ITC Kendo is the work of British designer Phill Grimshaw, suggesting the dash and verve of quick, sketchy calligraphy, complete with splatters of ink. Grimshaw says he worked deliberately against his own habits to create the forms, drawing the letters with slow deliberation" and a pointed pen. He overloaded the pen with ink and drew on rough paper, "applying a lot of pressure at the beginning of a stroke and easing off towards the terminals. Accidental splashes occurred frequently owing to the nib catching the 'tooth' of the paper." Those splashes were refined into features which enhance but do not overwhelm the characters and carefully worked so as not to leave an obvious white strip of unsplattered space between lines and letters. The initial capitals can be used alone or combined with the lowercase alphabet, and the font includes a full set of f-ligatures and some extra ligatures as well as decorative elements."

ITC Johann Sparkling is the work of Austrian designer Viktor Solt, a perfect imitation of the handwriting of an educated person of the 18th century. ITC Johann Sparkling is intended to close the gap between highly formal copperplate scripts and the scribbled look of 'true' handwriting," says Solt. "I am not very interested in highly formal and perfect calligraphy, but rather in quick, personal-looking scripts. Usually I start with some historical samples in mind, but I do not try to copy these sources. Instead, I incorporate them into my own handwriting. It takes up to two weeks, and many sheet of paper, before the respective script becomes my own. Of course, this would not be an economic approach for individual lettering jobs, but I can conserve the custom script for future use by digitizing it." ITC Johann Sparkling should be used in fairly large point sizes and its capitals only as initials.

Style and Grace personified - say Child Momsky. This typeface has two main styles, Regular and Italic, that are designed to work elegantly in unison and apart. The serif has a boldy different ' f', which sets it apart from regular serifs.....as Child Momsky likes to stand out from the rest. A regular 'f' is included in its alternates, and a extra font style with a regular f is included for projects that require a more staid elegance. The Italic style is dreamy, sultry and light-footed - a perfect partner for the more serious serif. Use them together or apart for stylish, stand-out type designs and projects. For those of you who do not have access to Opentype Software, such as Canva Users, a separately available 'extra letters' font set will be available for purchase soon. Language Supported : Danish, English, French, German, German (Switzerland), Italian, Low German, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Swedish, Swiss German. Enjoy

First off, Slivowitz is written with a v (SlivoVitz), rather than a w, but I liked it better with a w. Slivowitz is a plum brandy from Eastern Europe. My father used to be an international truck driver and he often had to go to Eastern Europe. He took all kinds of ‘western’ goods with him to give away (plastic bags, beer, cigarettes - remember, Eastern Europe at the time was still communist!). He always came back with bottles of Slivowitz. I never tasted it, as I was too young, but I liked the name and I decided to name this font after a fond memory! Slivowitz is an easy-going handwritten script font - it looks good on fashion items, book covers and fancy magazines, but greeting cards will look just as great. Comes with a bunch of ligatures, alternates and a whole lotta diacritics!

Sticky Shoes was inspired by a sign at a local flea market. The artist behind the sign obviously didn’t care much about painting the letters “in the right way” - leaving a slobby and uneven impression. And what is wrong with that? Nothing, if you ask me. I tried my best to capture the charm and innocence behind that sign in Sticky Shoes. I even made the paint version go outside the outline in the Regular version! I added 6 different versions of each letter, and they automatically changes as you type. That goes for all 4 versions, and they even mix very nicely!

Grafista is an extrapolation on what fonts are used for: in spite of the possibility to use it for setting text, Grafista strives when used as a texture library, the same way that one would set up tiles. Thus, Grafista was built as two different things compiled in the same font: the letterforms (for setting text) and the texture library. Both of the sets are monospaced (with every glyph having the same width), but the letterforms are half of the texture tiles' width. On the tech side, the letterforms are 500/1000 UPMs, while the tiles are 1000/1000 UPMs.

Heartbright Handwritten Script Font Introducing the warm handwriting "Heartbright" Script Font! If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! What's Included: Uppercase and Lowercase Ligatures Number and Punctuation Support Language All above mentioned available in ( OTF ) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

MILLESTONES Brush Font Introducing "MILLESTONES" Brush Font! If you are needing a touch of horror sensation for your designs, this font was created for you! What's Included: All Set Character in Uppercase & Lowercase style Number and Punctuation Support Language Ligatures All above mentioned available in (OTF) This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

Withyou so warm and beautiful handwriting Introducing the warm handwriting "Withyou" Script Font! If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! What's Included: Uppercase and Lowercase Ligatures Number and Punctuation Support Language This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw More Questions? Here are some (potential) answers! Do not to resell this font in any way. Multilingual Support is included for Western European Languages Cheers!

The GateKeeper typeface was inspired by old horror movies, and the various poster typography that went with some of them. A loose and pointy typestyle, GateKeeper embodies the dark side of typography and life, with a creepy and on edge feeling. With large and small capitals, it is easy to exchange cases in events of double characters, which can lend for a very interesting offbeat quality. Usable for any ocassion, but most suitable for dark matter. Learn about the GateKeeper, study his methods, and pass his test. Get the GateKeeper typeface today, and you are on your way!

Wirey is an uppercase hand drawn font inspired by bent copper wires. It is designed for headers, titles and posters where fonts need to be big and unique. Wirey is styled in a way that looks hand drawn but also keeps a simple, professional element within it.

Kurye, is an extremely elegant and emotional font. You can choose its large family for your magazine, brochure, catalog designs, furniture and architectural presentations. In this way, you can add a more aesthetic and unique atmosphere to your designs. Kurye, ligatures, alternative glpyhs and multilingual support.

This is a playful collection of 135 diagrams based on letterforms from different styles. You can use this symbols as bullets, ornaments, but also to make your own mandala-like exercises and release some stress out! Nimbo, by the way, is the word for "halo" in spanish.

Think smart. Think regal. Think SteamCourt, a new font designed specifically for the card game SteamCourt. A bit of background if you will: In early 2014, some friends from my college days banded together to form their own game company. Their first launch? A current Kickstarter they named SteamCourt. I love Kickstarter. It’s a fantastic platform, a great way for individuals to introduce the public to their visions. I've started a couple of them myself--both including fonts designed specifically for the projects. The first is Chatype, a font created exclusively for the city of Chattanooga. The second: Cabrito, a font developed as part of the children’s typeface book, The Clothes Letters Wear. It’s wonderful to work with so many others who come alongside to help you vision become reality. Naturally, hearing of my friends' project, I contacted them about adding a new face to their venture as well. I gave them carte blanche. They wanted steampunk. It was a great challenge, the result of which is now SteamCourt, an unforgettable display typeface that draws from the mix of Victorian regals, metallic and brass engineering, cogs, clocks and blackletter typography. It evokes a time of skillfully forged metalwork and an era of intrigue and excitement, filled with audacious feats of engineering and innovation and the perilous journeys of the airship. While influenced by the era of blackletter, SteamCourt is an unmistakable departure from the style of two centuries past, yet it still shines in its given display roles with a distinct regal twist. The serifs are asymmetrical, yet the characters are all specially and delicately balanced. It’s an eye-catching alternative to blackletter with modern steampunk touches. The game’s signature typeface has sizeable language support on top of 90 alternate characters as well. In addition to a generous number contextual alternates, SteamCourt features stylistic alternates that allow for buyers to customize its visual appearance for their preferences, helping to make it a superior option for packaging, branding and enormous typesetting logotypes as well as shorter textual content. Check out the game, but grab the font, too, to be a part of that crib created as a companion for the new game in court. It'll be the ace up your sleeve for many rounds of design ahead.

Say hello to new serif font, Starllet! Starllet is a Luxury serif font. Create luxury, gorgeous headlines and elegant designs with a vintage flair. George's contrasting lines and curved terminals give a sleek, elegant look to logos, holiday cards, wedding invitations, quotes, advertisements, and more. Starllet has full set of modern uppercase and lowercase letters, numerals, punctuation, also multilingual symbols. It included opentype features like ligature, alternate and many others. Here's what you get: Starlet Regular Starlet Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Thank you!

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

YD Gothic 700 is a modern sans serif typeface consisting of 9 weights. It supports up to 13 different languages such as English in Latin and other scripts

A simple, elegant semiscript…enough said. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Holly Groove is a sans serif font with beautifull swashes, masterfully designed to become a true favorite. It maintains its classy calligraphic influences while feeling modern and fresh.

Rounded Block Display is a blocky san serif font perfect for headlines. Its clean facade and easy readability make this a great font to get your message across.

Gorus is a variable width sans serif type family that's been created to give a powerful but flexible tool to create strong headlines, posters, logos, and display text with tight spacing and maximum space coverage. A contemporary geometric family in 15 styles brings a modern and strong impression to your design.

A modern square sans serif that dares to be different. There's a tech-spacey air to Quiron, it will suit all modern display needs. It's low contrast and minimalist nature grants its design an avant-garde look & feel, ready to be part of sophisticated packaging or galactic exploration video game title.

Experimental Font designed to be used as a Display Typeface. Modern Gothic Family is inspired by Old Black Letter and Sans Serif Fonts. Its strokes have High Contrast. It has no ornaments to be readable in small sizes too. If you seek exclusive design, this font is perfect to create it.

The first Clarendon was introduced in 1845 by R Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual. Clarendon is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.

Martian Grotesk is a large typeface family originally designed for the screen which consists of a variable font with 2 axes of variation and 63 styles: Condensed to Ultra Wide, Thin to Ultra Black. Aesthetics The font style is characterized by some brutality and assertiveness. Overhanging terminals, a closed aperture, and an almost complete lack of contrast lead to this effect. Additionally, some elements of the letters are especially enlarged. This font gives any text the impression of being a “signature” style. Nevertheless, we still maintain the golden mean between its rebellious nature and readability. Perfect for web development We created Martian Grotesk for the web and digital project world. When laying out web pages, frontend developers are constantly faced with the fact that uneven metrics do not allow text to be evenly placed on some design element, for example, on a button. Instead, they have to compensate in some way, like making the top padding smaller and the bottom padding larger in CSS. This little deal really hurts. Also, if your project adheres to design system principles, you might be unable to stand a lack of systematic approach when working with fonts. We researched and calculated vertical metrics and set them up in a way that guarantees equal space above the cap height and under the baseline. This enables the text labels to be evenly placed on buttons, inputs, lists, and forms. In addition, we found a proper ratio of the letter heights, so, with commonly used font sizes—10, 15, and 20 pixels—the glyph heights stick to the pixel grid. As a result, the letter shapes become sharper, which reduces the load on the reader's eyes and simply looks much better. The typeface also comes equipped with OpenType and TrueType hinting, and Martian Grotesk appears legible on most platforms, even when being rendered in small sizes. When coupled together, all the above features make Martian Grotesk a reasonable choice for any user interface design. Roadmap Martian Grotesk right now is a work-in-progress product. The font is completely ready for professional use, however, many great features are still ahead! For example, support for Extended Cyrillic characters, and italics. Pricing Purchasing an early version of the font presents the opportunity to get it at a very attractive price! That’s because with every new version, costs will go up to reflect the additional value that comes with every release. But after purchasing Martian Grotesk, all its future updates are included for free!

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. 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 too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. 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.

Choriza is a multilayered font and a kind of spicy spanish sausage. With three layers you can colour any salami, salchichen, sausage, wurst or pudding. Chorizo also means burglar in spanish, so it's some sort of typographical joke about the today's spanish politicians. It comes with Choriza Sans, with its cutted ends to make a sans serif version.

Styla is a refined romantic sans, in the best tradition of Didot and Bodoni. The combination between Styla’s feminine grace and sharp endings creates an air of seduction, ideal for magazines, ads and books on fashion, fine arts, philosophy, luxury goods, women and love. A typographic jewel, Styla brings romantic sensuality and refinement to the world of sans-serifs.

Aprex Mono is a Mono spaced stylized industrial version of the Aprex Sans typeface, with multilingual support. The font is inspired by a basic sans serif glyphs structure, concerning the balance and optimization that bring a clean typeface, versatile for both display and body text use ideal for adding a touch of style to your creations and layouts!​​​​​​​

Rust Twist is a font duo signature and sans display. Signature includes more than 145 ligatures to make everything look natural handmade signature and sans display come out with a lot alternative and ligature so you can be much creative with your designs. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Hope you enjoy it.

Dovens is our newest family of san serif fonts. This evolutionary typeface was created to bring luxury and a unique feel to your designs. The collection includes 18 different styles, making them perfect for a variety of projects. This font provides unique anatomy for optimizing beauty and personality – including titles, text, large paragraphs, logos, posters, and more. Dovens has everything you need to create stunning graphics – and more importantly – leave a lasting impression on your audience. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Proudly Introducing ‘Royal Tropic‘ – An expressive, quick dry stroke, signature style brush script font. With multilingual support, ligatures, and an extra slanted style. Royal Tropic is great for when you want to grab attention, especially within print design; Packaging, branding, posters, book cover design, etc. The goal was to create a fast-flowing, legible script font with enough personality to take center stage and shine, and I think the end result has delivered exactly that! TIP: Through trial and error, I feel Royal Tropic works best with clean serif/sans-serif fonts. Any other 'handwritten' fonts can disturb the rough/clean contrast, taking with it some of the impact of your design.

Eina was designed as a corporate typeface for the design school “EINA, University Centre of Design and Art.” It’s not just a font to be used — Eina embodies an educational concept that transcends simple typographical use. Eina is a typeface to be explained and used to teach typography. The whole process of design and development is reflected in the publication “Four nuances of a typographical standard: A typeface for EINA.” Eina is a versatile and multipurpose sans-serif typeface, consisting of 32 original styles, organized into four categories: rational, humanist, geometric & industrial. Each category contains four weights with their corresponding italics. You can purchase the full family, each individual weights, or four packages with each categories.

Quadon was designed to fill the gap between traditional serifs and the lasting trend of using sans serif fonts for contemporary design. The result is a modern, clear and infinitely flexible interpretation of slab serif fonts. The open shapes and a large x-height keep the font legible in small sizes while the short descender supports the compact heart and strength of a slab serif. Quadon has a wide range of typographic features and alternative glyphs to create your own and unique version of it. It comes in nine different weights with matching italics. From the sensitive but sharp thinner weights to the punchy and powerful heavy weights, Quadon is well-suited for a wide range of versatile tasks.

Zeta was developed by Roy Cole, the British typographer and book designer. It is his second typeface family, completed in 2006, and comprises six fonts. As with his other typeface families - Lina, Colophon and Coleface - Zeta is a sans-serif typeface, particularly notable for its fluidity and strong legibility. Whilst the proportions of Zeta are derived from classical models, the letter forms themselves are totally modern in concept. For example, when used for blocks of text little line spacing is needed to achieve good readability. Zeta is conceived as an easy reading typeface presenting an up-to-date impression wherever it is utilized. Due to its origins it really comes into its own when used for book design.

First of all, let me get one thing straight: With Janky Action, I didn’t make any attempt on making a beautiful or good looking font! Janky Action is my humble attempt to recreate a sign I saw at a flea market. The sign was obviously made by someone who didn’t give a darn about the width of strokes, height of letters, and other “rules” when making a sign. I fell in love with the naive approach on how to make a sign. In order to create some randomness, I have added 4 different versions of each lowercase letter. I hope you find this font as enjoyable as I did while making it! :)