Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

Get your Aussie on! The new typeface, Ainslie, with its mix of influences from Oz, makes its mark as the first semi-serif from insigne Design. Ainslie, named for Mt. Ainslie and Canberra’s inner suburb of the same name, was originally developed for the Canberra Australia Centennial Typeface Competition. Canberra is Australia’s capital, and it’s a planned city designed by American Walter Burley Griffin, a contemporary and one-time associate of Frank Lloyd Wright. Griffin’s plan involved a distinctly geometric design with several focal points--one of which was Mt. Ainslie. This same purely geometric scheme is now the basis for insigne’s new release. Similar to the Chatype project in its scope, its challenge, and the way its concept was developed, Ainslie incorporates influences from Canberra and surrounding areas to form a font that is uniquely Australian. In comparison, Chatype was developed for the city of Chattanooga, Tennessee by insigne in conjunction with designer Robbie de Villiers. Chatype took elements from Chattanooga’s industrial character and Cherokee past and merged them with the area’s technological influences. Likewise, Ainslie takes Canberra’s distinct, geometric design and blends it with the organic, flowing effect of aboriginal art. Add in touches from the smooth, aerodynamic design of the boomerang and Ainslie gives you a look uniquely Australian yet usable in a wide range of applications. The fashionable typeface includes a multitude of alternates that can be accessed in any OpenType-enabled application. These stylish alternates along with a number of swashes as well as meticulously refined details with ball terminals and alternate titling caps keep the font well accessorized. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. While Ainslie wasn't selected as the final font in the Canberra competition, the outcome allowed for additional adjustments to the typeface. Several approaches were attempted for the final product including a technological hexagonal concept, which may still be developed to another form later. Some of the organic forms were removed and substituted with more abrupt endings, leaving the face looking pretty spiffy and a fair bit more legible. In the end, Ainslie was pulled back to the basic forms from which it was started. Give it a go for your next project. It’s guaranteed to be anything but a barbeque stopper.

Walter Tiemann’s Fichte-Fraktur, released by Klingspor in 1934, has come to life again. This font contains the traditional long s which can be accessed by either the OT feature historical alternatives or by typing [alt] + b. Two framing elements can be reached by typing [alt] + shift + p and [alt] + p respectively.

Introducing GGX89, the ultimate display typeface with a minimalist look that exudes Swiss-style sophistication. With its tight spacing and sleek lines, GGX89 is perfect for creating eye-catching headlines, logotypes, and titles that demand attention. Inspired by the iconic mid-20th-century sans-serif typefaces like Helvetica and Univers, GGX89 embodies the essence of Swiss graphic design, a style known for its simplicity, clarity, and precision. Its clean and straightforward design is sure to make any project look polished and professional. But GGX89 isn’t just all looks. It’s also incredibly versatile, making it a top choice for a wide range of design applications. Whether you’re creating marketing materials, advertising campaigns, or editorial designs, GGX89 has got you covered. And if you’re looking for a font that’s equally impressive for body text, look no further than GGX88. Together, these two typefaces offer a complete and cohesive design solution that will elevate your work to the next level. So why settle for anything less than the best? Choose GGX89 and GGX88 for your next design project and experience the timeless elegance of Swiss-style typography at its finest. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Deception—the sub-pixel typeface that’s about to blow your mind! With ten captivating effects, this font is a must-have for anyone looking to create unique and eye-catching designs. Deception Array is the perfect choice for modern architectural themes, with wide blocks reminiscent of a digital VU meter. Deception Bars gives your text a mesmerizing look, like it’s being viewed through lenticular glass. Deception Blocks approximates the heavy JPEG degradation and pixel sharpening glitch effects that are all the rage right now. Looking for something flashy and prestigious? Try Deception Diamonds with a glow effect. Deception Lines can produce a grayscale effect or banding depending on resolution and rendering type, so keep experimenting to see what works best for you. Deception Particles echoes the look of impact printers or laser-etched sell-by dates, giving your text a vintage feel. Deception Plusses radiates positivity with its energetic design. Deception Process simulates grayscale LCD text or a thermal printer on the fritz, perfect for creating a unique and edgy look. Deception Scanline duplicates the appearance of television picture tube text rendering, ideal for recreating a videogame or retro computing vibe. And if you’re feeling daring, Deception System smacks of 1-bit dithering gone completely haywire! Each style of Deception is available in Regular and Bold, with OpenType fractions, numeric ordinals, and plenty of currency symbols included. So what are you waiting for? Try out Deception today and take your designs to the next level! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Lindemann Sans is an immediately-inviting typeface with a pleasing distinct visual voice grounded by geometry and golden proportions. This modern geometric san serif typeface serves the interpretive needs of modern design through its legibility. This legibility is achieved through proportional balance of each letter based on the golden ratio, open counters, high x-height and wider individual shapes. In addition, a high level of legibility is arrived through distinctive glyphs like a, e, @, and f, which are engaging and add to Lindemann Sans visual voice. Being a modern, spirited, tech-savvy typeface, Lindemann Sans has many of the features demanded by today's designers. These features include 800 characters within each font, many ligatures, full numbers sets, small caps, alternative characters and other niceties found in opentype fonts. Due to Lindemann Sans high legibility, geometric sans tradition, and a large feature set list, it is a very versatile typeface and can be used in replacement of the more commonly used sans. Specifically, Lindemann Sans can be used by technology corporations, architectural firms in their supporting materials, in magazines as headers and key-points, as the typeface for professional keynotes, for the package design industry as a whole, in automotive concept projects, and for cosmetic branding for high class hair products. With its inviting nature it may also be used for liberal arts promotional materials. In addition, this typeface can be used by green industries because of its nature derived proportions. Each style and weight of Lindemann Sans adheres to the same geometric and golden proportions, however, each weight is innately noteworthy. For example, there is a charm that is found in the ultralight weight's elegant geometry and lights impressive use as oversized headlines. It shines with true clarity of vision with the book weight and the versatility of the medium. One cannot overlook the power and pacing of the bold and extra bold weights with its clear counters and restrained letter forms. Within Lindemann Sans family each weight has a distinctive role to play but stays true to its purpose.

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Andalucia is a calligraphic script font that comes with beautiful alternate characters. copper plate calligraphy mix with handlettering style. Designed to convey stylish elegance. Andalucia is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Andalucia features a glyph and alternate characters. including multiple language support. It features OpenType with styling, binding, and character strokes, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

Bringline Script is a calligraphic script font that comes with beautiful alternate characters. copper plate calligraphy mix with hand lettering style. Designed to convey stylish elegance. Bringline Script is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Bringline Script features a glyph and alternate characters. including multiple language support. It features OpenType with styling, binding, and character strokes, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

It all started with a simple idea back in 1998: do a digital version of a "lost" 70's typeface, and make up the missing letters that were not present in the only available example Jeff Levine had to work with. Jeff wasn't yet doing his own digital font creation, so he hooked up with Brad Nelson who owns a small foundry called Brain Eaters Fonts. Together, they collaborated on "Action Is"- a freeware font named after the source of the type example. This was a title page for a commemorative photo album of images from the 60's TV music show "Where the Action Is", formerly hosted by Jeff's employer at the time, singer-writer-producer Steve Alaimo. The free font took off like a rocket, being released just at the peak of the 60’s/70’s retro craze in the late 1990’s, and it was EVERYWHERE! It showed up on TV shows, packaging and web design -- and was even spotted on signage used on the side of a major amusement resort’s retro-themed hotel. From that point on, Jeff kept getting requests for a version with a lower case. Although they shared the copyright in the freeware version, Brad Nelson gave Jeff his blessing to re-work and take Action Is into the realm of commercial type. Newly improved and re-released as Groovy Happening JNL, it became one of Jeff's better selling type designs. A simplified, yet similar font was issued called Groovy Summer JNL. Now, after about a decade, Jeff had decided to clean up the 3-D (drop shadow) version that was originally freeware with many minute design flaws and re-release it commercially. Groovy 3D Caps JNL is an all-caps, limited character set font which ties in well with the previous releases, yet retains itís 1960s-1970s era charm. The font flag art is courtesy of Barbara D. Berney and is used by permission.

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

ReneFont is strong, heavy design which looks quite technical. Originally planned as a caps-only, Breil changed his mind and also drew the lower case alphabet.

Screter is a fresh Blackletter typeface with sharp edges that looks brave. Equipped with lots of ligatures and opentype features. Can be used for various purposes.

Motherboard JNL is a retro throwback to the technology boom of the 1980s and simulates an LED readout display panel. Available in regular and oblique styles.

This is what my good friend and painter Vincent’s handwriting looks like. I have put in a couple of ligatures and I hope you like it.

Friskily is a soft bold script font with a retro and simple vibe. It will look great on headlines, magazines, logos, branding and so much more!

Get that Disney look with this downloadable "Small World" font. It's ideal for journaling and titles for theme park scrapbooking or wording for other creative publications.

Handletter Signature is a gorgeous, elegant and unique handletter-based signature font with a modern look. Improve your design or make it as your own signature!

Pareson is stylish and beautiful sans serif font. It will look perfect in photography designs, watermarks, social media posts, advertisements, logos, branding, and various other projects.

This smooth, modern typeface named "Sweet & Fresh" has a trendy look with nice rounded shapes and multi-lingual support. Thank you and have a nice day!

A great font for crafters and scrapbookers. This font can be used to design and layout samplers, or to just create that Home Sweet Home look.

Bessington is a quirky rough uppercase display font, each character hand drawn using rich black ink on a soft paper giving it a beautifully ragged look.

Bronco Valley is designed with vintage style or you can say “American Rodeo” for classic look branding, logotype, poster design, t-shirt design, and much more.

Use LD Funky Scribble wherever you'd like to lighten the mood. It's handwritten look is so great for journaling, newsletters, etc. Have fun with Funky Scribble!