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.

In 1905 Berthold released an engraved blackletter font called Prinzess Kupferstichschrift. Based on an old printed remnant, I revived this beautiful open-face fraktur and enriched it with several OpenType features. As usual in my blackletter fonts, the round ‘s’ lies on the number sign key, and a traditional number sign can be accessed via the Discretionary Ligature feature and typing 'N-r-period'. In this font you have also the possibility to turn I, V, X, L, C, D, and M into Roman numerals by activating the Stylistic Alternates feature. And last but not least, various useful ligatures polish up this font.

Pina is a typefaced based on Italian signage, incorporating simplified shapes for the letters and unique characters. The barebones S and the perfectly circular O are examples of the type of lettering you'd likely see on awnings. These letters have a thin footprint, and are quite condensed apart from certain letters like O and Q, which gives the font a unique bounce. It includes plenty of alternates, to letters like O, S, Q, R, K, and special ligatures for specific pairs. This font is named after my grandmother from Italy, Josephine, who was a wonderful figure in my life.

Acherus Feral is sharpened version of Acherus Grotesque. In this new version all sharp edges are flattened and rounded corners are sharpened. Alternative character "G" and optional "t" character have been added. Some of the characters like "A,K,M,N,Q,R,V,W,Z,v,w,z" have been changed completely for the stability of the typeface, in this way it looks more confident and serious. As you can see on the banners, Feral is excellent choice for many platform needs. For further information please check the pdf specimens. Behance Pdf Specimen (White) Pdf Specimen (Black)

Bizantheum, remarkable new modern display font. Inspired by the majesty and mystique of the Byzantine era buildings. Coming with 130+ stunning and super easy to use alternates. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easily call alternates character using special combination like A.2 R.3 h.5 etc. so you don't need special software. To get results like the preview just type B.3iz.2ant.2he.2um

Mello is a bold, easy going Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong but friendly voice is needed. Mello features soft curves and rounded corners; set in 4 widths and 8 weights. The character set is robust, covering extended Latin. The default forms are contemporary with alternates including: single-story a, two-story g, rounded top A, traditional G, rounded leg R, rounded K, and rounded form y in both uppercase and lowercase, all separated into individual style sets for control and customization. A set of icons rounds out the character set, with hand signs and shapes.

The original design came from Berthold Herold typeface, designed by Hermann Hoffmann during 1913 (Art Nouveau style) in Germany. This project started from flyer printed during 1947 with movable type, the specimen was scanned as a source to development some of the uppercase letterforms. However the most unusual and tricky element from this sample is the leg from the uppercase (R) which is different from the original Herold design, until now I didn’t found where this version originally came from. This expanded version only contain the bold weight, however there are also stencil (Nouveau LX Stencil) and condensed version (Nouveau LX) available.

The original design came from Berthold Herold typeface, designed by Hermann Hoffmann during 1913 (Art Nouveau style) in Germany. This project started from flyer printed during 1947 with movable type, the specimen was scanned as a source to development some of the uppercase letterforms. However the most unusual and tricky element from this sample is the leg from the uppercase (R) which is different from the original Herold design, until now I didn’t found where this version originally came from. This font family only contain the bold weight, but there are also a stencil and expanded versions available.

Do you often find yourself looking for a font that is universal and neutral on the one hand, and distinctive and special on the other? Here's one for you. Premis is a fairly broad font family that is suitable for versatile use, but still has plenty of original details, such as straight endings in the letters r, t and f. Equally current and timeless, Premis is available in three different widths. In terms of features, Premis is sensibly designed to meet demanding use, including, for example, capital letters and several different number styles. Make Premis your premise.

Bodoni expresses the beginning of the Industrial Revolution; its serifs are flat, think and unbracketed, while the stress is always on the mathematically vertical strokes. Bodoni believed in plenty of white space and therefore descenders are long. The M is rather narrow; in the Q the tail at first descends vertically and the R has a curled tail. The italic, like most continental modern faces, has roman serifs. Monotype Bodoni provides a clear-cut effect due to its simplicity. It reproduces well, particularly in sizes over 12pt. This font is slightly darker than Bauer Bodoni. The contrast makes Monotype Bodoni appear more condensed.

Mocombo JNL is a slightly modified version of one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times Magazine during the period of the 1930s through the 1950s. Tod Swormstedt of ST Media—who is also the curator of the American Sign Museum in Cincinnati, Ohio—supplied Jeff Levine a wealth of source material from which this font is derived. The angular style of this typeface was originally referred to as “German Poster Lettering” by Becker, but it can represent many styles from 1940s night clubs to African safaris and just about anything in-between.

ITC Grimshaw Hand is based on the handwriting of its British designer, Phill Grimshaw. Warm and lively, this typeface has the look of spontaneous handwriting with a little extra panache. Note the jaunty k, the swooping f, the simply stylish s, and the absolutely zingy cap Q and R. Grimshaw designed this face in 1995, at a time when he was also playing the guitar and mandolin. Handwriting fonts give an air of intimacy to the graphic design of advertising pieces, packaging, invitations, greeting cards - and ITC Grimshaw Hand has the touch of sweet music in its enthusiastic strokes.

Publicity Headline is an allcaps advertising font. Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost. It also has a warm, friendly feeling for the conventional headlines indicated by the name. Publicity Headline is a distinctive and appealing font for creating bold and unusual headlines. This font includes the alternate R & S and the CO, LY & ST ligatures that were part of Gaunt’s original design. In addition, the ligatures AV, AW, WA, WO & YO are provided; along with AT, OF, AND & THE in the form of underlined small caps.

The Mailart Rubberstamp font was inspired by rubberstamped envelopes and artworks by Mailartists Jonathan Stangroom, H. R. Fricker and Flea Art, and the typeface Clarendon Condensed. Mailart Rubberstamp now has an additional Bold weight and complimentary Obliques. The typeface has also been updated with subtle outline improvements, a bigger repertoire of European accented characters, and more consistent, slightly tighter spacing; increase the tracking to recreate the more relaxed, rustic appearance of the earlier version. The fonts are derived from the individually rubber-stamped letters on printed and collaged envelopes received from mailartists, and the typeface Clarendon Condensed.

Olyford Variable font is a contemporary sans serif typeface that is derived from the Olyford font family. It features a range of weights and italics. OpenType features: Access All Alternates, Stylistic Alternates (Alternative n, m, p, q, r, u), Stylistic Set 1 (Alternative K, k), Stylistic Set 2 (Alternative W), Stylistic Set 3 (Alternative t), Stylistic Set 4 (Alternative w), Stylistic Set 5 (Alternative 5), Stylistic Set 6 (Alternative ¢, $, €, ₽, ¥), Stylistic Set 7 (Alternative Đ, Ħ, Ð, ≠, ∫), Standard Ligatures, Discretionary Ligatures, Proportional Figures, Tabular Figures, Case-Sensitive Forms, Fractions, Kerning, Denominators, Numerators, Scientific Inferiors, Subscript, Superscript, Ordinals, Localized Forms.

Rafgins is an exquisite and modern sans-serif font. Its clean, minimalist lines and sleek, contemporary style create a sense of understated elegance that is perfect for adding a touch of professionalism to your branding or typography. With its refined and versatile design, this font is sure to impress and inspire. Rafgins have alternate on B, D, P and R. Rafgins perfect for headline, logo, or anything your creativity and want something new with your project. Happy creating with Rafgins by Holyline. It is also PUA encoded which means you can access all of the glyphs and swashes with ease!

Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton's 'Karnak', produced in 1936 for Ludlow. "Karnak" itself was based on the geometric slab-serif "Memphis", designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century type founders." Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.

XPawnShop is a typographical chess font; the pieces are letters. The Pawn is an awkward letter P, the knight is a horse in the shape of an h, the bishop is a decorative letter B, the rook is an elephant with an R shape, the queen is a Q, and the king is an ornate K. Two other XPawnShop fonts are made of very simple pieces, but as a bonus, both have the set of dominoes from the unicode block 1F030 to 1F093. The key layout is a bit complicated; see the key guide for detailed information on how to position pieces correctly.

Mix Basic is just your basic everyday handwriting. This was written initially on a post-it using a fine tip Frixion pen. The font was then digitized, cleaned up, and converted into a font. Since this is basically your everyday handwriting, it has a multitude of creative applications. Think label design, greeting cards, social media quotes, handwritten notes replication, and more. Use as you please! Mix Basic includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_…©®‹›«»°¹²³¡¿₱¢€£¥§† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕŌŐØŒŔŘŚŜŠȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõōőøœŕřśŝšșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþ Alternates/Ligatures for: & R a e i m o u y ee mm nn oo rr tt

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.

Introducing Masberco, a dark blackletter style seamlessly merging street art and gothic typography. Crafted with meticulous letter spacing, it radiates an elegant yet fierce typographic presence. Masberco is a standout display font, especially effective in medium to large sizes. It exudes dark vibes, making it an ideal choice for underground styles like posters, flyers, logos, logotypes, branding, book covers, emblems, and more. Here’s what you’ll get : Uppercase Smallcaps Numbers & symbols Stylistic alternates Stylistic set

In 1994, Apple® Computer, Inc., asked David Berlow for “a future gothic” to replace Chicago®, their system font. Now called Charcoal®, the design was released with Mac® OS 8 in 1996. Through operating system bundles it found its way into every form of design. Released from constraint, Berlow designed Truth FB, a radical series with a spectrum of seven weights. Like its forbear, Truth FB opens new design avenues; FB 2005

Middle Ages is a hand-drawn medieval type, designed by Måns Grebäck during 2019. With its blackletter style it works great in many historical context typesettings, as well as for traditional Christmas projects. It has a Gothic style that also works well for rock music genres, or for tattoos and other rough graphics. The font is multilingual and supports all Latin-based European languages, contains numbers and all symbols you'll ever need.

The 52 characters assembled by this Gothic font, Prince of Darkness, were once interred in coffins onboard the Russian cargo ship Demeter, when it set sail for the sleepy shores of Whitby, Northern England ages ago. Hunted down by Vampire Hunters for century after century, this noble Transylvanian set has hidden for years in England and Eastern Europe. Now, Prince of Darkness is available as a font with more Layers than Dracula has Lairs.

Born from the intersection of the geometric and grotesque typefaces. Aribau Grotesk combines low contrast and generous width proportions with typical traits of american gothics from the early 20th century, like the counters aperture and a double story ‘g’. Driven by the process, some details that come from the geometric style arose, like the clean-shaped figures and the circular dots that convey a more affable and contemporary look. Aribau Grotesk PDF.

This is a squared sans serif font family developed out of a taller Bank Gothic model plus a true lower case with many OpenType features and over 600 characters: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters (including CE), ordinal numbers (1st-infinity: lining and oldstyle), and so on. It is designed for text use in body copy. For display tighten the tracking.

A redesign of drawings of News Gothic from the Smithsonian, Cyrus Highsmith and the Font Bureau studio created Benton Sans, one the most popular and versatile families in this genre. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.

This unusual Gothic face was found in the 1882 McKellar, Smiths and Jordan specimen book under the name Borussian, a then-current variant of “Prussian”. This version is true to the original, so please note: a few of the uppercase characters—notably E and G—are rather unusual, so proceed with caution. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Rulinover is a serif font inspired by adrenaline-pumping gothic horror movies and games. With that comes Rulinover as a supporting tool to support typography based on genres of horror adventure, challenge and dare in a particular game or film. And also supported by many alternative ligature and letter concepts that are useful in making logotypes or monogram styles. For that, Rulinover is also equipped with various languages such as Latin 1 & 2.

Barstow is an exuberant revival of Wells & Webb's 1854 woodtype sensation, Gothic Tuscan Italian, building off the original 47 characters with hundreds of new glyphs including Latin language support, symbols, and punctuation. Barstow Shadow is a modulated outline complement to the regular style. Barstow Xtra is composed of charming woodtype ornaments and twists on emoji. The Barstow family is best used in display functions at sizes above 36pts, in short headlines and accent text.

Vestigio m. Ing. & Fr. vestige: a trace, mark or visible sign left by something as an ancient city in a condition or practice vanished or lost. Vestigia is born by lost pieces of other typography, being then, Garbancera's descendant. It evolved to be seen in big point sizes and compete with other fierce competitors, while retaining some features of it ancient predecessor, navigates a gothic fraktur experimental style, existing between legible and illegible reading.

HALIVELAVIERTA is a combination font between blackletter and serif, but I included it in the blackletter category because of the boldness and spacing that is close to a blackletter font, resulting in a font with a slightly gothic feel, vintage but also suitable for modern designs. YOU WILL GET : Halivelavierta.otf To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

Evergreen is Koziupa and Paul going all Zeitgeist after a few Malbec drinks. Two fonts praise nature from when the lights go out to the crack of dawn, and vice versa. That's 24/7/365 of wild leafy Kumbaya. Even butterflies and flowers were mystified so much they had to get in there. Evergreen is local, organic, and certified free trade. At some point we wrote down the name of the jungle where it originated, then lost the parchment in the hot springs a few hours later. But that's immaterial. Crank up your Deep Forest sound, prep your Earthtone and Foliage palettes, and get into the big herbal.

Cenizas is another masterpiece of rough-and-tumble script from the prolific Argentine duo of Koziupa and Paul. Although the overall 'wildness' of Cenizas is reminiscent of popular mid-twentieth-century English display scripts, Koziupa's Latin brush humor and ingenuity remain evident in the underlying structure of the design. Casual, care-free and adventurous, Cenizas can be a great choice for design applications relating to active behavior, like outdoor sports and travel. It also is enough of a rough script to be quite useful in a variety of other design contexts, such as the covers of art books or historical novels, museum literature, music sleeves and posters, or even map designs.

If there was an American Typeface Hall of Fame, Bank Gothic, designed by the great Morris Fuller Benton would hold a place of special distinction considering this design has survived so many trends in typographic fashion since being introduced in 1930. It's just as desirable today as it was over eighty years ago; arguably more. Today, Bank Gothic is a very popular choice as a titling face for science fiction books, posters and countless television and movie titles. It is also a popular typeface for use in computer games and digital graphics. GroupType’s 2010 revival of this American classic is true to the design, the period, and Benton’s aesthetic. GroupType worked with some of the most talented and experienced type designers that were historically grounded and sensitive to this design project. Fortunately, Mr. Benton has left us a large selection of other great typefaces for insight and guidance. GroupType’s new revival includes the original three weights in regular and condensed style but also a new small cap and lowercase in each font necessary for 21st century typography.

The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. Bible Gothic was created by the famous German designer Rudolf Koch. Ralph M. Unger digitized this font exclusively for profonts in 2005, keeping his digitization as close as possible to the original design of Koch in order to preserve the distinguished character and the partly unconventional, original forms. The concept of a Bible Gothic was developing for years in Koch's mind and drove the direction of his work, but only after the experience with his Neuland design could he start the creation of his Peter Jessen typeface. Produced quite like Neuland, Jessen, however, is much more refined and more accurate in detail than Neuland. At first glance, it seems to look plain and simple, but if you look closer, the richness of its distinguished upper case forms unfold to a perfectly clear flow of text