Odisseia: Monospaced Typeface Made on Earth by Plau. Plau presents Odisseia, a monospace type family in 8 styles designed with simplicity of shapes and a humanist touch. We’ve ventured into monospace territory, where all letters must occupy the same amount of space. This style is usually associated with typewriters and computer terminal fonts. Like all monospaced fonts, every letter align vertically in a multi-line setting. The rhythm created is peculiar, since large letters such as m and w occupy the same space as narrow ones like i. Because we have 4 different weights: light, regular, bold and black the design of some characters have to be adapted to fit the same width and achieve a constant light/dark value throughout. These features make Odisseia suitable for a specific yet considerable range of uses, from computer coding to systemized communication such as brand identities. This style has been used from high-end brand identity to cutting edge digital applications. Odisseia sets a little shorter in comparison with other monospaced fonts, and bears a large x-height.

Those footsteps you hear as you walk down that dimly lit Victorian street...? That flapping of leathery wings in the air...? The howl of some kind of Wolf-man in the countryside...? Those sounds that chill your spine and triphammer your heart are the sounds of unspeakable, terrifying terrors.... some might say horrifying horrors, scarifying scares... hammering, uh, hammers and now there's a font to capture them... a font that wants to suck your blood. Custom made for Ian Churchill's Awesome comic, THE COVEN.

Homeplate is a classic serif display font. The font is designed for use in vintage themes and works particularly well in bar, steakhouse, rodeo and country music themes. The font was originally developed for use in branding in baseball teams. The font is an all capitals font and includes 128 characters.

Small family called Bartender, for the lovers of retro style typefaces. Ideal for product names, packages, labels, old fashioned coffee shops, bars and everything with specific characteristics of past times.

Darkness Falls… beware the Moon and stick to the road. Keep clear of the moors, for there you will only find a bloody, UNNATURAL death. Tonight, as every night there is a Full Moon, the Blood Beast stalks the village. It is ready to catch the unwary one, the show-off, the FOOL! It walks the Earth in limbo from one month to the next and only one who is loving in spirit can bring an end to its Carnivorous Lunar Activities! Blood Beast arrives in three weights, Regular, Bold and Heavy, but we recommend you don’t tackle any of them unless you are brave of heart and prepared to save the soul of the poor victim who was left with the Mark of the Blood Beast! Features: Three weights with alternate upper and lowercase characters Languages: Western & Central Europe Automatic alternates & Crossbar I Technology™

Discharge is a bold, heavy, distressed and destroyed sans serif typeface. It was started alongside Universally Corrupt and Insurgent, but it took a couple extra years to finish. It was expanded to include extended Latin, extended Cyrillic and Greek alphabets, so it will work with most languages in Europe and the Americas.

Introduce a display font named Kinuhi. What can you do with a font like this? With a simple line of code and some creativity, you can make it the centerpiece of your next snowboarding gear or create a cool logo for your design agency. Or, maybe use it to quickly make a fun Halloween party invitation. The possibilities are endless. Of course with this font your various design projects will be perfect and amazing, get a beautiful title and start using our font for your special project.

Blacken is a contemporary blackletter with some fraktur flavour and a deep dark spirit. With its 420 characters covering 219 Latin-based languages, this font is ideal for your posters, book covers, logos, tattoos, and to play with its strong and thick characters. Among its inspirations are the gothic-cholo style, Mexican sign painting (the one in tacos and tortas, of course) and some delicious Belgian beer! Besides the Regular width, Blacken comes with Condensed and Expanded versions and Mix, which combines the three widths as OpenType features. You can also get Blacken Variable to create your own ideal width!

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Four fonts — found on a map of America, created by the spanish cartographer Diego Gutiérrez and the dutch engraver Hieronymus Cock anno 1562. From the start of the digitization by Sebastian Nagel in 2005, Tierra Nueva has gone a long way. On its journey of exploration it has grown to four members of a family (regular, bold, italic and script) with an overall count of almost 3.700 characters for different languages and purposes, extensively featured with useful typographic options. Over six years after the start of the expedition, it shall be launched. Land ahoy!

I was commissioned by the Emporium (now Macys) to digitize Radiant Bold Extra Condensed (originally designed by Robert Middleton in 1940) for use in their Sunday supplement to the San Francisco Examiner. For several years, I stubbornly refused to add the lowercase letters to the font, because I thought it looked best just used with caps, but finally relented, added the lowercase letters and at the same time created two more weights as well: Light and Medium. Used very large and carefully, these faces can be quite elegant.

Let's get crazy is a font inspired by modern lettering and calligraphy with pronounced swashes, ascending / descending and crazy ear in "r" (btw you have more ordinary alternates) and so on, challenging the boundaries of reasonable. This font is good for titles or short sentences in combo with Let's get crazy sans serif majuscule letters, giving you a nice pairing of the modern lettering.

Sportlight is a font, each letter connects with near one by middle-high line. This font is inspired by classic car emblems. You can use it in magazine headlines, badges, and posters. Font features: All-caps, numbers, punctuation, and multilanguage support. Please feel free to request to add characters you need: kaer.pro@gmail.com

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

A soft spoken sorceress whispers sweet somethings in your shell-like ear. Her words excite and enthrall, tantalize and tease, they soothe and seduce, stimulate and sustain you, they awaken and arouse you, they entice and engorge you, they -- oh, I'm sorry, what was I supposed to be saying? Oh yeah, from the pages of DC Comics' Vertigo title, THE WITCHING HOUR, and Joe Kelly and Chris Bachalo's STEAMPUNK, Comicraft is happy to make available one of our most requested fonts... Hey, what happened to that cute girl with the white hair? And, Hey, Where's my wallet?!?

SK Boncuk is a very special font family I designed for my pet. Bead is a very smart and special rabbit. It can understand all commands and do whatever is said. It is very lively and fun in his daily life, but also monotonous. For this reason, I designed a fun font for him, with a single weight but with surprises. This font represents Boncuk's fun but monotonous life. SK Boncuk offers full support for the Latin alphabet and includes all the typographic elements you will need. This font family consists of 8 different fonts and 3288 glyphs and it supports hundreds of different languages thanks to the characters it contains.

The beautiful hand lettering on the sheet music cover for Will R. Anderson's "Good Night Dear" (circa 1908) features quaint, semi-calligraphic lettering in the Art Nouveau Style. The song itself was popularized by Billie Burke [best remembered as the Good Witch in “The Wizard of Oz”] in the musical comedy "Love Watches".

I grew up with the ‘Save The Whales’ slogan: I remember watching the news and seeing little Greenpeace dinghies taking on huge Japanese whalers, and activists clinging on for dear life. I haven’t heard that slogan for a while: maybe because whaling is soooo 1890’s, but also maybe because the world has other problems to address. Out of respect for the ‘Save The Whale’ activists, I named this fattish font Whale Song. Whale Song is a robust comic font. It was especially created for book covers, product packaging and posters and, of course, it comes with a whale of diacritics.

My Hero Father is a quirky playful font with father's day theme. This font has 7 variations of fonts, each variation has a different decoration. The decorations are items that a father often wears, such as: cigarettes, glasses, hats, mustaches, ribbons and crowns. I made this font specifically for the Father's Day theme, but other than that this font can also be used for other projects. This font is suitable for logos, crafting, greeting cards, invitation cards, social media, products, stickers, headings, quotes and more. This font is also support multi language.

Brightfate is font designed by Reza Rasenda & Riska Candra Dewi, with design choices and a combination between the medieval times and urban street wear themes. Brightfate comes with stylistic, alternates, ligatures and supports multilingual languages. Create unique & beautiful logotype, use it as an elegant solution for your next magazine layout, or choose Brightfate for any graphics that require a sleek look with a elegant flair.

Finally, a serious alternative to that other comic font. After years of mocking the font that shall not be named, I decided to create an alternative. I wanted to keep the fun feel and the comic book roots, but have a more polished look. The result? JollyGood, a complete font family, with great language support, a big range of weights and styles, and a friendly look. Check out the other members of the JollyGood family

A couple of years ago, I walked the Kumano Kodo pilgrimage trail in Japan. At the start of the walk, I stayed in a nice guesthouse in Tanabe city, which lies in Wakayama prefecture. I wouldn’t mention all of this, if it didn’t have something to do with the font name: Wakayama prefecture is THE mandarin orange (Mikan) growing area of Japan and the owner of the guesthouse had just picked a bagful of mikan, which he shared with me. So, I had to think of that when I made this font. Mikan is a nice, rounded family of fonts. Both styles come with alternative a’s (and accented a’s), which some people prefer for Children’s books.

When I was in high school, I would wreck my notebooks with multiple layers of graffiti tags, which would start in the margins, and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Recently, by repeating letters hundreds of times each with brush on paper, this ad-hoc brush style became Streetbrush. The style is characterized by a unique blend of urban grafitti meets Asian calligraphy. The font is best used for large titling or signage, as it is extremely detailed and really captures the feeling of a brush pulling ink across a textured surface. That said, the font will also work well for body copy, and includes most basic symbols. The font has some ligatures, mainly for legibility.

This font is a late 19th Century French script overview inspired by numerous French letters, from around years 1850-1860, during the second French empire, under Napoleon the third. Most of them were written with very tiny characters on light sheets of paper, as postage prices were calculated from the letter's weight. The TTF and OTF versions are enriched with more than 50 ligatures and/or alternate characters. We also offer a choice of two sorts of Capitals. Why "1859 Solferino"? It was the last battle of the Italian independence war, opposing the victorious Franco-Italian army to Austria in June 24, 1859. The Red Cross was inspired directly from the carnage remaining on the battle field.

Beardstown is solid, hardworking & no-nonsense. It may be a little gritty & rough around the edges, but it can also be open, warm and welcoming. Beardstown is a little Midwestern town on a river with a town square where you can buy comic books from a spinner rack at the front of the drugstore and read 'em with a root beer float from the soda counter in the back. The Beardstown font is perfect for t-shirts, sports graphics, beer cans, trading cards, carnival posters and record albums. But that’s it. I mean, you could use it on foofy hipster stuff like organic produce, vegan meat substitutes, electric car accessories or mountain bike parts, but you risk Beardstown coming over there to kick your butt. Features: three versions of each letter and two versions of each number automatically rotate for authentic print texture thirteen catchwords (like "and" "of" "for" & "the") accessible in Discretionary Ligatures support for 223 languages including Western & Central Europe, Vietnamese & Cyrillic

Trapstyle is a handwritten face made with a Ruling Pen. This tool is usually used in calligraphy for expressive lettering. This font will tear through your text with unmistakable energy, dynamic and spontaneous flow, to help you create the look of stunning custom hand-lettering. Trapstyle comes with alternate characters, ligatures, upper and lowercase characters, punctuation, numerals. Also included is a bonus extras swashes, handmade designed to perfectly for headlines and short texts. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc.

The typeface DIN Mittel, offered by Elsner+Flake, is based on the DIN 1451 used in Germany since 1931. The DIN 1451 which was primarily seen in the areas of technology and traffic had to adhere to the so-called DIN Norms. Variations of the DIN 1451 are also employed in Austria, Eastern Europe, Greece and the Near East. With its new release Elsner+Flake has expanded the DIN Mittel with the characters EuropaPlus and Cyrillic.

Uninhibited by typographic demands, this artistic font freely expresses individual creativity. The use of line in conjunction with deceptively simple patterns of squares or dots and the occasional solid infilling gives the letters a lively vigor lacking in many modern designs. The joins between the letters' uprights and curves and the balance between thin and thick strokes are executed with impressive simplicity. The alphabet letters were inspired by Swiss art from 1939. The numbers were patterned after a design cut in stone dating back to the year 1692, while the punctuation and mathematical characters are a simple and modern typeface that is both pleasing to the eye and a whimsical contrast to the other characters.

This set of initial letters was inspired from French renaissance decorated letters. It is a typical pattern, one among dozen quite similar, but this one was in use in Paris, unchanged, for centuries, and was still in use in the beginning of 1900s. This explains the difference between I and J, U and V. These characters were engraved years after the original set. Our font was inspired from a late 1800s publication. It can be used as well with Humane fonts (like our 1543 Humane Janson or 1592 GLC Garamond) as with modern fonts like our 1820 Modern or 1906 French News.

Smooth and shapely without a trace of fat. A seductively handsome devil without the attitude. This typeface wears a tie at the office, but keeps a pair of sneakers and a beach volleyball in the car. Ely Rounded is a family of four weights plus matching italics (with more on the way). Each weight includes extended language support for European, Cyrillic and Greek. OpenType features include fractions, tabular and proportional figures plus a few ligatures thrown in for good measure. This is a typeface that works well from text sizes to billboards, and is equally at home in print or on the web. Future updates of purchased fonts are, of course, free. Buy the full set and receive yet-to-be-released weights at no charge — even as the price of that growing full package increases.

Although this condensed type is ideal for titles and headlines, it has small caps and letters with diacritical marks included as well. It keeps readability at mind, while trying to be as much "done-by-hand" as it can. It has unique tears on each edge of each letter and tilting on certain "slices of tape".

Most of the letter keys are from animal drawings done by a six or eight year old child who has now grown up.

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Headline is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Headline between 12 and 48 points. For larger display use, check out its sister family, Didot Display.

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Display is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Display at 48 points and over. For 12-48 pt. use, check out its sister family, Didot Headline.

ITC Noovo is from British designer Phill Grimshaw and grew out of his work on ITC Rennie Mackintosh. He says, I still had 'Nouveau' coming out of my ears" and he drew it after a series of computer-intensive projects, "when I was missing the smell of permanent marker pens and the feel of paper." ITC Noovo is highly stylized yet works as both a text and display typeface."

Inspired by the more than hundred years old classic Cooper Black, Chunk Black features a hefty character with rounded serifs and a soft yet sturdy overall appearance. Chunk Black provides a timeless and friendly feel and it’s very suitable for product and packaging design and any kind of display purposes from music business to restaurant menus and from t-shirts to band logos. Both Chunk Black and Chunk Black Italic are equipped with several OpenType -features and a total number of 87 alternate characters, set in Swash, Stylistic and Titling Alternates and Discretionary Ligatures.

Eckhardt Bold JNL continues a series of sign painter-inspired type designs and is named in honor of the late Al Eckhardt, a talented sign man who was a good friend of Jeff Levine for about 18 years until his passing. The font is available in both regular and oblique versions and was inspired by an example found in the 1928 edition of E.C. Mattthews' "How to Paint Signs and Sho' Cards". Both squat and wide for maximum use in wall and window applications, the original name for the design is "Heavy Plug". Plug was the sign painter's term at the time for describing this type of letter form.

Halloween is a time when perfectly reasonable people choose to reenact some lost pagan rituals. No one seems to know why exactly, but Halloween has been celebrated in its present form for a little over one hundred years. This set of ornaments dates back to the early 20th century and depicts a “classic” Halloween collection of black cats, pumpkins, witches, and other indispensable Halloween ornaments.

In 1938, Frederic W. Goudy designed California Oldstyle, his most distinguished type, for the University of California Press. In 1958, Lanston Monotype issued it as Californian. Carol Twombly digitized the roman 30 years later for the University of California; David Berlow revised it for Font Bureau with italic and small caps; Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, Berlow designed the black and the text and display series; FB 1994–99

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014