ITC Ronda, with its constructed forms, was designed by Herb Lubalin in 1970. Behind its figures lie the clear geometric forms of the circle, triangle, and rectangle. The typeface presents a clear, modern look in any application. Distinguishing characteristics are the shapes of the upper right third of the capital B, P and R as well as the half-circle form of the descender of the Q. ITC Ronda is similar to Michael Neugebauer's Litera; both fonts display styles characteristic of the Bauhaus' work. "

Tabac Big Glam probably stretches the Tabac super-family’s boundaries the furthest. While it’s based on the serif version, it achieves an especially surgical cleanliness and extremely sharp typesetting by completely letting the serifs go. Despite this, the text isn’t boring for a moment — the angled cut of the stems on b, d, h, k, l, the open loop on g or the rounded variant of the italic y, which can be called by turning on the stylistic set, reliably banishes any suspicions of the letters’ monotony.

Cowboy Western is based on an old woodtype font from the late 1800’s Saddle up boys and girls the new Cowboy Western is here, the perfect font for when you need to put a little giddy up in your chickabiddy. This 2013 updated version adds alternate letters, additional language support for eastern, central and western European countries. The glyph set includes Latin extended A, B and Latin extended additional for Vietnamese plus Pinyin support for Chinese transliteration, finally we've finished the set with some discretionary ligatures.

Early Texas patriots had fascinating penmanship. In researching Texas Hero years ago, I had occasion to pore over copies of letters by the likes of Stephen F. Austin, William B. Travis, Thomas J. Rusk, and others. Austin's hand was pretty messy. Young, brave Travis wrote his last during the Alamo siege. Rusk's suited my original task. But a couple other styles caught my eye -- among them the bold yet graceful strokes of Sam Houston, the prototypical Texas Hero. Houston Pen has a complete character set.

Klartext [plain talking, clear words] A modern monospaced type family of 10 weights. Klartext Mono combines a classical monospaced font and modern monolined sans-serif with a humanistic touch. It is characterized by a large x-height, slightly condensed glyphs with well shaped curves and soft strokes. As a special feature, Klartext contains a bunch of uncommon glyphs like the German capital sharp S, a nice arrowset and a basic phonetic alphabet (20 letters in IPA Extensions, some more in Latin Basic thru Extended B).

Channe is a display serif font. a blend of straight and curved shapes that look contrasting and elegant. Channe has a unique shape on the capital letters "A, B, F, H, P, Q, and several other letters. It also has several ligatures with a unique blend. Channe font is very suitable for use on labels of cosmetics, fashion, jewelry products, and several other products. Also suitable for posters, magazine covers, book covers, business cards, invitations, and several other things that demand a formal and elegant impression.

Digital version of the font Egyptian Bold (Headset No. 8, Narrow fat Egyptian), Cyrillic version of the Egyptienne schmale font, around 1870. A squared antiquarian font with almost no contrast between the strokes. For the reconstruction font were used stamp from the catalog Typefoundry and the factory of copper lines B. Krebs Priemnik, St. Petersburg and Frankfurt am Main; Catalog of hand and machine fonts, Publishing House Book, 1966; Catalog of manual fonts of the Kharkov liner factory, Prapor, 1973; Catalog of fonts typography Volodarskogo, Lenizdat, 1985.

Paulette is a script typeface, the capital letters are completely unpublished, some of them have a smile-similar ornament (A,F,O,H,Q,B,C,P,G), whereas minuscule letters are inspired to Edwardian font script. The font is very versatile and is very suitable for typographic compositions with large letters and for medium and small ones. It includes a complete series of internationals letters, 342 glyphs and 6 new ligatures. Paulette is an elegant letter and it's available in two versions, regular and eroded.

Siren Song is a textured marker font with rough edges and dozens of ligatures that give it a true handwritten feel. It includes both regular and slanted versions of the font, with bonus swashes that complement it nicely to achieve eye-catching designs. This handwritten font includes: A-Z, a-z, 0-9, accents, punctuation and symbols Tons of ligatures, for a more natural handwritten feel Contextual Alternates (for b, f, k and s) An extra set of 26 swashes (a-z) and 10 symbols (0-9)

The Fuel Script typefaces turn the modern update of a techno sans towards that of baseline automotive script lettering with retro stylings while retaining the same soft rounded corners and decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, G, and R characters, as well as all of their accented siblings. The Fuel Complete package bundles all of the dynamic styles of the Fuel, Fuel Extended, Fuel Uni, Fuel Uni Extended, and Fuel Script typefaces into one powerhouse of a collection.

RMU Belvedere is a revival of Heinrich Wieyncks design, which was released by Bauer in 1906. The font was completely redrawn and redesigned, and comes with a long s, two framing elements and two tailpieces. Get the long s by typing [alt] + b or turn the round s into a long s by using the OT feature Historical Alternative. Start making the frame by typing [alt] + >, and continue with [alt] +

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This special Office version of Brandon Text is especially for all Microsoft Office applications (Word, Excel, Powerpoint …). It contains just the 4 basic styles which are style-linked and can be easily accessed by the “I” or “B” button in Office. The fonts are manually hinted so their appearance is also optimized for these applications.

Aktifo is designed with two Flavour which carries a modern and contemporary style, based on elementary geometric shapes and constructed of monolinear lines, it was invented to be functional, leaving behind anything that can be regarded as superfluous. Aktifo comes in 28 styles: there are two types of families Actifo A and Aktifo B from Light to Black, which both have differences in characters and spaces. Developed with powerful opentype features, equipped with extended language support: Cyrillic, Greek (BETA) and fractions, tabular figures, arrows, ligatures and more.

Cowboy Rodeo is based on an old woodtype font from the late 1800’s Saddle up boys and girls the new Cowboy Rodeo is here, the perfect font for when you need to put a little giddy up in your chickabiddy. The fonts include alternate letters, additional language support for eastern, central and western European countries. The glyph set includes Latin extended A, B and Latin extended additional for Vietnamese plus Pinyin support for Chinese transliteration, finally we've finished the set with some discretionary ligatures.

6th Aniversario is a rounded condensed typography, handwritten and elegant, perfect for writing good advertising titles in graphic design of posters, flyers or publications in general where space saving and readability is required. Includes the Bitcoin symbol (ligatures): b# The Commercial version includes: - 492 glyphs. Latin Extended-A • OTF & TTF - OpenType Functions: Fractions, Alternate Annotation Forms, All Alternates, Superscript, Superiors, Slashed Zero, Superior letters, Localized Forms, Numbers Small Caps, Inferiors, Scientific Inferiors, Discretionary Ligatures, Numerators, Standard Ligatures, Subscript, Extended Fractions, Ordinals, Denominators, Oldstyle Figures, Historical Forms.

Crypton is a modern geometric design by Alex Kaczun. It’s an alternate style variation based on his popular Contax Pro family of fonts. The look is clean, smart and sophisticated—the chiseled end strokes reflect the rage of the 1980s; lettering that represented something to do with electronics, computers and outer space. It’s a futuristic sans-serif exploration of shape and form. This display font is not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong and dynamic—it can be widely used in publications and advertising. Crypton is a futuristic, techno-looking and expressive typeface with the appearance of machined-like parts—round geometric shapes and sharp edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Canadian designer Patrick Griffin made P22 Counter as an exercise in exploring the limits of counter-space and interchangeability between extremely geometric and standard calligraphic forms. Within a field of solid stems and horizontal strokes, parallel lines and curves play the role of counterparts to define square and round shapes, making what’s revealed just as interesting as what’s withheld. Each of the three basic Counter fonts stakes its own aesthetic territory, from clean basic minimalism, through the nostalgia of exuberantly pixel-based design, and on to calligraphic-cum-typographic, all within clear and precise geometric parameters. Counter Pro comes with that entire range included in a single font, giving its user the ability to move freely in a visual space and counter-space that can be defined by more than 1450 glyphs. While all the fonts come with extended Latin language support, P22 Counter Pro includes all three fonts in one font, many alternates, swashes and ending forms that are not available in the basic fonts.

Compatil from Linotype is the first comprehensive type system which enables all typographical elements to be used to full effect in order to reproduce the message conveyed by text information. Four different type styles with a total of 16 weights including italics have been merged into a unique typographical network. There are now no limits to the font user's creativity.The system is a product of technical innovation and constitutes a new design approach which meets the highest aesthetic standards. Compatil is a typeface family from the Platinum Collection. This series was created for the highest quality demanded by professional typography and includes complete families digitized using the newest technology, serving the specific needs of corporate design and similar projects. This Value Pack contains four different type styles of the Compatil type system: Linotype Compatil Exquisit Pro Regular, Italic, Bold and Bold Italic. These Pro fonts include the small caps and Adobe Central European character set for OpenType-supporting applications like Adobe InDesign.

ITC Chino is a type family (Display & Text) designed by Hannes von Döhren and Livius Dietzel. ITC Chino Pro brings legibility and distinction to text copy. It is also a friendly design that will invite readers into content at large or small sizes. It is a melding of soft brush stokes and crisp edges. This is readily apparent in the bolder italic weights where the straight stems provide a counterpoint to the cursive terminals. The Typefamily is highly legible in a wide range of sizes. The text side of the family contains five weights of roman, each with an italic companion. Ranging from Light to Black, ITC Chino Pro provides a rich typographic palette. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

Genesis is a digitization and expansion of a Frank Riley metal typeface called Grayda, originally published to much applause by ATF in 1939. The concept for this disconnected script is quite novel and original among cursives and calligraphic fonts: The minuscules are mostly made with slightly clubbed strokes, which becomes clearly visible in the ascenders and descenders. This alone gives the face a bubbly appearance unlike any other. The formula is completed with two sets of beautiful calligraphic majuscules and a few alternates. The character set of Genesis boasts full support for Western, Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, Turkish and Vietnamese. Genesis is available for all platforms and in all popular formats. Genesis Pro, the OpenType version, is where the caps and a few other variations alternate stylistically at the push of a button in OT-savvy applications. Genesis Pro also contains class-based kerning.

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Handmade, expressive, lively, organic— …words typically used to describe a script font or a casual sans. Spry Roman opens up new possibilities. It’s origin is handwritten letters created using a pointed nib on slightly toothy paper. While based on a Roman form, the letters are designed to break out of the mold and dance along the baseline. Spry Roman Pro is a fully featured opentype font. Among the 964 glyphs are loads of alternate characters and swash letters; a full set of small caps; simple fractions; case sensitive punctuation; and a variety of ornaments, border elements, and flourishes. It also includes a full dose of language support for not only main characters, but also for alternates and small caps. Ligatures have been kept to a minimum to allow users the option of tracking text. **Please note that the Pro version has all the glyphs of the others combined. The smaller versions are for those who don't have opentype savvy apps like Adobe Illustrator.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

EbuScript by José Manuel Urós. OpenType, 1 style The very first font of Type-Ø-Tones, EbuScript, comes from the pen of José Manuel Urós —nicknamed Ebú in those times. Now it is still in our catalogue thanks to a completed and improved version.

Amora is a messy, feminine, carefree script that is perfect for logos, posters, signage, and more! Fonts I paired with in the samples are Adobe Caslon, Proxima Nova (both available through www.typekit.com) and Bebas Neue. Comes with 79 ligatures for a totally unique hand-written feel! Includes: Upper + Lowercase Letters w/ alternates Non-English support 79 Ligatures Best for: Logos Branding Large format writing Feminine look + feel Paired with sans serifs (Proxima Nova, Bebas) and classic serifs (Adobe Caslon, Baskerville) Web headers Signage Wedding invitations and decor (table numbers, signage, balloons, etc.) Not best for: Small printing Long quotes (generally flows better with just a few words) Patterned backgrounds

Monocto is an upright italic, clearly evidenced by the lowercase letters a, e, f, g, i, k, l, v, w, x, y and several capitals. On one hand, the design is inspired by an historical German running hand written with a pen angle of 45°, and on the other, by rational, utilitarian monospace types, similar to those designed for the mechanical typewriter during the Industrial Revolution. As the writing tool touches the paper, a double-square with broken corners is produced, which then, according to ductus, transforms itself into letter components that are either 90°-verticals or 45°-diagonals. The systematic geometry of Monocto offers unexpected design possibilites.

The Elzeviriano Ibarra or 'Ibarra Gans' was a typography engraved by Carl Winkow in 1931 to Fundición Gans commemorating 50 years since the foundation thereof. It is designed to be used in the book-homage The Maestro Joaquín Ibarra . This type is a combination of the printers selected by Joaquín Ibarra, Spanish printer and typographer and Ezelvir family types, hence its compound classification. Gans Ibarra, designed in 2006 by Paulo W follow the concepts from the original designs from Fundicion Gans. See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno , Gans Lath Modern and Gans Titular Adornada and Gans Antigua .

A highly intrincated set of ornaments inspired from the work of Johann Georg Schwandner (1716-1791). An accurate historical revival and interpretation of Iza W, at Intellecta Design. State-of-art to use in headings, chapter initials from books, magazines and other publications. In Barocque and Renaissance inspired layouts, or modern mixed proposals. If you’re taking a formal approach to your Christmas designs, Schwandner Ornaments from Intellecta Design will provide unparalleled elegance and sophistication. The ornaments and fleurons in this set are intricately drawn, adding a touch of the Victorian era to cards, envelopes, gift tags, and place cards worthy of the grandest holiday feas

Samarquand is a handwritten script design from Roy Preston. Based on the handwriting of a friend, Roy has expanded this friendly, semi-connecting script to include three weights, Light, Regular and Bold, opening up even more design possibilities. The Samarquand fonts support an extended character set, as well as some ligatures, inferior and superior numbers, and unlimited fractions. There are some really nice letterforms in these fonts, particularly that uppercase W! Peruse the posters to see. I'm kind of partial to the Light weight, which is really quite elegant in use, but that Bold can really make a strong statement! Samarquand. Check it out for yourself.

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

Doubleganger is a modern sans serif with contrast. The font is represented by condensed lowercace and extended uppercase. To get an elegant and contemporary design, combine them together. Doubleganger is suitable for retro and modern typographic posters and prints, feminine branding, design of books and fashion magazines. The font includes stylistic alternates for symbols: c, g, j, k, o, q, r, u, &, K, O, Q, R, W, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9. There are also ligatures: sc, hg, sh, gh, ge, je, st, sp, sr, se, sa, ja, ph, qu, oo, ss, pp, ST, SS, QU, HA, SA, GA.

Museum is the Wundes foundry's first font revival. These letter forms are scanned from the engravings of Freeman Delamotte who in 1879 published a spectacular set of ancient and mediaeval ornamental alphabets. The original forms for this font were created in 1490, a few years before Columbus discovered America. There was not much information on the origin of this font, save that it came from a British museum, hence the name. The original character set was missing the letters J,P,V and W so I've constructed these letters in the same style to complete the alphabet. Other than those 4 additions, the engravings are true to their original forms.

For decades, the National Show Card Writer Company of Minneapolis, MN produced sign making kits used by shopkeepers, schools, churches and many other types of organizations. The standard sets were comprised of two part stencils that when overlaid, produced finished lettering, or a buyer could choose the same type style designs with a standard stencil letter. From one of these templates comes Show Card Stencil JNL, in both regular and oblique versions. Take note that the U, V and W have the heavier vertical strokes reversed. As this was the way the original stencil design was manufactured, it has been retained for this digital type as well.

Punkaholic started out as a loopy, all caps display font with a semi condensed feel. Before completion some of the letters such as A and W were given a more traditional look and were penciled in for alternates. In the end, however, they were added as uppercase characters instead. For this reason most words in lowercase vary in appearance from their uppercase counterparts. This dichotomy between straight lined capitals and rounded ones makes for some interesting contrasts. Punkaholic works best in less formal settings such as café menus, t-shirts, or children’s publications. It comes in 3 styles and contains Latin, extended Latin, punctuation, and kerning.

Balboa is a display design combining elements of early sans serif and grotesque types with contemporary types. It evolved from ATF Headline Gothic, Banner (a headline typeface I drew for the San Francisco Chronicle), and Newsweek No.9, a Stephenson Blake-like grotesque I designed for Roger Black's 1980 redesign of Newsweek Magazine. There are nine styles, including the three new styles that have been added in 2014: Medium, Light and Ultra Light.

At first glance, Typewriter Sans JNL seems to look like the pantograph lettering of an engraved sign or the rounded-end lettering from an architect's templates. It might also be mistaken for plastic pin-back lettering used on some bulletin boards. In actuality, the design is based on examples of an electric typewriter ball element with a sans font named "Dual Gothic", suggested for use "in credit reports and other financial applications".

Clunic is a Blackletter font in the best traditions of Victorian Gothic revival—that is to say aesthetically marvelous but no historical basis whatsoever. The design combines the perpendicular character of medieval manuscripts with modern legibility and a healthy respect for calligraphic principles. There are alternate large and small forms of some glyphs. Clunic is ideal for use on certificates, themed invitations, posters, headings, initial capitals or sign-writing with an historic theme.