Welcome to the world of Emory, the typeface that packs a gritty punch. With its sandpaper-like texture, Emory is perfect for those looking to add a tactile quality to their message. This easy to grip typeface is designed to be comfortable to use, yet its coarse texture will make your words stand out. Every letter has been crafted with care to ensure a unique look that will make your text truly one-of-a-kind. In addition to its distinctive texture, Emory also features bespoke combos that will automatically be substituted for common character sequences. This feature adds an extra layer of roughness to your text, ensuring that your message will truly stand out. Emory is available in four distinct variants: Regular, Italic, Bold, and Bold-Italic. Whether you’re looking for a subtle touch of texture or a bold statement, Emory has you covered. So why settle for a plain, boring typeface when you can add a touch of grit and texture to your message? Choose Emory and experience the power of grit! 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.

Palo is a 72 style utility type system built around 4 widths and 9 weights plus matching italics. It's semi grotesque appearance gives it a unique personality while the stylistic alternates give a true sense of flexibility and customisation. Design features within Palo are evident without being excessive. 3 stylistic sets provide a range of functional to fluid design approaches. Case sensitive punctuation & ligatures offer a professional feel. The italics have been optically adjusted to improve their weight balance and on select lower case glyphs they feature unique designs to make the italics a feature unto their own.

Introducing, Collingar - An Aesthetic Serif Font with italic version! Collingar is a classic and modern serif with a bunch of ligatures that will make your poster, cover or logo even more stunning and stand out! With italic version that you can use as a complimentary! You can use this font as a complement of your script collections or use this font as a stand alone font for several purposes such as a wedding invitations or even your own branding! This fonts support Multi Language and already PUA Encoded! Features : Regular & Italic Version Uppercase & Lowercase Number & Symbol Ligatures Multilingual and PUA Encoded

A cute and funny kid-friendly typeface inspired from bears and handmade with passion and joy. Will you believe if we say, HollaBear is made by bear cubs. The typeface is essentially simple but very uniquely expressive when it comes to the design of posters, flyers, cartoons graphics, logotype, web and display usage. Please see the examples shown above to get an idea about the capability of this typeface. HollaBear comes with Extended Latin character sets including Western European, Central European and South Eastern European character sets. The typeface comes in 6 variants (Regular, Italic, Outline, Outline Italic, 3D and 3D Italic).

Gageac is a classic "Didona" font, characterized by an extreme contrast in the thick and thin strokes, by the use of short serifs, and by the vertical stress of the letters. This typeface is slightly condensed, the ascenders were lowered, the thick strokes were exaggerated and enriched with a full set of OpenType features of tails, ligatures, alternates and swashes, giving them an excellent legibility and a very clear and elegant appearance. 
The italic version is a true "italic" so some glyphs were adjusted. Gageac Italic was carefully designed and drawn to be combined with Gageac Regular.

Designed between italic and script styles Airco is a typeface designed between italic and script styles. The letterform finish is rounded. Designed ultra slanted (27°), the shapes evoke a fast and assertive movement. The result is a human typeface, dynamic, that will visually work well in technology and sport, without ever being dry, rigid or dehumanized. The structure of the letters is influenced by Renaissance italics, at the difference that in the case of Airco, the lowercases and capitals are visually homogeneous thanks to the giants lowercases. In fact, the default numerals can be used in capital as well lowercases settings.

Ribbon Cursive was developed largely from Mercator's Italic Hand, which originated from Italy, during the Renaissance. Ribbon Cursive is fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text. It should be noted that, due to the heavy embellishment of all the capital letters, this font will not work well if your text is set in all capitals! Ribbon Cursive is contains the full West European diacritics and a full set of ligatures, making it suitable for multilingual environments and publications.

Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it. Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full range to explore a whole host of applications, while the fonts outlined give a real modern feel to any project. Any specific license questions or questions, feel free to contact zamjump@gmail.com zamjump

Historical printers ornaments researched by Intellecta Design; from the 1882 very rare Richard Gans first catalogue. See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Italiana, and Gans Titania.

Historical printers ornaments researched by Intellecta Design; from the 1882 very rare Richard Gans first catalogue. See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno, Gans Lath Modern, Gans Titular Adornada, Gans Ibarra, Gans Antigua, Gans Antigua Manuscrito, Gans Fulgor, Gans Radio Lumina, Gans Carmem Adornada, Gans Italiana, and Gans Titania.

A redesign of Torino, a great feel with many possible uses. Also has a matching Italic version.

Lectio is a Roman font based on a Venetian Renaissance early typefaces, but with a modern and expressive design. His obvious calligraphic influence favors continuous text reading. The generous internal "eye" gives Lectio an appropriate legibility, its soft and organic modulation avoids fatigue, its robust character is attractive and stimulating in large bodies, especially for use in headlines. Lectio comes in two versions: Lectio and Lectio B. Lectio has seven weight and their corresponding slanted variables (true italics). Lectio B is composed only of Italics in six weight. The ascenders are slightly lower, the descending are more regular and the oblique trace of some letters have a more constant rhythm. Each of these faces has the optimum amount of contrast agains the background and clear and open internal letter shape. These fonts include diacritics for CE languages, Old Style figures, standard and discretional ligatures.

Quantificat™ is a modern geo-humanist sans-serif typeface offering excellent legibility and strong personality. It is a fully featured text type family, well proportioned and uniform in color. It is designed to serve as a characterful display typeface, too, as it includes beautifully carved, flowing, calligraphy-inspired true italics, subtle, precise hairlines as well as modern, powerful and friendly heavy styles with emphasized ink traps. Quantificat family introduces advanced typographic OpenType features, such as stylistic alternates, swashes, small capitals, case sensitive forms, standard and discretionary ligatures, contextual alternates, lining, old style, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols. The complete family consists of 20 styles - 10 weights with corresponding true italics as well as 2 variable fonts. It supports extended latin languages. Quantificat is a part of one type system together with Qualion, Qualion Round and Bozon.

Edgethorn is a beautiful, italic-only transitional serif typeface that was born after I became obsessed with a few small paragraphs of italic text on a type specimen broadside from 1785. Working on this type revival allowed me to delve much more deeply than I ever have before into type history and typeface classification, and I’ve included some type history for you with your download so that you can play around with the smattering of historical characters I included (like the medial s). Although it is based on centuries-old typefaces, Edgethorn is elegant, timeless, and perfect for 21st century projects. Edgethorn includes approximately 525 glyphs — including 64 standard and discretionary ligatures and a handful of contextual alternates and character variants — and supports over 200 languages. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign.

1913 Typewriter Carbon is the bold version of GLC foundry's 1913 Typewriter. It is available in two styles: Normal, and Underlined (Bold). It is a complete alphabetic font. It is used as variously as web-site titles, posters design or books editing. It may be preferable, if possible, when printing, to choose a pale color - dark grey instead of heavy black, for exemple - to give a good appearance, just like the real one, and still benefit from the full details. With inkjet printers, it may be used the economic or draft option with a good result too. The old typewriter characters size is 11 or 12 points, but this font supports easily enlargement.

When people usually think of wood type, images of bold and ornate designs reminiscent of the Old West or the Victorian Era come to mind. In truth, wood type was manufactured well into the late 20th century, and only fell out of favor when the letterpress was replaced by the offset press and computerized typesetting. Although there are hard-core collectors who have started a small resurgence in the preservation and use of wood type, it's the digital interpretations of these classic faces that see the most use in today's electronic layout work. Deco Wood Type JNL reinterprets one of these later designs, a bold sans with a decidedly Art Deco influence.

Tanida Display Bold is a striking and commanding font that demands attention. It combines the elegance of a serif typeface with a modern and bold aesthetic, resulting in a visually captivating design. The letterforms of Tanida Display Bold are meticulously crafted, featuring strong and confident strokes that exude a sense of power and sophistication. Tanida Display Bold possesses excellent legibility, even at smaller sizes, ensuring that your message remains clear and impactful. Whether used in print or digital media, this font effortlessly captures attention and communicates a sense of authority and confidence. With its timeless appeal and versatile nature, Tanida Display Bold is a powerful tool for designers seeking a bold and captivating typography solution.

Eponymous is an Egyptian-style typeface with chunky, scalloped serifs. It is available in five weights in both roman and italic. I have always loved slab serif type and have created Eponymous to fulfil a yearning for a versatile, stylish and contemporary slab face. A key design characteristic is the implementation of scalloped serifs which, to me, imbues the typeface with a distinctive personality. Make use of the Open Type features that are part of Eponymous. For a start, you can implement some stylistic alternates, so, if the main characters don’t quite suit your concept, try activating Stylistic Set 1. There’s also a full set of small caps included. You can mix and match these characters with regular lowercase to create some interesting unicase typography. Of course, all characters have complementing diacritics, enabling multi-language support. Key features: Eponymous is is an Egyptian-style typeface with chunky, scalloped serifs 5 weights in roman and italic: Light | Regular | Medium | Bold | Black Full set of small caps with diacritics and figures 30+ alternate characters Full European character set 650+ glyphs per font Eponymous was redrawn and re-spaced to a higher standard in April 2021 (v2.0).

Bentron Calligraphic is a bold and beautiful brush font with a touch of speed and sophistication. Its rapid strokes and dynamic flow give it a signature-like quality that is perfect for adding a personal touch to your projects. Designed with a focus on the art of calligraphy, Bentron Calligraphic exudes elegance and grace with its smooth curves and flowing lines. This font is perfect for anything from logos and branding to social media posts and invitations. Bentron Calligraphic comes in four styles: Regular, Italic, Alternate Regular and Alternate Italic. This range of styles provides versatility and allows for dynamic and creative designs. Use underscore _ to create a swash anywhere in a word. Example: Space_jams Use multiple underscores to create different swashes. Example: Signa____tures The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Audacious is a quirky, confident and adorable serif type family across five weights in both text and display styles. This attention-grabbing retro typeface has an imperfect nature that embraces its quirks and irregularities, giving each font a distinctive and somewhat oddball personality. Its defining characteristics include large open counters, awkward stresses, large exaggerated wedge serifs, and voluptuous teardrop terminals. Whatever typographic compositions you create, Audacious will demand attention, making it perfect for titling, headlines, logotype, and branding projects. Take advantage of the 182 stylistic alternates to embellish your type and add that touch of class to titles and logos. Display weights work really well with close line spacing and stunning headlines are a breeze to create. Text weights make for a pleasant reading experience while packing all the punch and versatility found in the display variants. There are 20 fonts altogether, in Text and Display styles with weights from Regular to Black in both roman and italic. Audacious has an extensive character set that covers all Latin European languages. Key features: 2 Styles in Roman and Italic 5 weights: Regular, Medium, SemiBold, Bold, & Black 182 Alternates Full European character set (Latin only) 1100+ glyphs per font.

Artist and calligrapher Daniel Reeve, well known for the lettering and maps in The Lord of the Rings films, is creating hand-crafted fonts of some of his writing styles - Kereru is the inaugural release, allowing users to emulate some of his much-admired calligraphy. Nominally a half-uncial style, clever arrangements of the stylistic sets allow Kereru to be set as full uncial or standard roman, as well as offering numerous alternates, ligatures, swashes and flourishes, ornaments, unlimited fractions, scientific inferiors and numeric superscript, all accessible via OpenType features. Cyrillic and Greek alphabets are included, in addition to the letters required for all the languages of Western, Central and Eastern Europe, Scandinavia and the Baltic. Kereru is very legible and easy on the eye, without sacrificing calligraphic flair. A pdf description of the Stylistic Sets and their usage is included with the font package, which comprises regular, bold and italic variations. Kereru Italic supercedes and improves upon its previous incarnation, Shire Regular. The name Kereru comes from New Zealand's Maori language - it is our native wood pigeon, a bird of generous and rounded form, like the font itself.