Sweet crispy and crunchy lines, clear and obvious handmade letters! What's not to like?! If you need an organic and dynamic input to your product, Crispy Magenta could be the game changer

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

Kirshaw is not your grandfather's sans serif from the 1950s and 1960s. All those old classics like Helvetica, Futura, Franklin Gothic, and Univers are showing their age like an old Elvis Presley song. Kirshaw is a clean, rounded design with sharp contrasting edges. Like those classics, Kirshaw is easy to read in small body copy and captions, plus it's delightfully modern and stylish for headlines and logos. I designed Kirshaw and Kirkly while undergoing cancer treatment at Stanford Medical Center. Font design was always in the back of my mind and now I had extra time. Kirshaw is a distinctive, modern, easy-to-read sans serif family consists of 14 weights (including italics). It’s an Adobe Latin 3 Character Set containing 350 glyphs per style (including special characters).

The Jantze font is a project undertaken by Dan Bailey of Fontosaurus and Michael Jantze, creator of the nationally-syndicated comic strip, The Norm. All their royalties from the font will go to The Lance Armstrong Foundation. For those that have been living under a rock for the last five years, Lance is a professional bike racer that overcame advanced testicular cancer to not only come back to his sport, but to dominate its premiere event, the Tour de France. In climbing to the top of his sport, he has become a legend among cyclists and a beacon of hope for those battling cancer and their families. His foundation provides financial grants to researchers working to improve our odds against the disease, individuals stricken with cancer, and survivors of the disease that are advocates for survivorship issues in their communities. Michael Jantze and Dan Bailey would like you to consider the quote from Ralph Waldo Emerson that brought us to this project: "The purpose of life is not to be happy. It is to be useful, to be honorable, to have it make some difference that you have lived and lived well. We hope that you will help us help Lance Armstrong's legacy be more than that of just sports legend. We hope that you will help those that may someday help you as much as we hope that you will never have to suffer the ravages of cancer. We hope.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Bank of England is loosely based on the blackletter lettering from Series F English twenty pound banknotes introduced in 2007. The font takes inspiration from German Kanzlei (Chancery) typefaces and the English calligraphers John Ayres and George Bickham. For designers using OpenType-aware applications, Bank of England includes Swash versions of all uppercase letters and ampersand, Alternates for nine lowercase letters and capital Z, and sixteen ornamental flourishes. Western European accented characters are included, and also a simplified St. Edward’s Crown (Elizabeth II’s coronation crown) at the Section (§) and PlusMinus (±) keystrokes (Windows Alt-0167 and Alt-0177).

Inspired by calligraphic styles from 15th century Italy, master Swedish typographer Bo Berndal designed the Byngve font family. With four styles-Regular, Italic, Bold, and Bold Italic-Byngve proudly shows its process: Berndal wrote out the entire family by hand before digitizing it and converting its beauty into a typeface. Byngve is most suited for advertising uses, and for greeting cards. The name Byngve comes from Bo Berndal's two Christian names: Bo Yngve. He just put the two names together and it formed Byngve"."

Pragma ND is a sans serif typeface with calligraphic features. Its vital rhythm facilitates the reading of long texts. It also has an “authentic” italic imitating the movement of handwriting. Its high legibility makes it an ideal typeface for long texts in analog and digital contexts. Pragma is a Trademark of BauerTypes SL

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.

Introducing "Crasher Gear," a captivating handwritten font with a monospaced, grunge-inspired design. Its multilingual support ensures global communication. With Regular, Italic, Oblique Italic, Bold, Bold Italic, and Bold Oblique Italic styles, it's ideal for posters, marketing, T-shirts, YouTube, games, and more. Embodying a bold, dystopian spirit, this versatile font leaves a lasting impression. Pair it seamlessly with various typefaces. Unleash creativity with "Crasher Gear" today.

Vtg Stencil Germany No.101 is modeled after historic stencil plates from Bavaria. The design is a blackletter chancery, a romantic reprise of a style that was common in German writing offices from the 14th to the 16th century. The flourishes stylistically quote the Baroque period. A talented mind, perhaps around 1890, has transformed the textura shapes into a modular stencil system. Many elements are repeated throughout the glyph set - see for example the initial swashes on the letters A, B, U etc. Overall, this decorative blackletter doesn’t look like a stencil design. Maybe it was originally used by a sign painter, and all the typical stencil bridges would have been painted over in the final work. If you’re looking for a decorative blackletter font with a unique touch and a romantic feel, you will love Germany No.101.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Sandena began as an attempt at a harmonic convergence between the classic lines of Palatino and the curved flair of Optima - both favorites of mine from the great Hermann Zapf. As I’ve always loved the Swash characters of the 50’s and 60’s letterforms, I incorporated these alternatives to offer the more complete package that you see here - a humanist font in the truest calligraphic sense. This OpenType font family comes in four weights and includes condensed and Swash Cap alternates. Sandena offers multiple-character foreign language support and is being offered in a number of packages best-tailored for your unique application.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints

Palatino Sans Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is a low-contrast companion to the award winning Palatino Arabic and comes in both regular and bold weights. It is designed for use in print in both large and small sizes, and brings into Arabic the informal and friendly appearance of Palatino Sans. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino Sans and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Only One is a stylish, unique, handwritten family that is easy to remember. It’s great for unique branding, photo overlays, watermarks, business cards, invitations, wedding, photography, fashion, etc. This font is available in 10 styles: Thin, Light, Regular, Semi Bold, Bold, Thin Italic, Light Italic, Italic, Semi Bold Italic, Bold Italic. And most importantly: Only one is perfect for you. Thanks for checking out my store, and feel free to get in touch if you have any questions! thomasaradea@gmail.com

Designed specifically for AT&T to set telephone directories by Chauncey Griffith at Mergenthaler in 1938, Bell Gothic was the standard American directory typeface for forty years. Limited in performance by linecaster matrix requirements, Bell Gothic was replaced by Bell Centennial. Furlong is a version of Bell Gothic adapted for the racing form.

In 1929 Chauncey Griffith at Mergenthaler commissioned W.A. Dwiggins to design a warmer and less mechanical Geometric Sanserif to compete with Futura. Dwiggins’ best efforts proved that human warmth had little to do with cool geometry; for twelve years, until the introduction of Spartan, Mergenthaler lost ground to Intertype’s licensed version of Futura.

ZapfinoExtra is an OpenType format typeface available in two versions. The Contextual version contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing the Contextual version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual), and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino family's 1676 glyphs. The Zapfino family's character set supports 48 western and central European languages. More Zapfino History: Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version-named Zapfino™ Forte. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities!"

Bestan is inspired by the typography of the ship's steel containers and industrial-based business branding. Added a slight touch of futuristic vibes to make Bestan appears as a fresh game-changer, either for corporation purpose and also modern urban vibes to your visual graphic design stuff.

Alige is a humanist sans serif typefaces made for body text and display. Carried classic roman proportion in higher letterform for better reading experence. Inspired by Optima Nova which designed by Hermann Zaph in early 50's, alige contains 28 cuts which 14 style in text and 14 in display. Kindly visit Alige Playground for more detail presentation.

Back to 1880-1900 when a number of events were coming together, the country was evolving from a local market economy to mass merchandising, rail systems were being built and color lithography was becoming more affordable. The first rail cars full of oranges were being shipped from Southern California to the East - what a treat during a cold winter’s day. Labels were pasted on every fruit crate and these labels had large images of oranges and orange groves. With technological advances in soldered cans, canneries popped up all over the country. In order to market their products many California Canneries pooled their resources to form the California Fruit Canners Assn. in 1899. This font was inspired from that era. Loaded with alternates, swashes, stylistic and multilingual support.

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Designed by Olivier Gourvat in December 2015, Univia Pro is a new contemporary OpenType font family with modernity and versatility in mind. Distinctive with its pleasant look and extremely modern, Univia Pro has a lot of personality mostly achieved by smooth curves and round corners that forms a very identical style of the entire family. Univia Pro is perfect both for display and text use and due to its ultra modern look, it is more than excellent for e-books, web-sites, user interface font, mobile apps etc. The Univia Pro font family is heavily equipped with OpenType features: case sensitive, scientific superiors and inferiors, standard ligatures, old style, lining figures, proportional and tabular figures, slashed zeros, stylistic sets. It also provides broad language support. The font family offers 18 variations (9 weights plus italics): Thin, Thin Italic, Ultra Light, Ultra Light Italic, Light, Light Italic Book, Book Italic, Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic, Ultra and Ultra Italic. Univia Pro supports Latin, Extended latin and Cyrillic languages.

FlyHigh is a decorative text face with slab serifs. It comes in eight styles: plain, semibold, bold, extrabold, italic, semibold italic, bold italic, and extrabold italic. Its low x-height makes it more appropriate for uses such as invitations than for book text.

Cielo font family consists of Cielo Light, Cielo Light Italic, Cielo Regular, Cielo Italic, Cielo Bold, Cielo Bold Italic, and Cielo Stencil (Regular weight) Cielo is a versatile contemporary typeface family that will serve you well in many design situations like advertising, corporate communications, etc. Buying all seven weights make it an excellent value for money!

HURoundsans is a geometric sans serif variable typeface with matching italics. It has a variable width that adapts to your needs, pushing for maximum readability. Useful for any quirky display uses. Variable is very versatile and can be used in print or on-screen environments. It's perfect for logos, posters, titling, UI/UX design, visual identity, social media, music cover art etc. * Specifications : Files included : Variable including italics Multi-language support

Eleonora tends to defy standard categories. Had the typeface been designed in about 1790, it might've been called a "late transitional face" and lumped together with Bell and Bulmer. But it's a modern typeface, showing more restraint in its finer details than even Baskerville. Also noteworthy: it has no traditional, script-like italic but a more severe oblique with baseline serifs and other roman features. Has regular, italic, bold, and bold italic styles.

NorB Felt Marker is a variation of my NorB Marker font, It's handwritten text font witch you can use with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! It comes with 8 weights: Regular Italic Medium Medium Italic Bold Bold Italic Heavy Heavy Italic

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.