Basque is a delicate nineteenth-century upright typeface of angular appearance, reminiscent of Black Letter scripts. The letterforms of the Basque font do not flow, but are made up of straight lines joined to form a rigid shape.

Based on an example of [circa] 1950 Finnish embroidery lettering, Evening Out JNL is a classic Art Deco design with contrasting thick and thin lines. This elegant and stylish typeface is available in both regular and oblique versions.

"Classy eccentricity" — Farthing evokes elegant traditional serif styles, playful but poised. Farthing is a serif face in five weights, with alternate characters and both lining and old style numerals. Suitable for both headline and short paragraphs of text.

Sister Frisky jumps up and down and drinks a lot of coffee. There are no two parallel lines in this font, and no right angles. Here's a flashy, dancing, retro script with an sharp edge and clear wit!

A curly and playful sans serif font with blurry lines. Fits nice to anything that has to do with products for kids! Comes with 3 different versions of each lowercase letter, and they automatically cycle as you type

Didyma display font has at the same time an entertaining appearance with its double-line structure and a luxurious feeling with its sharp and fluid serif structure. Didyma offers designers creative alternatives to create brands, packaging and titles.

Alfrere Banner is a 1950s inspired masthead typeface, designed to complement our ‘Alfrere Sans’ typeface family. These two Banner faces, offered in regular and incised forms, emphasise horizontal lines and have a distinct ’streamline-era’ feel to them.

OMG it's the funky shed! The height and width of each character vary to make it look jumpy. At the same time, Funky Shed, has got a crunchy line which makes it even more funky to look at!

Kollate - a display serif with a line, simple, clean, and visually elegant. Specially designed for elegant-themed projects, perfectly suitable for creating simple, clean, lifestyle designs such as logos, titles, magazines, and more. The font features standard ligatures.

Turlock JNL is a more traditional-looking slab-serif Western Font along the line of Brogado JNL. With its hand-drawn, old-time look and feel, Turlock JNL is perfect for anything with a Western or cowboy motif.

Noopla is a modern sans-serif display font. Key characters are formed with sweeping and flowing lines, resulting in some really interesting word forms. With four weights, Noopla is great for branding, headlines, signage, social media and more.

Hangman's Delight is a scratchy, all caps font. The upper case letters come with swirls and curls, but the lower case letters are unadorned. A bit of an unusual font, I admit, but it would look nice on book covers and posters. Comes with some ligatures and stylistic alternates and a whole bunch of diacritics.

Umpire Serif is a heavy sans-serif immersed in Victorian grandeur, exuding a kingly confidence that commands respect. Every letter carved is a testament to its solid and heavy foundation, echoing the decorative prowess of a bygone era. With its bold demeanor, the typeface effortlessly portrays nobility and pride. It's not merely decorative; it's regal.

Hoplight is a friendly, curvy, hybrid. A fusion of the cool character of a roman, with the flow and informality of an italic. Throughout Hoplight, many sharp serifs have been replaced by dot style serifs, to allow the contours of the letters to flow seamlessly into the terminations. Hoplight embodies a sense of playful ease.

Strawn is my Wobbly and curvy funk font with bouncy serifs. Watch it bounce its way down the street, or into your next project - you know, that one that needs a fresh breath of fun! Comes with both fi and fl ligatures! You will need to use OpenType supporting applications to use the autoligatures.

Xavier Dupre’s Molto font family is a tonal master, creating tenderness in a slab serif and tempering toughness with flourishes. Slab serifs created their original niche by their ability to grab attention and overwhelm, which caused them to be seen as strong, dominant, and desired fonts, especially in advertising. Slab serifs are the result of placing defined edges on something meant to take up an inordinate amount of space, rather than meant to be graceful. Molto updates this concept to allow a greater, and gentler, range in the lighter weights. Molto’s nine weights are defined by their intended use. The two extreme weights (Hair and Fat) act as display partners for magazines, titles, and posters. The Hair weight is runway ready with its sturdy serifs, breathy internal space, and stable lettershapes that were designed both to perform and impress. Molto’s Fat weight packs maximum punch in a believable way. Its wide and deliberate curves contrast against thin connections and landing strip stems. Molto can be put to perfect use in a fashion magazine using swashy Hair headlines set against its darkest weight. Molto’s seven intermediate weights, with their classic and legible shapes, are meant for texts of all sizes. The notches on diagonals, distinct numerals, and acute terminals grant benefits from caption sizes up to headings. Molto’s refined light weights and punchy heavy weights set the stage for a swashy surprise — alternate capital letters act as refined garments laid atop its concrete skeleton. The Molto font family rejects saving space in favour of intensifying shapes, placing maximum weight on the edges for better legibility and impact. Latin-based digital and printed designs will benefit from Molto’s design voice and breadth. This means UI, video, and online text, and print materials like dictionaries, packaging, advertising, and branding can all put Molto’s robust forms to multipurpose use. Molto successfully creates balance in a slab serif design: an opinionated and striking type family, stalwart in captions and exuberant in display, thanks to swashes which add some originality to the slab category.

Florisa is a typeface inspired by the unique shape of flower petals, which are made into unique letters. Florisa can be used for displays, headlines, logos etc. Florisa comes with capital letters, numbers and some symbols, and line version

Grazia is a joining script with zero contrast. That means that I designed the line of the letters so, that they look equally thick all the time. The script is almost upright and has this 1930s look to it.

German type designer Manfred Klein and Dutch type designer Just van Rossum created this pi and symbols FontFont in 1992. The family contains 4 weights and is ideally suited for wayfinding and signage. It comes with tabular lining figures.

Typesetter JNL is based on an old-style 'grotesk' (or 'grotesque') text face popular with printers and rubber stamp makers since the 1800s. The nonconformist character shapes and line widths are reminiscent of hand-cut type of the era.

Revolutionary sans serif font BOREN with futuristic LiquidFlow style brings modernity and creativity. Crafted with precision, it captivates with smooth lines and high-tech aura, adding professionalism to projects. Choose BOREN for sophistication and futurism in your creative designs!

Kiddie Blokz JNL is a limited character set font in three styles: Regular, Lined and Block, emulating the look of toy blocks for themes with a juvenile motif. For a companion font to set regular copy, use Roughshod JNL.

Miscellany JNL collects numerous images of various genres into one dingbat font. There are vintage stencil patterns, old-time ad cuts and decorations, line spacers [number keys 1 through 7], conversation balloons, parking lot symbols and other assorted goodies.

A single top serif creates a modern look between serifs and a single weight font. SingleTyne contains short ascenders and descenders for tight line spacing designed as a display face that also works well for short sentences and paragraphs.

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer. We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature... you name it, Adore can fit it. Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h... all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other. The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments. The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software. We also encourage you to take a look at Typodermic's Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.

Introducing Zamora, the typeface that embodies the grit and determination of the open road. With its cracked finish and sharp Latin serifs, it’s a font that commands attention and respect. Each cut and scratch on the surface of Zamora is like a battle scar, a testament to the font’s toughness and resilience. Zamora is not just any typeface. It’s a font with a history, a story that’s written into every curve and corner. The sharp Latin serifs give Zamora a strong foothold, and the slew of ligatures that come with it give text a natural, unpredictable appearance, like the twists and turns of a winding mountain road. So whether you’re designing a poster for a rockabilly concert, creating a logo for a biker gang, or just looking to add a touch of rebel flair to your work, Zamora is the font for you. 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.

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Homework Dashed font was specially conceived/designed for teaching cursive writing. This resource allows tutors and parents to create worksheets for individual or class teaching. Associated with the Homework font, students can learn and exercise their handwriting abilities. All capital letters, excluding I, F, T and P, link to any following small letter: the sequence of the previous letter stroke always follows the angle of the initial stroke of the subsequent letter. This, in the real world, means that words built with the font can be handwritten without having to lift the pen from the paper (except to cross t and f and dot i and j) or interrupt the writing flow. All the letters are base aligned and all small letters have the same ‘x’ height. Homework Dashed font is a tool with which teachers and tutors can create repetitive alphabetical writing exercises that can be printed on lined sheets.

Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It's something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and Capitals) was inspired by a line of lettering seen on a late 19th Century enamel advertisement made by Chromo of Wolverhampton (hence the family name). The family grew, topsy-like, from a recreation of these initial fifteen capital letterforms to the three complete typefaces offered here. The three typefaces are ideal for advertising and poster work with a Victorian, Edwardian, or 'Steam-punk' theme. They would also be eminently suitable for signage inspired by the same eras or (as we've seen a number of our other typeface families prove very popular) for book covers of period related novels and historical works. Finally, these slender elegant display faces are just plain fun!

Proudly present Microphone Check - Marker Type, created by ikiiko Microphone Check is inspired by the bold and expressive signature strokes of the 90s street hip hop movement. In that era, freestyle marking was a method of self-expression that was closely associated with the underground graffiti scene. This typeface perfectly encapsulates the vitality, attitude and resilience of life on the streets. Sharp lines with bold, bold bodies characterize this type of marker, allowing for substantial fills and bright colors to stand out on any surface. It gave them the opportunity to express their originality and creativity while leaving their mark on the urban environment. This type is very suitable for making a street wear brand, book cover, movie title, magazine layout, poster, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates & Ligature Multilingual Support Works on PC & Mac

Garuda typeface, featuring the shape and style based on "Garuda Pancasila", the state symbol of the Republic of Indonesia. Garuda is a mythical bird in the Javanese puppet stories, is very similar to the eagle. At the typeface we can find more ligatures beside than the standard. Within Garuda at least encoded 792 glyphs per weight onto major codepage: win 1252, 1250, 1254, 1257 including Mac OS Roman. It is containing more OpenType features such as swash, contextual alternate, stylistic, figures/number, and a few bit ornaments. The typeface has a pretty good readability and legibility even in small sizes. So it is useful for short texts (text length? Whom fear) for print and screen material. Usage on headlines, posters, titles, or something like that, can utilize ornament lines as a sweetener. Please find more information about the OpenType Manual of this typeface on the gallery page (pdf).

Proudly present Smokey Brown - Funky Type, created by ikiiko. Smokey Brown is inspired by the 70's funk & soul vibes. Is a distinctive and vibrant style of typography that emerged during the 1970s, primarily in the context of soul, funk, and disco. One feature that makes this font style distinctive is the use of bold letters with thin lines to form letters. Typography itself is fun and enjoyable. The letters can be played with by being stretched, bent, or distorted in various ways, giving the font a sense of movement and energy. This type is very suitable while used in retro-themed designs or for projects that want to evoke a sense of nostalgia and retro vibes. Like a poster design, magazine layout, movie title, brand logo, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Eirinn was designed by Norbert Reiners for Linotype in 1994. Its forms are based on those of Irish scripts of the 7th and 8th centuries, an example of which can be found in the Book of Kells in Dublin. Characteristic of this style are for example the lower case f with its short cross stroke on the base line and long cross stroke above, the unusual form of the g, and the t, whose form is almost like that of a c. This style consisted of a mixture of lower case and capital letters at the time of its conception, but Eirinn has a full set of both lower case and capital alphabets. At first glance the viewer is reminded of ancient and indecipherable writings of the Celts before the forms of our contemporary letters and words become evident. Eirinn will lend a touch of mysticism and secrecy to any text.

Italiko is a calligraphic font. The letters have been hand-drawn individually to extract the common strokes. The strokes have then been re-composed to give the font a more unified appearance. It comes in Black, Bold, Regular, and Thin. The Thin version is different as the extreme contrast in the font makes the thinner lines disappear. It is likely best used as a display font. There are ligatures for the combination of letters that can be written more quickly by using a single stroke and letters that are slightly different from the ‘Italic canon.’ You can select which one to use in your application (i.e., Word) using combinations of italic/bold: No selection -> Regular Bold -> Bold Italic -> Thin Bold Italic -> Black If you end up using the font, get in touch at https://github.com/lucabol/Italiko. Feel free to suggest improvements or let me know if you encounter problems.