious trace of the handdrawn brush stroke; it comes with a set of small capitals for those classical titles preferred by Hollywood. In fact, each of these fonts would do a great job as a film title and poster font. The Badger Brush variant is compact and firm; Boar Brush is dramatic, and in Wolf Brush each part of the letter is made up of realistic, dry strokes.

Ever since I first designed Ellida in 2005, that elaborate script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer, I wanted to add a very high contrast cut to the family. I finally did so. But the result looks so much different to Ellida that I had to give it another name, hence "Eloise". Eloise should actually be written with a 'i' that has double dots, but that would be difficult for international use. Eloise is a beautiful first name not only for French girls. Pronounce: Ay-low-eese. If I would have had a daughter, I would have called her "Eloise" (with double dots!). But instead I have two phantastic sons, so I never got the chance to use it. Actually one of my sons discovered it on his little boys sand shovel, it was called Eloise. Your decorative designer with a heart for sand shovels Gert Wiescher

Axion RX-14 is an original design by Alex Kaczun. It is but one of several alternate designs based on his original Axion family of fonts. Alternate design elements, specifically on capitals like 'A' , 'V' and terminals of 'C' and 'G', along with contrasting sharp and rounded corners, create a tension within this modern grotesque and add a class of destinction and interest. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion RX-14 is a futuristic, techno-looking and expressive typeface with an apperance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Tinteretto is a very beautiful, decorative Art-d�co font which is ideal for ad design about fine arts events and the world of arts and crafts as well as in restaurants, bars and for food packaging. Tintoretto harmonizes well with serif and sans serif fonts created at the beginning of the last century. It contains character sets for West and Central European as well as for Romania and Turkey. When Unger started his work on Tintoretto, he had the splendid idea of adding a Fill version to the original 3D characters. Combining both fonts make it even stronger and more beautiful. How to combine both fonts in order to achieve a color fill effect: Type your word or phrase and do not make any changes to the spacing or kerning. Duplicate or copy the original and change it to the Fill version (font change). Apply a color to the copy and position it exactly behind the original. See and love the result.

Nick Curtis's love affair with typography began when he was barely past adolescence, in a neighborhood alley of East Dallas. On a routine patrol for tossed treasures, he came across a type specimen catalog: a big, fat green binder displaying hundreds of fonts! He was hooked. Curtis's career has taken him from production art to graphic design to art direction, but type has always remained his graphic passion, especially the provocative designs produced from the late 19th through the early 20th centuries. Curtis's inspiration for ITC CuppaJoe comes from Art Deco lettering, but not from the typical sources. Depending upon your age or your interest in early twentieth-century package design ITC CuppaJoe might look familiar. Its foundation is the label art for Bokar, A&P's premium coffee during the 1930s. Curtis built on the gently sweeping curves and bold angular strokes of the original coffee-can lettering to create a distinctive typeface that commands attention. Rich, full-bodied, satisfying - now that's a ITC CuppaJoe!

Riclane elegant serif font Hi Ladies and Gentlemen! According to the market demand for fonts that tend to be more modern, then I decided to make a serif font that is in your view. The Riclane font is a serif font with very beautiful, comes with a modern style hoping to become a market favorite. We keep this font looking elegant, classy, ​​easy to read, stylish, attractive and easy to use. Riclane Font is a great choice for magazines, retro designs, newspapers, books, brand names, branding, and other projects. The Riclane font is here to take the quality of your designs to a higher level. Riclane Font is my thirty first Font created in 2023 The Riclane font style will make you love designing and taking advantage of the cool design results for this font. Continue to follow us for updates on making further fonts :) Font Features: • Standard uppercase and lowercase letters • Multilingual Support • Numeral and punctuation • Elegant style

Grantig is a bold serif display typeface. Inspired by the opening titles of old western movies, the genre of western slab serifs has been translated into a modern context and adapted to today's needs. As a result, it breaks free from the chains of its genre and opens up to many themes. Grantig is the german word for grumpy. With its massive serifs and strictly rounded curves, it comes particularly close in character to the grumpy Western heroes of days gone by, always in the presence of his two leaning companions, Slant and Backslant. With Grantig, it is particularly easy to create eye-catching and type-accentuated headlines. Its expressive nature makes it particularly suitable for editorial, packaging and advertising. With its 482 characters, Grantig covers the language usage for many Latin-based languages. At the same time, it has the most important open type features, such as lining and oldstyle figures, alternate characters, and arrows.

I was asked by a good friend of mine to design his tattoo lettering. This fellow prefered an easy stencil with no ornament, such as swirls or loops. After some preliminary design I finally accepted the challenge and while completing the whole alphabet, the idea of creating a cool font of it occured to me. Only a few months later this new font family already contained 4 weights, every weight has a companion Italic style, punctuation, numerals and mathematical operators, as well as all accented characters. Bomber TV is a brand-new font and all glyphs have been contemplated very carefully so that all characters match in a well-balanced and streaming way. In both shaped weights, the font suits extraordinary well for headings, slogans etc. The cleanly cut and powerful Bomber TV font can easily be used for logotype, games, prints, magazines, web, apps, packaging, posters, T-shirts, signage & design projects. The font is original and custom made by Kustomtype.

A playful handwriting of a child Twelve-year old Tobias Düsel designed the characters of this font in 2002 during his family’s furlough in the USA. He drew the alphabet freehand in pencil on a piece of stationery, and clearly had examples of the well-known college and military fonts in mind. The characters in their basic form are geometrically thought out, as well as the construction of the shadows. But remarkably, while drawing, Tobias Düsel did not reach for the obvious aid of a ruler. In fact, the strokes of the letters are not linear, rather are recognizably well-balanced with declining and increasing straights as can be seen in polished classical fonts. Originally this font consists only of upper case letters — all other characters (punctuation marks, figures and similar) have been modified from the components of the capital letters. Complementary to the original Outline-Shadow-Version TobyFont Empty, the variations TobyFont Inside and TobyFont Full are also available. ”Empty“ is, so to speak, the frame of the typeface as “Inside” is the filling, and “Full” is the sum of both. All three versions have the exact same body size so that they can be placed over one another congruently. In this way the effect of a font in two or three colors can be attained. TobyFont is excellently suitable for designing “picturesque” or “hand-carved” contents; large weights are especially charming and striking.

Youthful Fontsmith received a brief to develop a font that would form part of the broadcast identity for the UK’s first digital Freeview channel – E4. It needed to work seamlessly in text and display, both in print and on-screen, and please the eye of the target audience, 18-34-year-olds. So, young, fresh and informal. No problem. Except for one thing: the timing. Daughter As he worked on FS Maja, Jason Smith was occupied by another imminent deadline: the birth of his third child. The pressure was mounting, but rather than let it get to him, Jason embraced the challenge and made light of the tension, fashioning a bright, bubbly, entertaining type with a personality made for memorable headlines. Beautifully random FS Maja’s soft, rounded shapes and assured, fluent lines encompass lots of notable features that contribute to its warm, fun-loving personality, including: a very large x-height; a short, rounded serif to allow for close spacing and give texture to body text; a slight convexity, or bulge, in the stroke terminals; a calligraphic fluidity in the entry to the down-stroke of most lowercase letters; open, generous curves, especially in the “B”, “P” and “R”; and a “w” made of two “u”s.

Isabelle is the closest thing to a metal type revival Jim Rimmer ever did. The original metal face was designed and cut in late 1930s Germany, but its propspects were cut short by the arrival of the war. This was one of Jim's favourite faces, most likely because of the refined art deco elements that reminded him of his youthful enthusiasm about everything press-related, and the face's intricately thought balance between calligraphy and typography. Not to mention one of the most beautiful italics ever made. Jim's early 2000s digitization included mathematical corrections to the original metal cut, as well as some functional improvements for digital use. In 2013, during the remastering of the entire Rimmer collection, Isabelle underwent a considerable rethinking/expansion and was rechristened Isabelle Pro. The new revisions include small caps, ligatures, seven types of figures, automatic fractions, extended Latin language support, stylistic alternates that include lowercase serif angle options in the roman and looped ascenders/descenders in the italic, and plenty of extra OpenType features like caps-to-small-caps substitution, case-sensitive positioning, ordinals, and extended class-based kerning. Now each of the Isabelle Pro fonts includes over 680 glyphs. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world. After building his own theoretical framework of relevant legibility parameters, the design process used a unique custom real-time simulation software, which could simulate difficult reading conditions (distance, fog, halation, positive/negative contrast) while the letters were actually being designed. This process made it possible to optimize even the tiniest details of each letter for maximum legibility. Being made specifically for wayfinding purposes, this type family does not compromise on any aspect of legibility — and yet, the typeface is a beautiful, clean and modern sans serif. With its broad language support and the large number of available styles it is perfectly suitable for any possible signage project anywhere in the world. In an independent empirical study at the University of Applied Sciences “htw” in Berlin different typefaces were recently tested when used on signs and Wayfinding Sans Pro was the winner in all conducted tests, being significantly more legible and therefore superior to all other styles of the tested typefaces. Check out the PDF specimen for more information: wayfinding-sans-pro.pdf

Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

Give your voice an eye-catching hand-drawn look thanks to this playful font family. You'll get three styles, along with OpenType features including alternates, ligatures and stylistic sets. Galiba Regular works very well with his small brothers Light and Thin. In addition Galiba Light can be used at smaller size along with the other styles to keep the same line thickness. To achieve a random-like effect, the regular style is packed with 4 different variants of each glyph, that automatically cycle if stylistic alternates are turned on. Also you can choose from 5 stylistic sets to easily change the look of a given string, or pick alternates by hand. Not to mention that we've attentively fine-tuned the kerning that’s crucial for this kind of typeface.

While browsing through a sourcebook on historic calligraphy and antique type I came on an interesting sample of a gothic style attributed to the legendary artist Albrecht Durer. I had previously seen fonts based on the peculiar style of lettering Durer used on prints for his signature and some captions, but this style was radically different and much more characteristic of the lettering and early printed types of the 'Northern Renaissance' which Durer was a big part of. Whether it's authentically Durer's work or not is up in the air, but it's a very nice example of early gothic type. We've called the resulting font Albrecht Durer Gothic and it's a very striking face well suited to titles and other contemporary uses where you need something heavy and eye catching.

This welcome addition to FontFont’s most popular family brings a softness to FF DIN’s simplicity and industrial sterility. FF DIN Round is more than a “search-and-replace” rounded version of its predecessor. Albert-Jan Pool and his team redrew each letterform to maintain the structure of the original. This ensures FF DIN and FF DIN Round will work well together in logos, slogans, price tags, etc. as compatible parts of advertising campaigns and corporate identities. FF DIN Round is not only a good companion to FF DIN, its smooth and friendly curves make it work on its own for branding strategies for family cars, bikes, household appliances, sportswear, shoes, or medical products. It’s also very legible on screen. This FontFont is a member of the FF DIN super family, which also includes FF DIN.

Pompeijana is a part of the 1990 collection Type before Gutenberg 2’, which includes twelve contemporary typefaces each representative of a particular era. Pompeijana is Adrian Frutiger’s contribution to the project Type before Gutenberg’. He based the forms of this capital typeface on the writing of the Romans in Pompei. The decorative look of the alphabet is achieved by purely graphic means, placing the emphasis of the top and foot of the letters with heavy horizontals and diamond-shaped serifs. Frutiger completed his typeface with the weight Borders, a font consisting of numerous ornaments true to the style of the alphabet. The ornaments can be combined to form different borders and offer an optimal addition to the elegant Pompeijana. Pompeijana is best combined with modern sans serif typefaces.

Hi There! Meet our first modern serif typeface Palmire Palmire is a stylish font that is both modern and minimal. A light font that is perfect for feminine logo marks, fashion mastheads & editorial design (works great in layout design for quotes or body copy). The ligatures feature is so amazing, you can convert regular random word to elegant logo just by using the ligature. And there is 75+ ligature to support your amazing design project! Is there anything else? Of course! it has multilingual characters too! We work so hard to keep this elegant font looks elegant, classy, readable, stylish, eye-catching, and easy to use. You can easily pair them with script or sans serif font from all over the world to make your work more interesting!

AJSHA font, even though being our newest font, is inspired by ancient Japanese and Chinese culture, eastern style of life of about 5000 years before present day, when honor and a good sword were respected. Japanese special sword Katana is known to be handcrafted to be extremely sharp and deadly. Therefore, the shapes of the AJSHA font accompanies the moves of a Katana master when he uses the power of his sword. The font comes in two styles, light and medium. Medium is a bit bolder style while the exact bold or strong version lacks due to the fact that the font's lines needed to be sharp as a swordsman's cuts. We expect this font to be a great asset tool for top-notch designer companies that put quality before everything else.