Intensiva font family has been designed for Graviton Font Foundry by Pablo Balcells in 2019. It is a slightly condensed, humanistic sans serif typeface with angular details and shortened endings that provide an unorthodox appearance. Despite of this particular features, it is suitable for any kind of project, text length, size and, due to it subtle condensation, it is particularly effective for space economizing. Intensiva consists of 8 styles, each containing small caps and glyph coverage for several languages.

A neogrotesque with a distinct mid-century feel. Shapiro’s multi-axis Variable Font comprises of 8 text weights, from Light to Black. Three additional sizes, “Headline”, “Display” and “Max” supply another 8 weights that are spaced for larger applications. To top off the package, 8 Wide styles are ready for that extra punch. Choose Shapiro for any job that calls for a restrained but confident voice. Give your design that professional look in the blink of an eye.

Introducing our latest product, The Flourish, is a flourished calligraphy font. Alternates of every letter makes any design projects so perfect. The Flourish is very beautiful for many design projects such as product brand, quotes, clothes, business card, wedding invitation, signature, logos, lettering, etc. Various kinds of alternate characters that will surely enhance every design projects. Please enjoy this font ! Thanks for visiting and downloading my font. Any question? don't hesitate to send us an email. Thank You

Manifestor is designed to be an urban culture typeface, it can effortlessly fit, blend and be in very situation at any time without taking up too much attention. It has a clean san-serif structure and proportion, kind to the eyes when set in texts while also look reliable when use in big scale. Manifestor has the simple - easy - comfortable feature, therefore it is a type appropriate for a very wide range of occasion. Manifestor also comes in Variable!

GAZELLA Displays Fonts. This font has a unique and bold typeface, making it suitable for unique design themes. The unique binding of the serifs makes this typeface cool and stands out from the usual serif fonts, perfect for headlines, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signs or gift/post cards, cafes and weddings or any kind of advertising purposes. GAZELLA comes with uppercase, lowercase, Numbers, Punctuation, Ligatures and also Multi Language Support.

Bakewell is the 4th typeface of the Winslow Type System. It's a low contrast sans-serif with ball terminals and a sweet disposition. The typeface includes a wide range of styles, widths and weights that make it a great addition to any type collection. From Narrow to Wide and Hairline to Bold, the font family offers extended optionality. Packed with Opentype Features, users can create one-of-a-kind designs perfectly tailored to their specific needs!

Introducing Boxtoon, a lively comic font with a bold, modern-retro twist. Bursting with fun, it seamlessly blends the nostalgia of classic cartoons with a contemporary edge. Boasting 16 versatile styles, this multilingual marvel supports Cyrillic characters. Perfect for dynamic displays, comics, posters, book covers, and playful designs like t-shirts, games, and digital crafts. Embrace the whimsical charm that Boxtoon brings to kid's books and beyond—an all-in-one font for your creative adventures! **Uppercase

California Sans designed as a beautiful easy reading text face also works great in Headlines. It also has a matching drawn Italic which makes a great combination for all your needs. Even as a stand alone Italic font it works in so many designs.

Decorative three-dimensional display font with cap and lowercase. Originally designed for a shoe company. Works with colors, gradients and filters. Cullens Shoes was designed for all media and works best at 30 point and above. Cullens Shoes requires subjective display kerning and compensation.

This was a patented design, so we know who designed it and when. August Will was a type cutter who sold his work to a number of foundries. We worked over this design to open up the space between the strokes to accompdate smaller sizes.

Hayfork JNL is based on a vintage wood type sanserif typeface from the 1880's. A font of similar design is Eckhardt Poster Display, which was modeled from a 1920's sign painter's handbook; no doubt getting its inspiration from this wood type's design.

Digby is friendly, honest and active. Digby family includes twelve hand-drawn fonts. They work well together, in fact Digby Line Thin fits nicely over Digby Regular. All have a generous set of double letter ligatures and are designed to work great as all-caps.

This font is a collection of ornaments related to Halloween, There are a variety of cobwebs, dead trees, witch’s brooms and skulls. Combines well with: PR Bramble Wood 1, PR Bramble Wood 2, PR Hallow Doodles 01, PR Cauldron, PR Swirlies 01, PR Swirlies 05

A casual, unconnected script face. A brush script designed after my younger days as a sign painter, suitable for work requiring immediate attention most often seen on packaging and supermarkets. Works equally well for captions, invitations, cards, posters, ads, greeting cards & book jackets among others.

Maracay is a tropical typeface that works for texts or headlines, mainly as a display font and designed to work in layers of overlapping texts. Maracay is a unique design with nine fonts based creating a particular style of design and the combination of a couple different looks can be obtained eighteen. Thanks to the versatility of coloring matter, together form a coherent and attractive ideal for a variety of different projects such as invitations, menus, magazines, brochures, packaging, design, etc. Maracay provides alternate characters, swash, ligatures, icons, ordinals and fractions. Maracay has 4 shape styles : Regular Maracay base as essential as Tooled variations of brightness or wood with the appearance of a WoodType vintage wooden texture . Inner font as serves as Light or inner contour of the foregoing. Follow three fonts contouring as Outline, Shape and Umbra as a 3D projection. For decorative purposes Shape that there is a textured lines or Half as a split in the top half letter. Maracay has been carefully studied to provide the best combinations of the most of pairs and trios of glyphos avoiding undesirable extensions between ornate characters through its Opentype programming.

Stray might be the lonesome cowboy in this big odd world, but it's his just public façade. Stray is handsome player that works well with any team or in any environment. He doesn't have a horse, but he can be the one, he can carry any weight. OK, let's talk serious now: Stray is distinctive geometric sans serif family in 9 weights and matching Italics. By it's design, Stray flirts with humanistic typefaces in some elements, while on the other side, we can see vintage letter forms as well. It is well balanced typeface, fully legible in any (reasonable) size, with power to present versatile tasks and situations. Specific joining of letter stem and bowl is one of design characteristics of Stray, so it is not just another geometric sans family, it really differs in it's own details. Contains extended Latin character map support and Cyrillic (no localizations, sorry). As any serious working horse family, it is equipped with decent OpenType features like Small Caps (for basic Latin only), Fractions, Tabular Figures, Denominator, Numerator, Ordinals and Ligatures. It also comes with small interesting set of dingbats. This Stray is not homeless, he just looks for the proper job :-)

Chikita greets you with big, happy eyes, and all the energy in the world. She wants to skip the talking and get to the dance floor, where she owns the beat and sways like a tongue of fire. She doesn't settle for anything less than everyone in the room fixating on her, and every pair of eyes is indeed happy to oblige. Being both the noumenon and phenomenon of the party, she remains in your mind long after closing time. And you just know the next time you see her your heart will skip a beat and a welcome wave of contentedness will wash over you. The Chikita design is rooted in the work of 1930s Dutch lettering artist Martin Meÿer, whose little-known work concerned itself with the beauty of letters mostly as individual forms, rather than part of a flowing alphabet. Chikita was reconceptualized to strike a great balance between singular and flowing beauties, resulting in a cheerful and very memorable expression. Chikita is available in all popular font formats, and the character sets cover a wide range of codepages, including Central and Eastern European languages, Esperanto, Turkish, Baltic, Celtic/Welsh and Vietnamese.

I am thrilled to unveil my latest creation, the Elio & Oliver font family. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement. Named after the main protagonists of the beloved novel "Call Me by Your Name," Elio & Oliver is a testament to the power of passion, beauty, and the transcendent experiences that shape our lives. Just like their story, this font aims to evoke emotions and create a lasting impression. With nine meticulously crafted weights ranging from the delicate Ultra Light to the bold intensity of Black, Elio & Oliver offers a spectrum of possibilities. Each weight is thoughtfully designed to ensure versatility and harmonious visual aesthetics across various design projects. Intricate and purposeful, the font pack boasts over 30 ligatures that seamlessly combine letters, elevating the fluidity and legibility of your typography. These ligatures add an extra touch of sophistication to your designs, making them truly stand out. Recognizing the importance of language diversity, Elio & Oliver is equipped with full language support, enabling you to effortlessly communicate your message to a global audience. From English to Italian, French to Spanish, and beyond, this font embraces the richness and cultural nuances of different languages. Whether you're working on editorial layouts, branding projects, or digital interfaces, Elio & Oliver will infuse your designs with an air of refined elegance. It is the embodiment of style and grace, effortlessly capturing attention and leaving a lasting impression on viewers. Step into the world of Elio & Oliver, where every letter tells a story and every curve is a testament to the power of design. It's time to elevate your creative projects and evoke the spirit of Italian chicness with this exquisite typeface. Discover Elio & Oliver and let your designs speak the language of timeless elegance. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Elio & Oliver - Elegant Sans Serif Includes: Elio & Oliver Font Family - 9 Font Weights - From Ultra Light to Black Elio & Oliver Variable Font Over 30 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Introducing Angostura—the sans-serif typeface that’s set to revolutionize your designs! Drawing inspiration from the bold and beautiful American sign lettering of the 40s and 50s, Angostura is a truly unique typeface that’s sure to turn heads. With low crossbars that harken back to the industrial deco signage of yesteryear, and monocular “a” and “g” that pay homage to the mid-century Futura craze, this font is a true original. But that’s not all; Angostura comes in a range of styles, from Ultra-Light to Bold and everything in between, making it a versatile choice for any project. And if you really want to take things to the next level, be sure to check out the spray-paint, wood grain, and stencil variants—these special editions use ligatures to create bespoke letter pairs that add an extra layer of realism and authenticity to your work. So, why choose Angostura? Simple—this typeface is full of character and individuality, allowing you to convey your message in a tone that’s both distinct and memorable. Whether you’re working on a branding project, a website redesign, or a print campaign, Angostura is the typeface that’s sure to take your designs to the next level. So, what are you waiting for? Try it out today and see the difference for yourself! Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A 1930s WPA (Works Projects Administration) poster advertising a play entitled “Abraham Lincoln, The Great Commoner” had the play’s name done in a hand-lettered Art Deco sans. This is the basis for Art Project JNL. According to Wikipedia, “the Works Progress Administration (renamed in 1939 as the Work Projects Administration; WPA) was the largest and most ambitious American New Deal agency, employing millions of unemployed people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads. In a much smaller but more famous project, Federal Project Number One, the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects.”

HWT Brylski is a typeface by Nick Sherman, named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. This font is the digital counterpart to the wood type made as part of the Hamilton Legacy Project . It incorporates several themes that were common in 19th-century type design, including split tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne, regardless of any actual relation to those countries), and an extended overall width. This digital version contains over 400 glyphs for full European language coverage.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

Based on custom design work by DTP Types Limited in 1992.

Based on custom design work by DTP Types Limited in 1992.

Based on custom design work by DTP Types Limited in 1992.

A vintage Wells wood type was the basis for Stablehand JNL.

Based on custom design work by DTP Types Limited in 1999.

Based on custom design work by DTP Types Limited in 1992.

Based on custom design work by DTP Types Limited in 1992.

Based on custom design work by DTP Types Limited in 1992.

a well crafted font inspired in classic wood type fonts heritage

Based on custom design work by DTP Types Limited in 1999.

inspired in classic wood type heritage fonts from old America's foundryes

Based on custom design work by DTP Types Limited in 1990.

Based on custom design work by DTP Types Limited in 1990.

digitization of an incunabel times typeface, an historic work of revival

The common Slavic word Osnova means basis in English. This universal but still distinctive typeface can make a good foundation for any design project. There is the main Osnova version and separated faces Osnova Alt, Osnova Fancy and Osnova Small Caps for Western Latin, Greek and Cyrillic languages.

Introducing by Timur type Proudly Present, Southwood Southwood A Handwritten Script Font Southwood is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Southwood also multilingual support. Embelish your designs with our original fonts.Enjoy the font,Thank you!

Proudly Present, Stalshine Stalshine is a Handwritten Font Stalshine is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Stalshine also has multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email.

Proudly presented by Timur Type: Dimetone – A handwritten script font Dimetone is perfect for product packaging, branding projects, magazine, social media, wedding invitations, or just used to express words above the background. Dimetone has multilingual support. Embellish your designs with our original fonts. Enjoy the font, thank you!