Designed at ParaType in 1997 by Tagir Safayev for advertising and display typography. Based on Block of H. Berthold, 1908 by Heinz Hoffmann. A bold sans of a typical German pattern.

Stancilo is a type of serif font that offers uniqueness in its form. With a distinctive design and superior aesthetics, this font gives each character an elegant and modern touch. Stancilo font has nine different thicknesses, ranging from thin to bold, providing flexibility and variation. Thus, this font can be used for various design purposes, from main headings to body text, with the ability to adjust the desired intensity and emphasis. One of the advantages of Stancilo is the presence of alternate letters and ligatures that provide character variations for each letter. Allows users to combine alternate letters or use special ligatures to create more harmonious combinations and relationships between characters within words. This feature adds a sense of personalization and additional creativity to the design. Furthermore, Stancilo font also supports multiple languages, making it suitable for multilingual design projects. With the support of diverse languages, this font enables effective and comprehensive visual communication in various cultural contexts. Stancilo is a prominent serif font with a unique form, providing nine different thicknesses, alternate letters, and ligatures. These advantages make it suitable for elegant, modern designs and allow for creative exploration in using its letters. With support for multiple languages, this font becomes a versatile and inclusive choice for diverse design projects.

Electro’s neon light inspiration gives it an interesting way to draw letters. Every part of this font could be part of a circuit board, with no lines doubling over or tracing the same path. The font stands out by occasionally taking shortcuts, such as in the E and S characters, which make up for many characters having to choose a longer route. Altogether, this constant state of quick then slow creates an unpredictability as of a surge of electricity or lightning bolt. Electro supports a number of languages with glyphs that keep up the electronic theme, and is perfect for party culture or futuristic science fiction. Like electric, this is the perfect font for shocking your audience.

When you're ready to leave your cozy picket fence life in Typeville, make the move to the hustle and bustle of Fontropolis! FONTROPOLIS is populated by friendly-faced characters you can always count on to help you through the thick and thin of everyday life in the Capital. Why not take a day to admire the classic arches of the ascenders, descenders and horizontals featured in Fontropolis's architecture? Indulge in a little idle chitchat with your fellow Fontropolitans! Fear not! The People of Fontropolis will stand firm beside you when the unavoidable Supervillains and Crackpots descend on the capitals, spouting Arrogant Expositions of their Nefarious Plans as they seek to usurp our great country’s democracy! FONTROPOLIS will always prevail! The Fontropolis font family includes four weights (Regular, Italic, Bold & Bold Italic) with alternate uppercase characters, Western & Central European & Vietnamese support, Manga characters and Crossbar I Technology™

The best thing about Umba Slab is its surprise! UMBA Slab is a clean but eye-catching typeface designed by Anita Jürgeleit. It adds an amazing touch to your corporate design and titling by developing a more dynamic shape from thin to bold. It’s especially designed for a wide range of variety and to create a highly recognizable branding and titling. Twenty styles from thin to bold and matching italics help you to create design with a strong essence. Separate styles for alternate and small caps will show up in your font menu, making sure that you always stay aware of the wide range of possibilities of your new favourite font. Finally, for all those who love caps, there are extra caps-only fonts added to the collections. Would you like to see more of how UMBA can improve your design? Let’s get in touch! INSTAGRAM @anitajuergeleit +++ FACEBOOK AnitaJuergeleitTypefaces

Feel how the tones mesmerize you - say HELLO to "Ropers" - a Bold Serif Typeface with agile and alive ligatures and alternates. Designed to use in mid-tones harmonic, the stark contrast of the bold & wondrous uppercase of the regular serif balances calmly to mix matches your works More unique with the ligatures and alternates shape stream will make your typography truly eccentric Ropers are easy to pair with other fonts and no special software is required to type out the standard characters of the Typeface. To access the Opentype Ligatures and Alternates you will need software that supports Opentype features in fonts. super match with various types of works such as promotional themes, greetings, products cover, brands logo, and much more. No need to worry, Ropers are also available in multi-language usage, which makes your work easier. Thank you and have a nice day

The Nixt Font Family is a new font with currently seven styles. As an alternative to Helvetica, Arial, Gill Sans, Futura, & Gotham, Nixt has a similar design aesthetic to those aforementioned in that its design, structure, and feel crosses decades of appeal. From Mid-Century, through the stark '60s, decades of succeeding modern architecture through the turn of the 21st Century, Nixt's glyphs are timeless, clear, ultra-legible in all styles and weights. Best use in Advertising, Branding, Signage, Architecture, Fashion, Posters, Headlines, and By-Lines, Print & Digital, and of course Labels. There are currently, at first release, 7 Styles: Extra Light, Light, Regular, Italic, Book, Bold, & Extra Bold. There are more in process and will be added when completed. The inspiration behind the Nixt Fonts is the Bauhaus, Mid Century Industrial Design, Art Deco through Moderne Era Architecture, American Pottery and American Design of The Twentieth Century.

The Dutch word “leuk" translates loosely to English as pleasant, jolly, funny, witty, clever, nice, sweet, kind, nice, amusing, entertaining, and funny. Leuk, the font, is a small, highly legible font with a witty, sociable personality that engages it’s readers. My challenge in designing Leuk was to find a unique feature to set apart the font without losing the fundamentals of type design. In the process of doing so, I created a virtual font “smile and wink” in the “o” upper and lowercase with integrated stencil-connecting strokes within the “a,e, k, z, o, ß” to reveal Leuk’s calligraphic roots. Legible and friendly, Leuk is designed for use in advertising, brochures, promotion, book cover design, packaging, and the like. The Leuk family consists of Leuk Light, Leuk Light Italic, Leuk Regular, Leuk Italic, Leuk Bold, Leuk Bold Italic, Leuk Black, Leuk Black Italic in Opentype format.

BeachBar is a modern bold script with a sunny mood. It is inspired by, well, Beach bars, the summer and the sea, the hot afternoons with a cocktail in your hand and the sound of splashing waves. Beachbar turns our love for summer into a dynamic and vivacious font that comes in three different styles to choose from: BeachBar (connecting small letters, disconnected basic caps, ideal for text), BeachBar Alt (all letters are disconnected) and last but not least BeachBar Script (connecting letters, script-like caps and a bold set of swash capitals for more eye-catching designs). All three styles come in six weights making the font versatile and useful both for web and print; think websites, posters, menus, logotypes, cards, signage, packaging and whatnot. BeachBar is friendly, sturdy and it makes a statement, but most of all, it is fun to play with.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. During the 80’s and 90’s, a lot of these logos leaned towards the geometric sans styles and the swiss styling of fonts like Handel Gothic, while playing with varying degrees of squared rounds and varying expanded widths per logotype. Mercurial has this flavor, but it wasn’t derived from logotypes. Instead, it began as a digitization of a film typeface from LetterGraphics in the early 70's known as "Sam". It visual ties to this genre of automotive logotypes and fonts like Handel Gothic lend a familiarity to it, yet it has an identity all its own. As with so many automotive logotypes, this singular style film typeface, lacked an expansive family which shows off all potential the logotypes have and what they "could" be and do. And that's where we come in. What originally began as this family’s Regular Width - Bold Style has been expanded into a collection of 3 Width Families, each containing 5 Weights. Here’s what’s included with the Mercurial Complete bundle: 396 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the final poster graphics for a preview of the characters included) 3 widths in the collection: Narrow, Regular, & Wide 5 weights in each width family: Light, Book, Regular, Medium & Bold. Here’s why the Mercurial Family is for you: - You’re in need of stylish sans font family with a range of widths and weights. - You’re love those 80’s automotive logos, but want more range of use. - You’re looking for an alternative to Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Stamen is the answer to a big question: What would happen if one tried to create a typeface that was ‘out of time’? If a type designer was to turn off the internet and put away the type specimens and just try to explore limbic, phantom history, what might that look like? No slavish explorations of the past. No gropings toward the future. No exhaustive core sample of the contemporary. Instead, using what one remembers of history and our collective vision of the future (usually a future imagined from the past) and channeling that into something that is, hopefully, new… The Bentons meet Frutiger for a Manhattan on a space station while Matthew Carter sways to the sweet sounds of the chorale that occasionally played through the halls of Stephenson Blake. This smear of implicit history expressed without explicit reference—this is Stamen: a family of 12 typefaces with a ton of alternate characters. The bold weight was designed for the LP “I Thought the Future Would Be Cooler” ( http://ittfwbc.com/ ) by the band YACHT in response to their request for a typeface that was ‘lost in time’, and refers to neither strict historical models nor purely futuristic forms. I built a small family out from there. It works well in text, but just as well for display setting. I think you’ll enjoy using it.

Introducing From the Internet, a sleek and pragmatic sans-serif typeface that exudes technical sophistication. The narrow and square shapes of this typeface create a compact and organized appearance, perfect for modern industrial design. With softened edges, the boxy letterforms have a sense of approachability that is sure to draw in any reader. From the Internet’s austere and uncomplicated style ensures that your message is delivered with clarity and precision. Its lack of intricate detail prevents any distractions, keeping the focus on the essential message. This typeface avoids clichés, ensuring that your designs are always fresh and unique, without any conspicuous sci-fi influences. This font’s versatility is enhanced by the “stylistic alternatives” feature available in OpenType-savvy applications, allowing for access to alternate versions of the “f” and “t” letters. From the Internet offers a range of styles, including Regular, Italic, Bold, and Bold Italic, each with its unique personality. Whether you’re looking to create sleek tech manuals or modern business presentations, From the Internet is the perfect typeface to convey your message with sophistication and style. Its pragmatic and precise style ensures that your designs will always be on-trend and highly readable, making it an excellent choice for any designer looking to create an impact. Most Latin-based European 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, 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, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, 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), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Trop Magus is a rugged typeface following in the tradition of Ramon Llull and Jean Jannon. Llull’s illuminated manuscripts from the Middle Ages inspired many later Alchemical texts in the Renaissance. And it was during this era, in 1615, that Jannon cut the matrices for Typi Academiae. The Trop Magus typeface includes: - Sixty-five Alchemical and Astrological symbols - Multi-language glyph set - Old Style figures - Four sets of alternate glyphs - Pseudo-Random OpenType features

Lamp Post JNL is a digital interpretation of a design popular in the early 1900s called Post Old Style; no doubt inspired by a certain Saturday periodical with a similar name. There is an intrinsic charm to lettering that evokes a hand-made look, and this design is a perfect example of the genre. Available in both regular and oblique versions, it will add the nostalgia of simpler times to any print or web project.

Beauty Magnolia is Unique, playful and versatile serif Font with 30+ ligatures and 97+ alternates that you can combine to get curves and beautiful shapes just in seconds. Play with the ornaments to create a more stunning display. This font is suitable for use in many design forms, for example magazines, postcards, logos, vintage look, old classic ,60s, 70s, 80s era, wedding projects and many more. We recommend using Adobe Illustrator or Photoshop.

Wildebeast is a type of retro font display with a classic and distinctive shape that gives an old school feel in it with the addition of a combination of each letter giving an additional impression to many of your projects there are many things you can do with this font, namely you can use it as a novel book title, classic movie title and your classic stories on social media Thank you very much

Cremotic Sans is stylish with extreme cuts, sharp angles, and interactive straps. Affected characters are spread across three capital-only subfamilies, with distinct styles, and distinct personalities. The bold separation of characters and the considered standard of ligature create a type that is solid, modern, and attractive. Cremotic is a modern fashion serif font, each letter has been carefully crafted to make your text look unique. Don't hesitate to send me a message if you have any questions!

Shields is a unique and versatile typeface that can be used for a variety of applications, from branding to editorial design. Its bold and modern look makes it a great choice for titles and headlines. Its letterforms have been carefully crafted to ensure a consistent look across all sizes, while its open counters provide a unique, yet subtle touch. With its refined details and balanced shapes, Shields is the perfect typeface to create an eye-catching presence.

Varino is a futuristic font. A font family inspired by the visual of technology that we can find in logos, Sci-Fi movies, games, and the present gadgets. Designed with minimalist style and unique letterforms, Varino is a perfect choice to use for logos, labels, posters, packaging, books, movies, presentations, games, and much more! Varino, complete with some elegant ligatures, will make your design look more futuristic and dynamic. Varino comes in Light, Normal, Bold, Outline and Extrude.

Chiffon is a serif, display typeface. With high contrast and elegant curves. Chiffon includes three different versions of ‘c’ and ‘e’, which are carefully placed throughout the typeface, paired seamlessly with the following glyph. However, OpenType features and stylistic sets make the alternate forms available for the user to choose from as they see fit. Velour is available in 5 weights, from Extra light to Semi Bold, and supports Western, Central, and South-Eastern European languages.

Honoured to introduce Mystical Memories — a luxury timeless serif font. Make your work stand-out from the crowd with Mystical Memories' chic and elegant 82 Stylistic Alternates and 19 ligatures. that can be accessed automatically when using Open Type features. Mystical Memories was designed specifically for bold projects in mind — perfect for creating headlines, word mark logos, monograms, quotes, product packaging, invitations, magazines and more... I am excited to see what you can design with Mystical Memories! Happy designing!

Ashford is a bold serif type and its matching Italic. Ashford packs plenty of timeless charm and elegance. As a display style it works best in headlines, posters and as a logotype. Ashford conveys a message of style and inner knowledge. Ashford is equipped with several OpenType features: Keep Standard Ligatures and Contextual Alternates on to prevent certain characters from colliding and spice up with Swash, Stylistic or Titling Alternates. Both styles come with more than 50 alternate characters.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Prushkov is the first typeface that I made. Its name comes from the town I lived in at the time. The design was inspired by both geometric typefaces like Futura, and didone fonts like Bodoni. Its aim (perhaps quite bold) is to blend high contrast with mathematical excellence. Prushkov will work well as a display font, both in uppercase and lowercase. It has a wide array of stylistic alternates for all of the capitals and some lowercase glyphs too.

Pintanina was developed in 2013 with many alternatives of alphabets as ligatures Based on the Comics of Condorito in the headlines, a typography very condensed, in 2015 was redesigned next to andrey kudryavtsev now with a much more finished design and a better Cyrillic and now 2017 with Franco Jonas, takes Pintanina and begins to generate all the Family of Thin, Light Regular, Bold, Extrabold, Black, also contains different dingbats that can be of help in the titles.

Neonoir is an homage to neon lettering craftsmanship of the mid 20th century. The beautiful futuristic grace of wall-sized bent-glass hand-writing is distilled into a three-weight connected script that’s on the button for headlines, logo­type and branding designs. Its Slim and Bold weights are formal monoline scripts, while the medium weight mimics the rough edges of ink on paper. Neonoir is available as an Open Type font that features alternate endings and lots of ligatures.

"Hockeynight Sans Rough" is the Letterpress version of my font "Hockeynight Sans". It's a contemporary college-sports font with the little twist – that its a misprinted grunge font. With its detailed grunge textures it is designed to go big and bold. "Hockeynight Sans Rough" is an uppercase font and it offers alternate glyphs as lowercases. Also you find a lot of bonus glyphs in the alternate glyphs panel! It pairs perfect with my other "Hockeynight" Fonts – Check it out!

Gothic 13 is a bold condensed sans serif typeface. Originally designed in small sizes, Gothic 13 is very similar to Modern Gothic Condensed, which was a turn-of-the-20th-century modernization of a popular nineteenth century style. Until Linotype integrated it into their technology, it did not exist in sizes larger than 24 point. The design used for digitization was the 18-point. Gothic 13 is ideal for display work, especially where space is at a premium.

ATF Agency Gothic was designed by Morris Fuller Benton in 1932 as a lone titling typeface. In 1990, David Berlow saw potential in the squared forms of the narrow, monotone capitals. He designed a lowercase and added a bold to produce Font Bureau Agency, an immediately popular hit. Sensing its potential to be than just a useful condensed face, Font Bureau developed Agency into a major series offering five weights in five widths; FB 1990-95

We were marveling one day at a colleague's handwriting. We noticed that it managed all at once to be casual and modern looking, yet admirably regular and legible as well. We took a few specimens of their writing as the inspiration for 'Sophie J', a family of two typefaces offered in regular and bold weights. Sophie J is ideal for posters, fun party invitations and anything else where a feeling of friendliness and warmth is required.

Originally created in 2014 but redesigned and improved in 2020, Remah Pro is an eclectic and versatile sans serif font family consisting of 5 weights, from extra light to extra bold with its respective condensed. When looking for something different, Remah Pro is certainly the best choice: the wavy shapes that defines it are intertwined with clean cuts and sharp edges, making it suitable for typographic experimentation and ideal for display work, logo design, posters and billboards.

A set-aside work file featuring a bold sans serif typeface that may or may not have had a vintage source history was given a new treatment. Initially, the solid design was converted to a stencil format and an experiment was undertaken to see what the alphabet would look like with a dual line treatment. Surprisingly, it turned out quite well and the end result is Dual Line Stencil JNL; available in both regular and oblique versions.

Qisharon is a contrast sans serif font, consisting of four styles (light, book, regular, bold) and including 5 writing systems such as Latin (supporting all European languages and Turkish), Cyrillic, Greek, Hebrew, and Arabic. It is based on classic calligraphic rules and respects the traditions of every script. There are plenty of ligatures, that will draw attention to your design. Qisharon with it's formal and elegant nature is a perfect fit for logos, visit cards and magazine headings.

Chelsea Girls is a bold sans serif display font with cheeky details that make it special. The vibrant letterforms are inspired by New York City in the 1970s—experimental art, handpainted signage, and manic nightlife energy. Chelsea Girls comes with a set of alternates, so you can mix and match to your heart’s desire. Chelsea Girls features all uppercase characters with punctuation, glyphs, diacritics, numerals, and multilingual support. Perfect for logos, headlines, packaging, editorial, and posters.

Stonecrop is a font unified by bold, imposing lines as well as its use of rounded rectangles as the central stylistic shape. Stonecrop loosely conforms to the monospaced font style, with near-equal widths for all letters and numbers (but not all symbols/punctuation), however it does incorporate kerning for all types of glyphs where appropriate to aid in legibility. A perfect font for usages that demand consistency and precision, while still maintaining a quirky and stylized handwritten effect.

Andrila is a brush font that I made using a pen and I bolded it in several parts, making it a beautiful calligraphy styled font, also very sweet and cute. It can be used for various purposes such as titles, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges, and more. Andrila is built with OpenType features and includes swashes, ligatures and everything to add touches to your design, as well as support for other languages.