Introducing Antimage Retro, a charming and versatile Bold Retro Script Font that easily takes your designs back in time while adding a modern twist. This typeface exudes nostalgia and is perfect for a variety of creative projects, especially those with a vintage theme. Antimage Retro's timeless elegance and lots of alternative character make it a great choice for designers who want to infuse their work with a sense of the charm of the past. Feature A set of lowercase glyphs Numbers, symbols and punctuation Multilingual Support Alternatives & Ligatures

Belinsky is a monospace sans serif typeface inspired by early 20th century geometric sans serifs, architectural letterings, and retro video games to some extent. Its exaggerated proportions and sharp details appear less harsh thanks to the corner rounding. It is comprised of a standard and text families, and the latter is especially suited for small text and programming, with wider spacing and more centralised gravity of certain letters like E. It still gives your codes a lot of personality. The typeface name is a reference to the designer�s favourite animated film, American Pop.

I'm always experimenting with new ideas for display fonts. I took the inside counter of a capital 'O', divided it into quarters, and applied an outline stroke to all the elements. By removing two quarters of the inside counter I had the beginnings for an interesting new design. Of course, the hard part was getting all the other letters in the alphabet to work well together using this approach. It's often a labor of love trying to shape an idea into a new typeface. I find the entire process stimulating and rewarding.

Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders rework Cheltenham of 1896 (designers Bertram G. Goodhue, Morris F. Benton) and Russian typefaces of the mid-18th century. A low-contrast text typeface with historical flavor. The modern digital version was designed at Poligrafmash type design bureau in 1989 by Lyubov Kuznetsova. Corrections and additions were done later in ParaType in early 2000th. Reworked version with Bold Italic style was released in 2009.

Snooker is a playful and rounded low contrast type family with sans and script styles. The styles work great together or alone, making Snooker a versatile typographic tool. There are four weights in both sans and script, from the elegant Extra Light to the attention grabbing Bold weight. The exceptionally long ascenders and descenders give Snooker it’s distinct personality which helps your designs to stand out from the crowd.  The script styles are packed with opentype alternates for customising your design. The family is perfect for branding, packaging and advertising purposes.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

Garnison, is a contemporary take on the humanist sans serif from Eric Gill with readability and craftsmanship at its core. Specially designed for editorial and publishing purposes. Garnison blends Eric Gill’s humanist sensibilities with a younger, more versatile attitude with 74 variations ranging from lightest hairline to heaviest black, the family features an extensive set of weights and optical sizes, matching true italics and lots of cool OpenType features. The variation in stroke width and letterforms help it achieve great scalability while still retaining its character. For inquiries please contact ozfoundry@gmail.com.

As Word War I raged on during 1917, a large number of songs were written as morale builders for both the soldiers leaving for overseas service as well as their friends, family and loved ones. One such song, "Send Me Away with A Smile" has its title hand lettered in a simple, yet somewhat stylized sans serif design that was so much a part of the Art Nouveau style of that era. Simply Nouveau JNL captures and preserves that design within a digital typeface; available in both regular and oblique versions.

Liquoia are three scripts with lots of contrast and different embellishments. Liquoia-A has the elegant, flaming decoration it blends well with Fleurons-Six. Liquoia-B has the flowery embellishments and goes very well with my Ornata-A and Ornata-B. Liquoia-C is the plain, straightforward and solid floating script. The name is derived from "liquid", meaning it is a fluid script that has a distinctive waveform. The "oia" part of the name comes from Sequoia, the sturdiest tree that came to my mind. Your sturdy, floating designer Gert Wiescher

I don't know what it is with me and peanuts. I simply love it! I like peanuts in all kinds of meals: breakfast, lunch, dinner and even in desserts! But with an addiction like this, an overload of peanuts sometimes appear...and I guess that's where the name of this font comes from :) The Peanut Ache font is super clean, and super steady - use it for anything that needs a clean look! I've added 5 slightly different versions of each letter, and this really helps making your text to look even more fresh and lively!

Summer Days is a cute handwritten script font with ornaments and swashes, perfect for any design that needs an adorable handmade feel. Use this font family for signatures and logos, notes and quotes, social media posts, and branding and packaging. This set includes: 1 script font in two styles: regular and slant, with ligatues for a smooth handwritten font. 1 ornaments font, with 72 cute handmade drawings (fruits, animals, sweets, plants, etc) in two styles: regular and blackout, for easy layering. 1 swashes font, with lots of swirls and underlines.

Introducing Caligreto Display new generation Typeface with 5 Weights. Caligreto Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Caligreto is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Five Weights. Light, Regular, Medium, SemiBold and Bold.

What if Platt R. Spencer and Charles P. Zaner were born in mid-20th Century? What if they were fans of The Beatles or The Mamas & Papas? Beatle is what those masters would have made. Letters shouting for peace, like a true hippie does, with a lot of elegance. With Beatle I wanted to mix the delicacy of engrossers script with the exuberance of flower power. The result is a font designed with freedom, full of provocative alternates and fat tails. Enjoy it and of course, let it be.

Galle is a very distinctive and specific typeface. It has 356 glyphs that are coherent in their own way. We have two versions to use: regular and italic. It is a display font with very characteristic letters, each of which has been developed separately, but in such a way as to match the rest of the typeface. The inspiration taken to design the cut is Sri Lankan typography - a lot of squiggles and sharp edges, hence the name of one of the prettiest and atmospheric cities in Sri Lanka - Galle.

Introducing RETRO-86 - A modern take on old-school computer graphic fonts. RETRO-86 was inspired by the low-resolution computer graphics of the 1970s, 80s, and 90s seen in classic games and on computer screens and interfaces. RETRO-86 features a beautifully limited, blocky design and is perfect for projects relating to the tech industry, the gaming world, and nostalgic work from the late 20th century. RETRO-86 is also a hyper versatile typeface. It comes in 2 complementary styles (regular, and shadow) and features 8 weight options each!

Kate Greenaway was a very famous British (1846-1901) author and illustrator of childrens books. Her books were an outstanding success in English publishing during the Victorian period. Recently I found these sweet Mignonettes in an old foundry specimen book. Mignonettes is derived from the French word "mignon" which stands for lovely, charming, sweet, delightful, pleasant and that does exactly describe these little drawings. I already published a Kate Greenaway's Alphabet a couple of years ago. So here is my second installment. Yours, Kate Greenaway fan Gert Wiescher

Mrs Summer is a hand drawn narrow typeface with a Western touch. It has only uppercase characters with alternate glyphs in place of lowercase letters and additional alternate glyph in a Stylistic Set. It has build in OpenType Contextual Alternates feature that will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t just throw random glyphs. Additionally Mrs Summer is filled with ornaments, arrows, stars, horses, trees and a lot of other symbols.

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)

Fox Mine It’s a decorative font and Color Font, a cute style, and fun. It is perfect for your Valentine's Day designs - or any design!. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add it now to your fonts library, and start creating spectacular designs! --- Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ --- 🌺🌺Please note that the Canva do not support color fonts! 🌺🌺

Germania is a Sans font based on classic roman proportions and forms based on my Imperia font. But I added that distinct, rigid, no-nonsense German touch. This monoline font with its classic proportions and personality is good for lots of occasions. And – I designed three »real« italic typefaces – not just slanting the straight ones. I corrected the stroke thicknesses and changed the lowercase a, e, f, g and q. I put in a collection of very interesting uppercase ligatures for free. Your classical type designer - Gert Wiescher

This font was inspired by the well-known philosopher René Descartes' hand writing. In 1634, from Amsterdam, he wrote a famous letter to his friend Mersenne, a great scientist monk, in which he spoke about Gallileus works. The greatest part of our glyphs is based on this document. We have added some letters Descartes himself didn't use, like modern s and j (he used exclusively s long and i instead of j). A lot of ligatures and alternates are enriching the font, giving a better appearance of real handwriting.

Introducing Silky Harmony Duo, a luxurious duo font an all caps font with a bewitching modern script font. The duo was specifically designed for modern projects, made to match perfectly together. Silky Harmony serif comes in with lots of elegant ligatures to embellish and compliment the handwriting font. Silky Harmony Duo works great in movie posters, stationery, digital assets, logos, quotes and much more... Supported Languages: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish

In the advertising industry, I was often asked to supply the art directors with ideas for a san serif type design that was not the standard Helvetica or Univers. They wanted a fresh new approach, something with generous proportion, like Avant Garde perhaps, but not as uniform in proportions. A font that would lend itself well to wide and long columns of text with lots of leading. So, I rolled up my sleeves and designed a font that meet all their criteria. Contax is the new 'Univers' for the 21st century.

Basic Sans: A necessary sans. Designed by Daniel Hernández A family of Grotesque features with a functional, neutral and seeming clean style that looks to keep a neutral (or basic) appearance on paper, but including lots of details that give it a unique personality. Basic Sans is a sans-serif typeface well-suited for publishing projects, medium-sized text, branding, posters, headlines and more! This font family comes in 7 weights—ranging from Thin to Black—plus matching italics and has a set of 416 characters that support 206 different languages.

The Teapot Dome scandal was a 1920s bribery scandal involving Secretary of the Interior Albert Bacon Fall. Fall leased Navy petroleum reserves at Teapot Dome in Wyoming [along with some California reserves] at low rates with no competitive bidding. The San Francisco Examiner for Feb. 20, 1924 ran the two line headline “U.S. Senator Named as Oil Stock Speculator; Whitney to Face Quiz Today on Slush Fund”. The headline was set in a condensed, slightly squared sans serif typeface. This is now available as Special Edition JNL in both regular and oblique versions.

Rise Up With Fists is a fun, sans serif font with lots of variations and extra drawings, inspired by protest posters. Use Rise Up With Fists in any design that needs a bold font, such as logotypes, quotes and social media posts, website and magazine layouts, and poster designs. Rise Up With Fists includes: Rise Up With Fists Regular, with 100 ligatures that makes this font look truly handmade and realistic (and fun to use!) A Filled alternative for a more bold look An Extras font with floral drawings and doodles

PRIMITIVE is an attempt for an essential of urban culture, especially graffiti and the unique pixaçao. PRIMITIVE is also inspired by the ancient cultures, especially scandinavian tribes as an anagram to the present. This "vandalism" is viewed from several angles. PRIMITIVE is one of them. PRIMITIVE is one of the modern headline fonts which include a lot of alternates, a variation of one word for a comfortable use. Two weights, ligatures and stylistic sets are obvious. And this cheap price is a support to this independent culture from me.

Introducing Krick Display new generation Typeface with 4 Weights. Krick Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Krick is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes four Weights. Regular, Medium, SemiBold, and Bold.

An original text and display type family was designed for ParaType in 2008 by Manvel Shmavonyan to be used together with Susan and Susan Classic, earlier released type families by the same author. This is a low-contrast sans serif font with open letterforms. Its shape is distinguished by rounded upper parts of lower case. Susan, Susan Classic and Susan Sans forms a super family coordinated on weight, style and proportions. Susan Sans is well suited for short and middle range text composing as well as for use in advertising and display typography.

Culinary is a typographic system inspired by the art of cooking. This family comes with 2 subfamilies: one Regular Family of 4 weights plus a Sans Line font and a set of Borders, and one 4-weight Script Family that also includes Sans Line and Borders. Culinary is well-suited for packaging, restaurant and cafe branding, bakeries, logos, magazines, menus, recipe books, invitations and much more. The OpenType features allow access to a wide set of characters, including ligatures, swashes, endings, initial and terminal forms, and lots of alternates.

Gelato is the Italian word for ice cream, commonly used in English for ice cream made in an Italian style. Gelato Sans designed by Ania Wieluńska is a humanistic typeface with geometric construction. It is characterised by a lot of details, which gives it a friendly and warm character. Scalable and large x height, sharp cuts makes Gelato good choice for many purposes from textes to display usage. All family consist 18 styles with italics from hairline to black. Ania was awarded a TDC Beatrice Warde Scholarship for this type family.

Trouble never hangs around, when it hears this Mighty sound, These letters come to save the day -- Mighty Mouth is on the way! When there's Danger, never Despair; The Sound of Mighty Mouth is in the air! Now YOU TOO can shoot your mouth off with the Mouth Almighty of Mighty Mouth. Comicraft’s latest offering utilizes variable type technology, for user-adjustable bold, italic and BOUNCE in illustrator (or any other program that handles variable fonts)! CAUTION: You may wish you’d never opened it, this font has no control over your tongue!

This time, I would like to introduce a bold typeface called "Madame Karoline", which has an attractive retro atmosphere. This font looks interesting too, as I've added some alternatives that you can use. Don't forget to add an extruded style to make your design look more appealing. This font is suitable for those who want a design that shows an old-school side but still relates to a modern look that is attractive . No problem if you have experience using this font in your designs. Make this font one of your computer's font collection.

A font from outer space, CA Weird Stories - the perfect font for science fiction novels or to create a spooky atmosphere. A bit too weird and a bit too slanted for this world. Treat yourself with the ability to stack the two styles on top of each other to create great special FX. You may even consider to use the "fill" style on its own, it might look a bit uneven, as it was actually designed to be used in combination with the "shadow/regular" style, but hey – that's what this font is all about!

The typeface DIY Fantasy Stamp is designed in 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired by the crafts of 20s and 40s. The basis for this authentic stamp font was a letter case with a rubber stamp from Simplex. This analog character set of 85 stamps, was digitally extended to 500+ glyphs. 5 font-styles (Sharp, Dirty, Rough, Invert, Heavy) with 546 glyphs (Adobe Latin 3) incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (4 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: DIY Fantasy Stamp ■ Font Weights: Sharp, Dirty, Rough, Invert, Heavy + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 546 glyphs (Adobe Latin 3) ■ Spe­cials: Decorative extras like arrows, emojis, ornaments, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as Open­Type Fea­ture. dlig) and stylistic alternates (4 stylistic sets) ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

The Mayberry® is an extensive family of 14 OpenType fonts. Mayberry was initially designed by Steve Matteson to emulate the technical behavior of a font family called Tiresias™ for use in set top TV devices and user interfaces. Mayberry is a significant improvement in aesthetics and functionality over Tiresias. Mayberry includes true italics and a wide range of weights to provide the highest quality and readability on low resolution devices, while also featuring a range of OpenType features that will appeal to creative professionals. Mayberry is a slightly condensed humanist sans serif which allows for more readable text in a narrower column. Open counters and upright stress help keep the design of Mayberry readable at low resolutions. A significant amount of care has been given to design subtleties allowing the design to function well at large sizes. The Mayberry character set supports Cyrillic, Greek, Central and Eastern European, Turkish and Baltic, Mayberry also includes a slashed zero for use where absolute distinction between 'O' and zero is a concern. Also included are typographic features such as old-style figures, fractions, superior and inferior numbers for use with applications that provide advanced OpenType typographic support. A set of closed captioning symbols and arrows add to the font's versatility in interface design.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom. The Tiresias font is designed to have characters that are easy to distinguish from each other, especially important for the visually impaired. The following key factors were considered during the design process: character shapes, relative weight of character stokes, intercharacter spacing, and aspect ratios that affect the maximum size at which the type could be used. The benefits of the Tiresias font are greatest on lower resolution displays, such as televisions, train and airline information terminals, and low resolution displays on wireless communication and handheld devices. InfoFont is for printed instructions on public terminals where legibility is the primary consideration; these instructions are often read at a distance of 30 to 70 cm. Infofont is not designed for large quantities of text. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. Large print publications should be designed to specifically help with reading problems, and should not just be an enlarged version of the ordinary print. The Tiresias LPfont family, made up of roman, italic, and bold weights, was designed to address and solve these issues. The RNIB developed PCfont for people with low vision to use on computer screens. It is designed for use at larger sizes only. PCfont includes delta hinting technology in the font to ensure pixel-perfect display at key sizes. Signfont is for fixed (not internally illuminated) signage. The recommended usage is white or yellow characters on a matt dark background. Note that the “Z” versions have slashed zeroes, and are identical in all other respects. These faces were developed together with Dr. John Gill of the National Institute of the Blind, Dr. Janet Silver; optometrist of Moorfields Eye Hospital, Chris Sharville of Laker Sharville Design Associates, and Peter O'Donnell; type consultant. Tiresias himself is a figure from Greek mythology, a blind prophet from Thebes.