Linotype CoolWool is part of the Take Type Library, featuring winners of Linotype’s International Digital Type Design Contest. This font was designed by A. Leonardi and P. Wollein, who took their inspiration from clothing labels and care instructions. CoolWool is designed to look like it was stitched, a style of typeface which goes back to the hand embroidery of the time of Biedermeier. CoolWool, however, is a distinctly modern font with a technical feel. The font is not suited for longer texts, but CoolWool is good for shorter texts and headlines, especially because of the possibilities allowed by its three different styles, regular, stone washed (bold) and Cotton Club (outline).

Bo Berndal's handwriting was terrible in his younger days, and he could not even read his own notes. When he started out as an apprentice in a printing shop, he started to copy Garamond italic and formed his own style of writing. Later he was inspired by both Alfred Fairbanks and his reform-writing and by Paul Standard in the U.S.A and created the Boscribe font.

Weights and Measures is a great title font that is simple and elegant. It is bold without being overpowering. This style was a favorite for me as I made posters for school projects, wrote notes to friends, and made decorative labels. This font fully supports the following languages: Bulgarian, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Portuguese, Russian, Spanish, Swedish. If your language is not listed, or if I've missed a character in a language I claim to support, please contact me! I will be happy to add characters as needed, and will consider supporting more languages if there is interest.

This font is one of the most used broken letter fonts today. Fette Fraktur is used to invoke a nostalgic or rustic feeling and found often on restaurants with hearty homemade food’ or breweries who use the good old recipes’ of the founder. The font was designed in the 19th century and from the beginning intended as an advertisement typeface. The lower case letters have a gothic character with only the ornamental flourishes making them broken letters, while the capital letters are more characteristic of broken letter typefaces. One could say Fette Fraktur is a true mix of styles, not unusual for typefaces created at the turn of the 19th century.

Nattyla Script is a modern calligraphic font in a current handwriting style. This font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more: you can try first if you want to buy this font. Nattyla Script is equipped with 328 glyphs. By having so many glyphs you will be able to choose the letters according to your likes and needs. There are lots of variations and options for each letter, so you can customize your design choices. You need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw or other programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). If you have any question, do not hesitate to contact me by email mightype89@gmail.com Thanks and happy designing, and thank you for choosing "Nattyla"!

Newsreel Caps JNL is a novelty caps-only outline letter with cast shadow set inside film frames. Although the design idea itself is not new, this version is based on lettering from a vintage piece of sheet music for a song featured in the movie "Fox Movietone Follies". The font is a wink and nod to Fox's long-running newsreel series called "Fox Movietone News". The upper case keys have black letters on a white frame, while the lower case keys have white letters on a black frame. A blank white frame is on the period key; a blank black frame is on the comma key. Use this font for individual initials, set the characters loose for effect or set them tight (as provided) for a continuous film strip.

Sometimes you need a lot of text, and that text needs a little bit extra something. Something sweet for the eye, but still legible and not too funky. Maybe that's where Kids Rule comes in. It's a bouncy, but super-legible handmade comic font. It has a lot of attitude, and I have added 5 different versions of each letter!

Malbeck is a script which is both as elegant as it is unique. Very playful typographic treatments can be produced using the large selection of alternate characters. This 2007 version of Malbeck is now available in OpenType format to expand possibilities of use with lots of alternates when used with OpenType-aware applications such as InDesign. Designed by Koziupa and digitized by Ale Paul.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

Grandezza Xtra is the standalone version of my most elaborate script. It is the script for many countries, good for Basic Latin, Latin Eastern Europe, Turkish, Baltic. I first designed 5 different sets and now this Xtra version which has a second set of capitals in the place of the smallcaps. This Xtra set is sufficient for most design jobs. If you need more you can always buy the standard Grandezza 5-font set for the reduced price. -Your script designer, Gert Wiescher

Lilypaly is a modern and elegant font with a lot of stylistic alternates for your beautiful project. I made this font carefully so that each letter could be connected well and elegantly either using alternate or not. Lilypaly includes start and ending swash, and middle swash for some letters, this is very easy to use. Lilypaly is perfect for many different project such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything.

Retro style is hip, so are early 20th century poster fonts. Size is based on these extra condensed letter forms. In the 19th century the need to communicate commercial messages on limited poster space brought up extremely condensed fonts creating a new typographical look. Since not really legible in small sizes these fonts nearly disappeared with the change in the commercial communication in the 20th century. For a couple of years now, these extra condensed fonts have a revival copying the exact historical appearance of its predecessors. Size, though also seeking the inspiration in the historical draft, furthermore aims to interpret this compressed look in a more vivid way by not closing in on the open counters of the round letters, but having its stroke endings slightly curved. Since other characters are defined by straight strokes, Size displays a look more vital and candid, but still distinct, compared to its historical predecessors.

Robert Hunster Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Robert Hunster Script is equipped with 369 glyphs. and by having many of these glyphs there will be able to choose the letters according to your liking, lots of variations and options for each letter, so you can customize on your design choices. With pleasure and happiness, in this font package you will get: - Robert Hunster Script OTF To use a variety of letters, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) If you have any question, do not hesitate to contact me by email mightype89@gmail.com Thanks and happy designing :-)

Friendly is an homage to Morris Fuller Benton's adorable Announcement typeface. It is not a strict interpretation, digital revival or reverent reproduction of the original letterforms… but I would be remiss and shady to not acknowledge the letterforms that inspired this typeface. If you are looking for a more accurate 'scanned revival' I would recommend searching "Announcement" on MyFonts. As stated earlier, it is an homage to the original letterforms of the typeface but takes a great bit of freedom tightening the construction up in order to loosen up the movement of the variant letterforms to allow a great deal of usable personality. I enjoy stating this dichotomy… "loosen up to tighten up the forms" and vice versa. It seems counterintuitive or silly but by allowing the letterforms to normalize, I felt more comfortable going back and adding rather indulgent personality. Infused with stylistic alternates, swashes, titling, many many contextual alternates, 9 stylistic sets and 2 stylistic sets with wordmarks, the typeface became far more 'friendly' for me… how could it not? With so many loops, swashes and typographic indulgences, it was bound to be fun. The more elaborate and 'overdone' Friendly got, the more I wanted to slant it. Here's where my thinking differs from MFB's original. I like slanted romans… especially ones with long ascenders, but I do not like much of a slant. It has to be the lettering person in me. It's hard for me to do a completely upright serif and not pair it with an angle, but I did not feel Announcement's 'Italic' offered much and the actual slant needed to be far less. If it's not an italic, I prefer the letters to slant with an angle equivalent to the thickness of the vertical stroke. The Slanted version of Friendly is set at 3.6 degrees, is quite subtle, and very fitting for me. You will find that most characters have a contextual, stylistic, swash and titling alternate assigned to them and some have an echoed alternate to the swash and titling options if the stylistic alt has been selected in tandem. Additionally, all of these are accessible in the glyph palette directly from the base glyph typed or through selecting options through the Stylistic Sets 1–9. Stylistic Sets 10 & 11 are a little different. They are actually configured as complex majuscule ligatures… a result of me getting carried away. Other features like a default old style numeral set and coordinating glyphs have been produced along with case support, ordinals, and more have been added to make it more relevant for contemporary use.

Linotype Contacta is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. Ralf Weissmantel designed this font to display no stroke contrast at all. Instead of using conventional letter forms, Contacta is a more designed-oriented font, with some characters recognizable only in context, not necessarily at first glance. The technical, unconventional forms look almost like a maze, especially when set together. This font is not suitable for text but makes a unique impression in logos and headlines.

Monem is the word for the smallest significance-carrying part of a language. I thought that was a good name for a clean, straightforward Sans typeface. Monem is very sturdy and usable for lots of occasions. I am using this font myself for those of my clients that want to convey a clean unobtrusive image. Your very restrained Gert Wiescher

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

OLDASH is a bold, all-caps serif font, perfect for motorcycle and vintage-related designs. A fairly simple font with not much variation from the serifs of the past. With only a thick feature and the hook is a little fat. This font is also suitable for headlines or short texts not for paragraphs. This font is also suitable for modern designs. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

BOUNESVA is a bold, all-caps serif font, perfect for motorcycle and vintage-related designs. A fairly simple font with not much variation from the serifs of the past. With only a thick feature and the hook is a little fat. This font is also suitable for headlines or short texts not for paragraphs. In addition to vintage motorcycle designs, this font is also suitable for modern designs. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

Toms Finger Family fonts is a hand drawn sans serif series containing Regular weight (Toms Finger), Bold weight (Toms Thumb), and Light weight (Toms Pinky). Drawn entirely using his finger tip on a tablet Tom created this font to be user-friendly for Notes, Signs, Posters, Ads, Captions or anything where the writer wants to convey a casual, non invasive voice in the copy. Toms Finger Family is legible in a wide range of sizes in all weights.

I wouldn't recommend that you use this font for massive text, or text written in CAPS ... but then again, go ahead and try - I even kerned all the capital letters ... just in case that you would do something so crazy! :) Dynamique is a kind of a "straight out of the highway" grid-font. But then again, not ... if you use the lowercase alone, you have this almost monospaced font - try starting every word with a capital letter, and let it end with the alternate ligature, your words suddenly got even more power! If you want to go lightspeed - then use the same technique, but only with the italic version!

Black History is a handwriting script font to express personal, artistic nuances and is made in brush designs to produce casual and natural displays. The thick letter weight will show bolder impressions and emphasize the desired elements in the design. Combination of low contrasts, when the bright and the dark parts of the letters are not very significant, will create smooth effects. Unlike the other handwriting fonts, Black History’s letters are not always interconnected to each other. Furthermore, you can apply this font for big text sizes to be greatly legible and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Black History fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Alkalis: Modernity Meets Elegance Meet Alkalis – Modern Elegant Serif, where modern meets timeless. This serif offers the perfect contrast for versatility. It’s crafted for both text and display needs. Alkalis brings a touch of elegance to any project. Balanced Contrast With Alkalis, experience the ideal balance in font design. The contrast is just right, not too sharp, not too soft. This balance makes it perfect for an array of uses. Plus, it’s designed to be as fitting for body text as it is for headers.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

I first wanted to call this family Crowbone, after Olaf Tryggvason, the legendary Viking king from Norway. Somehow I changed my mind and went for Crowfeather, because this is not a Viking font and the name ‘felt’ better. Crowfeather is a family of two distinct fonts: a classic Serif and an old school script font. They work really well together!

Doretypo was born accidentally, during the design of a poster for a jazz festival in Rome. I was going to realize a typesetting, but I could not find the right character and decided to draw the letters I needed, starting from the first letter of the headline, capital M. I was looking for a lettering able to evoke musical notes, where each letter could be linked to the following one, to the previous one, to the largest at the top and the smallest at the bottom. From this idea doretypo came to life gradually. In the beginning there were a few medium capital letters with very few glyphs, but given the good results I decided to decline in light and bold, integrating minuscule letters, for a whole of 374 glyphs. Today doretypo OpenType is a family of fonts with three weights, 374 glyphs, supporting about 57 languages, ligatures standard, plus a new “NY”. Moreover, each glyph can be used individually to create textures and graphic symbols.

Lower-case lettering is so-called because the characters that we know as lower-case were once kept in the bottom, shallow drawers of a type compositor's typecase. Not a lot of people know that, and we suspect superstar artist and FAIRYTALE FANTASIES Calendar creator, J Scott Campbell doesn't either because even though we looked high and low, in every single one of his drawers, we still could not find a single example of Scott EVER writing in lower case, but we begged him, we pleaded with him and, eventually we HYPNOTIZED him, and here's the font you'll find in J. SCOTT TIME CAPSULE from Image Comics! You're welcome. See the families related to J Scott Campbell Lower: J Scott Campbell & J Scott Campbell Sketchbook.

Alga is a high contrast modern typeface with a contemporary look. It has subtle details that make it appealing for big sizes and headlines. It is a lively and charming serif typeface with lots of fancy curves. It is a serif typeface that will shine in headlines and short pieces of text. It also works in smaller sizes, but it is not for the tiny text sizes. Alga started from an exploration of the thinner weight with this idea of a tall and elegant serif typeface with low contrast. Then it evolved to be a high contrast font in the bold weight. But always keeping its style and personality.

Mixed designs of Futura and Bodoni (Fudonis) are quite popular. Apart from being contemporary, such fonts provide excellent readability. However, most of the existing 'mixtures' were not good enough in terms of balance for P. Kraft. He was finally inspired by a noticeable 'mixture' in a Japanese fashion magazine. His intention was not to combine two existing fonts but to design a completely new typeface: Bohemian - named after the well-known Japanese fashion style in Shibuya/Tokyo - the Bohemian Style.Bohemian and Parametra can be mixed perfectly since their proportions and dimensions are the same.Bohemian was designed for the URW++ FontForum.

'HU Retroround KR' is a font that captures the feel of the retro typefaces used on signboards during Korea's modernization era. This font has a variable function, allowing users to fine-tune the thickness they want. (Available only in Adobe programs.) Six basic weights are provided so that they can be used even in programs that do not apply the variable function. This font includes Hangul, Korean.

Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see Dazzle Unicase for a range of undecorated weights.

Negen is the dutch word for the number nine. This big and bold font is based on a 9 connected squares, hence the name negen. The squares not used in the characters are left in place so there is almost no space in between.