Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

A mixture of bold and fine line helps this distinctive design evoke the spirit of the 1930s Jazz Age. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Giddelham is classy curvy and italic. A bold set of characters which flow in to an elegant, simple flourish. Giddelham offers several ligatures to help the flow and shape of your words. Giddelham is ideal for titles, subheadings and makes for a great start point for a sexy logo.

Put together from a collection of old bits and pieces, RM Scrapheap is a distinctive display face with many uses. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

A little funky, a little fun and thoroughly unusual - this is the best way to describe Yargo JNL. This novelty font is best used in short phrases and at large point sizes. No kerning has been added so the letters can retain their hand-made look and feel.

Tachyon is a family designed by Ethan Dunham that has clean simple lines. The family comes in four weights, regular, light, thin and hairline. The hairline version is extremely light and useable only at larger point sizes. This family is perfect where a high-tech look is needed.

This is a set of decorative numeric characters, which can stand alone with one another to create ordinal displays. Several of the shape sets can be used to create two digit numbers, up to 99. The triangle version can even be used as arrows pointing in specific directions.

Strong and distinctive, yet soft and cuddly. This is a rounded sans serif design that features slightly thicker horizontals. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Black Letter typefaces always have an association with Christmas in the modern psyche. Albion’s Black Holly reinforces that association with an ornamentation of hooky-sprigs throughout all its letter forms. This is a design best used at large point sizes, but ideal for Christmas Mastheads, banners and signs.

Reso is an experimental geometric typeface built from a pointed arch module. Its minimal and contemporary letter shapes makes it well suited for logo design, headers and short texts. Five weights are available in OpenType format. The fonts include some standard OpenType features and support for most European languages.

Mr. Gogoll's successful revival of Arno Drescher’s Super Grotesk was awarded the 1999 Kurt Christians Award. The Drescher Grotesk family consists of seven roman weights, including a version designed for use at small point sizes. Drescher Grotesk is a classic German geometric design, complete with the original “angled” brackets.

A family of soft, rounded, yet bold display faces which can successfully be used in conjunction with one another. Due to the modular nature of this design there may be a very slight lack of smoothness to the curves at extremely large point sizes (around 200 pt and above).

Sales Event JNL is an inline sans that was modeled from examples of old wood type. Its casual, cheerful style well suits point-of-sale signage or banners, fun headlines and relaxed themes. The font is available in both the regular inline version and the black (solid) version.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Grazia is a joining script with zero contrast. That means that I designed the line of the letters so, that they look equally thick all the time. The script is almost upright and has this 1930s look to it.

Written By Hand, a handmade font that is taken from the real hand style of writting, its so realistic to used for many branding and personal identity style, especially for its messy stlye of writting Its perfectly suited for crafter and graphic artist to complete their design such as invitation, advertisement, poster, logo, birthday, product sign, and many more! Buttier also Lightweight, even so contains All Standard glyphs and punctuations

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Font design meets architecture – the unique and architectural design of the urban villa “Dupli.Casa” by the architect J.Mayer.H triggered the inspiration for the typeface “La Casa”.
Inclinations and curvatures mirror the linear, modern impression of the architecture. The overall impression of the sans serif accounts for the great readability, even in lower point sizes – perfect for the design of books and magazines. The fresh and modern appearance of the font is particularly suitable for corporate designs of enterprises. The seven-font weights support more than 100 languages and the Cyrillic characters ensure a versatile and international use. The low contrast, the reduction of the corner points and the clear nature of the font make “La Casa” perfectly applicable as a web font.

A text face in 4 styles Before the arrival of Phototypesetting, each font size had a specific design. Le Monde Livre, designed by Jean François Porchez, along with Le Monde Journal re-establishes this practice. When Le Monde Journal was developed specifically for use at small point sizes (below 10 points.) Le Monde Livre works beautifully for book typography, magazine settings. In comparison to the italics in Le Monde Journal, Le Monde Livre’s italics are of a totally different design, closer to the models of the Renaissance. The families match well together on the same page, Le Monde Journal for small sizes settings, Le Monde Livre for large settings. The verticals metrics and proportions of Le Monde Livre are calibrated to match perfectly others Typofonderie families.

Mariam is a traditional-style Arabic headline face designed by the famous Arabic type designer Ismet Chanbour, who also designed Al Harf Al Jadid - another highly successful typeface from Linotype. Mariam is characterised by certain design features which contribute to its stylistically lively, yet graceful appearance: downward-pointing tails combining with the swinging finial strokes of certain characters, and the various cut-away" effects. This headline face successfully offers a wide range of applications, from very large, bold poster-size work to use at 18 point for emphasis in text work. Available as in the OpenType format, Miriam incorporates the Arabic codepage (CP 1256), and supports Arabic and Persian. It also includes both tabular Arabic and Persian numerals, as well as Latin figures and complete punctuation."

Occam is an informal calligraphic script face. The letter forms were drawn and constructed rather than penned or brushed but reflect a definite flat pen influence. The ascenders and descenders incorporate an abstract implied loop form. Some curves that would normally be round are pointed and some transitions that would normally be sharp and pointed have been made round. A few exit strokes curve back instead of moving up and out for a little different look. This font could be put to good use as a contrasting style combined with sans and serif faces in applications such as newsletters, brochures, invitations and annual reports. It could be used for heads, subheads, pull quotes, drop caps and as a title font for covers.

Linotype Startec, from Jan Tomás, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This is another fun font from Tomás, who also designed Alphabat, and the two share some characteristics. Linotype Startec is an outline font whose unique forms are reminiscent of futuristic dreams and space adventures. It should be used in point sizes of at least 18, but the phrase 'the bigger the better' fits this font well. The careful details and figures of the alphabet turn into UFOs and space ships from another world when set in very large point sizes. Linotype Startc is best for very short texts and headlines.

Sansduski is a sans-serif decorative/display family. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) It comes in nine weights and one outline style, with an oblique style accompanying each of these ten styles to give a total of 20 styles in the family. The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. For a monospaced rather than proportional version of this design idea, see SansduskiMono. Sansduski is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

Linotype Sangue is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This prize-winning font was designed by the German artist Gabriele Laubinger. The most distinguishing characteristic of Linotype Sangue is the contrast between the wide, rounded capital letters and the tall, narrow and pointed lower case. Another factor which makes this font so unique is the way Laubinger worked with stroke contrasts, using heavy strokes in the top third of the characters and diminishing to extremely light strokes at the bottom. Linotype Sangue makes a mysterious, secretive impression. It is best used for headlines and displays and shorters texts with point sizes of 12 and larger.

Zoran Kostik began designing the Just Square font family in 1999, based on a logo that his son, an art student, had designed. The design project grew until Kostic had designed eight weights, for both the Latin and the Cyrillic writing systems. Just Square is a very geometric and constricted face best used in experimental designs (i.e., logos, web sites, flyers, and expressive headlines).

A fresh, curly and delicious sans serif. Designed by Daniel Hernandez, Merced is a sans serif font that can be given different uses due to its wide variety of alternate types. Its main virtue is the endless number of possibilities for you to write words, texts or paragraphs. Languages include: Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Romanian and Pan Africa Latin.

Let me introduce my newest font Brightline is a new modern font with an irregular baseline. This is the latest script font for those of you who need elegant writing and the latest design styles and is perfect for wedding invitations, business cards and more. Complete with upper and lower case, as well as multi-language support, numbers, punctuation, and multiple ligatures and swash glyphs.

Arkham - a font that was created from the title of the cover of the comic book "Batman Absolution". The font conveys the Gothic and darkness that is inherent in this comic. The font is perfect for headlines, texts, posters, covers, merch, prints and more. Great language support. If you find an error in the font or kerning, write to: bunineugene@gmail.com, for a quick fix!

Casper Marker is a script that simulates writing with a marker and has a thick stroke, which is excellent for titles and large text. It was born as a font in block letters, but here it is in a minuscule version with numbers and glyphs. Casper Marker has a fresh and modern style, leaning a bit to the right which gives it dynamism and feeling with reading.

VANILA is a cute outline and very cheerful display font. Filled with ALL CAPS with cute and funny shapes, Inspired by freestyle graffiti writing, Add this lovely and dynamic font to any of your creative ideas related to school or kids, snacks and events. You will love the results. VANILA is perfect for birthday cards, kids invitations, quotes, branding, or just for fun for your art.

Abdo Line is a simple Naskh font for books and magazines. Accurate design and clarity of reading and writing space-saving, it comes in sixth weights: Thin, Light, Regular, Bold, Heavy and Black. This is an OpenType Font supporting Arabic, Persian, Urdu Languages and compatible with the various operation systems and modern software. This font also contains many of Stylistic Sets, Ligatures and Justification Alternatives.

Bookbag is a font for teaching kids to read and write. It comes in 4 weights, from light to extrabold, and has dotted and lined versions for students to practice. Many glyphs have alternate versions, that can be accessed either through OpenType stylistic alternates, or using the Alt versions of the font. Bookbag has a very wide language support, with most latin languages supported.

Lamiran is a Distorted Wavy Font . You're not going to write a novel with this font, I will tell you that but... if you want something seriously psychedelic thats part art and part font, then this is the font for you. Using it sparingly to mix and match with a clean sans serif or go all out for a good time. Thanks, Have a wonderful Day. Ragamkata

HU NoodleKR is a stencil-type font designed for drawing with one brush and writing in stroke order. It is composed of large grapheme for good visibility, and fine curves are added to the shape based on straight lines to create a soft feel. In particular, it is a full-bodied square font where personality is felt in double consonants. HU NoodleKR includes Korean.

Ballpoint Rush is an organic and classy handwritten script font that crafted from pen strokes. The font very simple as a real quick writing with a pen. It's great for chic and elegant projects such as fashion branding, casual notes text, signature, song lyric, and many more. Features & Files: OTF Uppercase letters Lowercase letters Numbers & Punctuation Ligatures Standard Latin Multilingual Support Easy to use in any software

INtroduction, Ramllast, This font is natural handwriting style, so if you need digital signature or natural hand writing for quotes, this is the perfect typeface for you! This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Matchstick is a hand drawn brush script. Matchstick is packed with loads of ligatures and alternates that help simulate a swift look of a handwriting. This feature is set in Standard Ligatures and it is normally automatically on. Matchstick is a great display brush to be used in writing headlines, packaging, posters or as a logotype. Matchstick works great when paired with strong sans serifs.