Designed by Morris Fuller Benton 1913-15, this Oldstyle family was digitized by Jim Rimmer in the early 2000's. It is a roman face closely styled to that of Nicholas Jensen's with a companion italic in the style of Aldus Manutius. Benton considered Cloister the ideal typeface and it does indeed lend itself to many uses.

A modern geometric typeface influenced by the work of Dutch designer Wim Crouwel . The angular nature of the design lends itself strongly towards large display applications but because each character is formed from a consistent grid, stylish body copy can also be achieved. Details include 6 weights, a complete character set, manually edited kerning and Euro symbol.

Pristina is the work of British designer Phill Grimshaw. It is a calligraphic typeface that displays all the natural, unrestrained qualities of cultured penmanship. Pristina's capitals should be used exclusively as initials. The font is ideal for both large display sizes as well as small text sizes, and it lends personal touch to projects it accompanies.

A premier product from insigne, the powerful Aviano redefines its classic lines for the contemporary elegance of Aviano Silk. This modern development of a timeless font, part of insigne's annual tradition in adding to the Aviano family, was elected the clear leader in a poll of insigne design's social media followers. Aviano Silk refers to the smooth flowing feel that the negative space gives the font. This particular example is sort of a hybrid between the stencil and a centerline. It has a certain amount of velocity to it. Extended characters lend formality and a sense of wealth and power. Due to the modifications required for the new look, the Silk family cannot work as an overlay for Aviano, though it pairs nicely with it. There are also 12 Aviano families that work well with Silk. Aviano Silk is particularly suited to high-end luxury applications and especially branding projects. Use Aviano Silk to lend refinement and luxurious elegance to your design.

The term "transcribed" takes on many definitions. In sheet music (the source of this type face design) it means to set down onto paper. In the formative days of radio, and until the advent of the tape recorder, radio stations depended on 16 inch wide recordable discs known as transcriptions. These discs were generally aluminum base with a soft lacquer coating that was cut with a heated stylus. This was the only way a program could be recorded and preserved for later broadcast or copied for syndication. Transcribed JNL is a hand lettered sans in the chamfer style of block lettering, based on vintage sheet music displaying the name and address for Zenith Music Publications.

Kapra Neue was the #1 bestselling Grotesque Sans released in 2017 on MyFonts. Kapra Neue is a younger brother of Kapra. This new family has refreshed proportions, rounded corners, and a new shape of glyphs. It is characterised by a wide range of instances – 24 new weights, from Thin Condensed to Black Expanded, allowing use of the family in complex ways, depending on the user’s needs. Every instance comes with its italic version. The font has a glyph set for latin script and old-style figures. Kapra Neue is inspired by a “You And Me Monthly” magazine, published by National Magazines Publisher RSW "Prasa” in Poland, from May 1960 till December 1973.

Nevaeh which also stands for Heaven if read backward, it is a unique rounded and stylized font family. Nevaeh has a futuristic and minimalist look, and the creativity depends on the use of the font set. Nevaeh includes; Nevaeh Light, Nevaeh Light Italic, Nevaeh Regular, Nevaeh Italic, Nevaeh Bold, Nevaeh Bold Italic, Nevaeh Extra Bold, & Nevaeh Extra Bold Italic. The font has a simple and minimalist factor with all main characters, the font is specially made for those who are in the printing and branding fields.

A casual sans that harks back to the very English style of book jacket and poster art of the late 50's and early 60's. The turned-in terminals are reminicent of Stephenson Blake's Grotesque 9, and the italic provides unique cursive versions of the lowercase characters. Available in a "narrow" version as well as two standard weights, this face lends itself to the wider letterspacing that evokes hot metal.

A robust, mono-weight typeface with gently rounded slab serifs, Mr. Porter harkens back to celebrated roots in late 17th Century England. Not for the meek or faint-of-heart, it lends a nutty, chocolaty, toffee flavor to both a stout and pale variety, with lots of malty goodness. Rich and full-flavored with notes of coffee, licorice and molasses, it promises delightful pairings for an infinite variety of typographic solutions.

Generous curves above and below the straight-sided Railroad Gothic parallel those of Figgins’s elephantine Grotesques, lending to both British and American series their monumental qualities. Shrinking the center strokes and counters to emphasize a massive periphery, David Berlow has used this curious similarity to suspend a complete family of sanserifs between the two forms, a manly series of great dignity and presence; FB 1997

Hanford JNL is a clean and friendly sanserif design that lends itself well to any application.

Isometrica is the latest in Greater Albion's line of 'Banner' typefaces. Like all of the banner faces they lend themselves to the design of mastheads and logos. Isometrica is also a meeting of architectural drawing and typeface design, given bold two coloured concertina banners with letters appearing page by page. A range of decorative end pieces are also included. Bring your designs to life with lettering that stands up off the page!

Ghimli Antique was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov in the future. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Antique has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite evil, incredibly dense, bold. It looks like when the dwarves closed ranks and go to defend their lands from the invasion of the orcs. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

This family typeface consists of three fonts which have the same weight and style, but have been designed to work best at different sizes and in slightly different contexts. It is based on handwriting and calligraphy and consists of three typefaces: Rumba Small (for texts), Rumba Large (for headlines) and Rumba Extra (for words). The family is based on the idea of fonts that are interrelated depending on the differences in contrast, expressiveness and use, not on the classic range of weights. This type has been designed specifically but not exclusively for use in the languages spoken in Spain, hence special attention has been paid to the design of accents, special characters and ligatures. In a later development it was extended to CE Character Set.

The Parliament typeface was designed by Jonathan Hoefler beginning in 1995. A burlesque typeface in the Regency Blackletter style, Parliament was inspired by the ‘Four-line Pica Black No. 1’ typeface of William Caslon Jr (1821), whose enigmatic design for the letters E, G, I, N, V and Y hinted at a broader ambition to modernize the arcane shapes of the gothic alphabet’s capital letters. Parliament completes this project for the first time by including two sets of alphabets, one archaic and one modern, along with a third set of ‘small caps’ that restores to the blackletter the versatility of Roman type. Parliament was first used for the 1998 ATypI Conference in Lyon, and was published by Hoefler&Co in 2022.

Merlo Neue Round is the younger brother of Merlo Round and cousin of Merlo Neue. This new family received a refreshed, rounded style and a new shape of many glyphs. New Merlo consist of a wide range of instances' seven new weights with italics, from Hairline to Bold allows to use the family in a complex way, depending on the users' needs. The font has a glyph set for latin and cyrylic script, small caps and old-style figures. Merlo Neue Round would be a great choice for display use as well as for the longer texts. This family is inspired by a "You And Me Monthly" published by National Magazines Publisher RSW "Prasa" from May 1960 till December 1973 in Poland.

Hazel is the work of British designer Phill Grimshaw. It is an all capital typeface with friendly, scratchy strokes ornamented with a whimsical, free-flowing embellishment. Hazel should be set slightly wider than usual letter and word spacing and will lend any headline or display both naturalness and elegance.

GrindelGrove is a spooky display face that suggests deep dark woods, long-lost treasure maps, and cautionary fables. Its bark-like texture and v-shaped letterforms lends an air of eerie mystery, a perfect complement for scary novels, haunted houses, and strange happenings. See what’s included! http://bit.ly/2bIDfOf

Inspired by handwritten roman lettering, Elisabeth maintains a classic antique appearance but its rough edges lend an air of character and charm. Good looks aside, Elisabeth is technologically up to today’s standards and works well in many applications. Use at larger sizes, headings, invitations, scrapbooking, menus and advertising.

Horse Puckey JNL is a lighthearted and fun, Western-styled font based on Halavah Twist JNL by Jeff Levine. This font lends itself to the less-serious side of Cowboy life... rodeos, barbecue cookouts, barn dances, etc. Use it liberally wherever the Western look is needed for informal headlines.

Mocktaile Typeface is a modern & luxury serif . It's soft curves mixed with high contrast glyphs lend it self to both feminine qualities. Great in layout design for quotes or body copy, and will be unique to the use of the fashion typography, logo design. And also multilingual support.

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

To be independent or to be dependent? The formula “one plus one is one” is here essential for this to work. The different cases, upper and lower is dependent on one another. To give us clarity they have to work together, to be like one the upper and lower cases must work together. Expedition One works best in InDesign or equivalent software. How to use it: write your text in lower case, copy the text frame and ”Paste in Place”, change your lower case text to upper case (you do that under top menu->type->change case). Change colour if you want to and maybe change the blending mode in the effects window to “multiply” makes it even more sparkling. On numbers and ampersand for example, you have to use the glyph window in InDesign to find their second half.

This is not an ordinary fonts, this is how the real throw up graffiti come into fontype! if you want real throw ups style graffiti fonts, this is the answer! because this is pure from my real graffiti eperiences around the streets. Kerning, spacing i adjust more tight, similar with the real throw up in the streets. The intersection between letter also you can erase it or leave it collide, depends of whats your styles, see our tutorial in the picture slides. I hope you guys like it, cheers!

Baluarte is a display typeface inspired by fortifications and military buildings used to defend and protect a specific place during war times. Its main characteristics are the irregular trace and the solid presence in all its characters. It has 5 weights + obliques It is perfect for titles in big sizes, video game logos, movie titles or credits, posters, and many other visual graphics. Key features Meticulously designed Comes in 5 weights and obliques for each weight Uppercase and lowercase characters Ligatures and fractions Supports a lot of languages Licensed for Personal or Commercial use (OFL)

Show Card Deco JNL is a hybrid of examples from hand lettered titles found on various song folios from the Carl Fischer Music Library circa the 1930s and is available in both regular and oblique versions. This particular typeface lends itself perfectly to show cards, posters, headlines and display titling which captures the modern, streamlined design of the Art Deco era.

Christmas Spirit was designed to incorporate some of the most familiar icons of the Christmas season into a highly decorative font. Each letter is unique with its own design, and lends itself to a festive environment. From the A as a decorated Christmas tree, to a reindeer that translates into a Z, Christmas Spirit will liven up holiday greetings, invitations, and announcements.

Tropical Lounge is an interlocking display typeface inspired by the hand lettering in 60s pulp magazine covers. It’s filled with a playful and vibrant 60s vibe, as well as modern OpenType features. Contextual Alternates switch the previous letter depending on the following one, giving it a bouncy, jazzy feeling. Both lowercase and uppercase letters are capitals, but uppercase features a set of taller and wider letters. You can also mix and match uppercase and lowercase for a suitable combination. In addition, Tropical Lounge has a set of Swash and Stylistic Alternates that can be used for a larger variety. There are also lining numbers and a set of arrows and swooshes in lowercase Stylistic Set 1.

Lager is a plump, sympathetic and tasty script family inspired by good old American commercial lettering of mid-1900s – yet there’s more to it than meets the eye. Implemented with an exceptional feature called Intelligent Swash Lager delivers perfected results with an handmade feel. Depending on the choice of letters Intelligent Swash grows and stretches swashes automatically. Accompanied by various ligatures and stylistic alternates, Lager creates beautifully completed words with minimal effort. Just make sure you activate Titling Alternates from your OpenType-menu. The Lager package will be delivered with 5 complete weights, 2 sets of well-groomed numerals and Small Caps as a great companion for the script style. Get high on Lager, it won't leave you short.

Hot Salsa is a calligraphic script font inspired by the classic, fairly well-made brush letters from the casual sign painting style, mixed with the fast and gestural tags you can find on walls all around the world. This is a fresh font that allows you to play with its numerous swashes, alternates and ligatures to make it feel more sober or a little flirty depending on your needs. Hot Salsa started with a brush pen and a lot of paper. These were later re-traced onto many layers of tracing paper with the intention of maintaining the brush pen and handmade feeling while making the structure consistent to ensure its readability and performance.

Some scribbles on a bar napkin, a note from a cute girl passed in history class, what is there to say but why not a typeface? Actually it's that late night, �let's get this typeface done� madness that causes these flights of fancy. Anything to relieve the boredom of doing all those kerning pairs. Or maybe it's sunspots? Ms Kitty is all uppercase letterforms so there are two versions of each letter, one in the cap position, another in the lowercase position. Besides the regular weight and bold, there�s a bolder and much bolder in the works. And perhaps there will be a "too bold to be believed" version. Depends on the sunspots.

Montage has played a weighty role in some of the most influential and enduring typography of the past few decades, from book jackets and album covers, to posters and logos…you name it. Exhibiting an uncommon ability to wield immense power while demonstrating extraordinary finesse, Montage’s commanding profile packs a hefty punch which is softened only by its lithe yet durable serifs. Originally designed for Photo-Lettering in the mid-1960s by type legend, Ed Benguiat, the fonts were given a jump start by Jess Collins before ultimately being shaped into five compatible widths by longtime House co-conspirator, Mitja Miklavčič. Under the guidance of Ben Kiel, along with some additional chin-stroking by Ken Barber, Montage has been fully developed into a robust family ready to tackle any challenge you can throw at it. FEATURES LIGATURES: In order to ensure that Montage maintains its bold presence in tricky text settings, we’ve added a handy set of pre-drawn letter combinations. When enabled, the Ligature feature identifies problem pairs like—fl, fi, ff, ffl, and of course, fyi—and substitutes them with glyphs optimized to enhance font performance. ALTERNATES: For fickle typographers, we’ve also added a handful of alternate characters to allow Montage to suit any number of mood Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Woodruff was inspired by a piece of charmingly hand-lettered signwriters’ ornamental Roman seen on a half faded away brick wall, on the end of a row of shops. It has a naive hand drawn charm that lends a very special touch to posters, signage and headings. Woodruff is ideal where an atmosphere of primitive charm, with a little regard for aesthetics is required, and can be used in such situations without sacrificing legibility.

ITC American Typewriter was designed by Joel Kaden and Tony Stan. It is an ode to the invention that shaped reading habits and the idea of legibility, the typewriter. A compromise between the rigidity of its ancestor and the expectations of the digital age, ITC American Typewriter retains the typical typewriter alphabet forms, lending the font a hint of nostalgia. ITC American Typewriter™ font field guide including best practices, font pairings and alternatives.

Metropole is an exercise in combing the curvaceous lines of the Art Nouveau with the solid character and simplicity of Art Deco. The resulting three display faces combine the spirit of the 20s and of the thirties, creating lively fun display faces for headings, signage and banners. These characterful faces with clear simple outlines are also ideal to lend a distinctive air to your web pages, or to create a distinctive 'house-style' for lettering.

Inspired by the 1977 anthology horror film called "Uncanny", Uncanny Cat PB captures all the awkward fun of the film's titling sequence. Feline revenge has never looked so good. This typeface was oodles of fun to flesh out, and is true to that purposefully awkward appeal that a lot of Pink Broccoli fonts are imbued with. Loaded with a collection of ligatures that combine and nest letters against each other, lending to the unique typesetting of this "uncanny" font.

Oildale is a single weight, connecting script that explores the idea of using crossed strokes as the main body of the typeface. Designed as a display font, it’s bold form and unique appearance lend it a distinctive charm that can be used in branding, headlines or other titling. Featuring an extended Latin support covering a wide range of langages, it also includes a range of Opentype options, from a choice of numerals, ligatures or decorative, swash letters.

This design from Ray Larabie (and adapted by Jeff Levine) is so unusual. The lettering lends itself to messages of sinister intent or horror movie titles. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Pink Lemonade (formerly called Fresh Paint) is just like cool, tart lemonade on a hot summer’s day...refreshing! With varying widths and irregular sizes of the lowercase letters, Pink Lemonade lends a bouncy rhythm to text. Works very well for scrapbooking, invitations, children’s books, recipe books, titling, display purposes, etc.

Sally Script BH, is based on the handwriting of a BluHead friend. This fun design has a round, open feel which lends itself to conveying warm messages for that personal touch in all your cards, journals, etc. Plus, the character set includes support for many languages, along with some cool ligatures!