Cirflex was inspired by a 1930s shop sign, and makes an ideal typeface for Streamline Era and Art Deco design. Cirflex is offered in regular and bold weights.

Based on vintage wood type, Nostrand JNL is a tall, condensed serif face - named for an avenue in font designer Jeff Levine's home town of Brooklyn, New York.

A font family in continuation of the bb-book A , also kicking up weight, width and contrast, but upside down. 4 styles: condensed, regular, expanded and ultra-expanded.

Katiki Can is a bold, messy, painty display font inspired by all of the trashcans in the Outer Banks with names of rental homes painted on the side.

Aquitania Script is a natural but stylish handwritten font with a textured finish. Clearly legible in all sizes, Aquitania is ideal for headlines as well as small text.

Tooned Out JNL gives a serif treatment to the cartoon-inspired lettering of Toon-In JNL. Both fonts are great for any casual or fun messages or themes.

SixMinutesNarrow is - as the name suggests - a narrow version of SixMinutes. Just as quick, dirty and tasty as SixMinutes, but it will fit more text in less space.

Wilma has 19 weights ready to be combined. Please read the instructions for this font carefully, in the PDF. You will find tips on how use it properly.

Kasper was designed by Franco Luin in 1995. It is an informal script typeface and its playful, dynamic characters are perfect for greeting cards and other personal correspondence.

Attractive chess and checkerpieces, as well as board components, in a font. Generate boards with light, bold or no border, or a border with rank and file identifiers.

Paradise is a script font thought to be used in a wide range of pieces of design. From packaging to invitations, Paradise looks elegant and sometimes very playful.

Circumactio, the Latin for Spin, is a thin Typeface based on a grid. The circle in the grid replaces the Crossbar, and gives the Typeface a little differential.

Ducktail is font family that combine elements from display and sans serif categories. Comes in 7 styles with OpenType features: Small Caps, Fractions, 2x Stylistic Sets and Ligatures.

TC Jasper is a headline face with oblongated characters, suitable for letterheads and packaging. The serifs have an engraver's influence, making the TC Jasper font crisp in appearance.

Looking for nice handwriting fonts? Easy Hand from Okaycat comes in 2 weights, Regular and Semibold. You can achieve written by marker look by these easy going fonts!

This is the cutest font in the galaxy. It's neat yet adorable! Use it for posters, note-taking, or even cute logo designs. Your imagination is the limit.

Even as a child, I was interested in letterforms. I admired my grade 4 teacher's handwriting and so Ronita is based on fuzzy memories of her elegant script.

Rudolph Koch designed Zeppelin between 1927 and 1929. This geometric sans serif headline face jumps off the page. Use the Zeppelin font for impact in packaging and posters.

Collage is a font inspired by paper collaging, tearing apart magazines and building unique looking words and phrases. Collage also includes funky symbols and images in the font.

Abaddon has been one of our most popular fonts since it was first released in the mid-90s. It's based on lettering by Alphons Mucha with some modernization.

Xevgo is a syndicate roundel tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf.

Ink by Lio is a handcrafted font for use in many different projects. It is inspired by Japanese ink calligraphy and has all basic glyphs for various uses.

This font based on and inspired by stencil signage in construction site. As you can see, heavy and rugged glyph is very eye-grabbing for headline and titling.

This font was inspired by the LogosNazhdag font, but the font is narrower and softer. Suitable for headings, packaging, logos. Developed and digitized in Germany by Joachim Frank.

A revival of one of the popular wooden type fonts of the 19th century, with classic flat slab serifs, unbracketed, short descenders. Very popular in the 19th century.

This variable font is a Fabrizio Schiavi typographic interpretation and development of the legendary coop logotype designed by Albe Steiner and later improved by Bob Noorda in 1985

"Oase desert" is an old-style serif font, perfect for traditional themes, headlines, etc. Features: Uppercase, Lowercase Punctuation & Number, Support in Mac and Windows OS Multilingual Support ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝ

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

Albion Signature is a value packed font of exceptional character, with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project, big or small. It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles, that can be used in endless combinations. It’s like several fonts in one. Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index, so you will be able to find exactly the glyph you are looking for fast. This font can only enhance the fonts that you already own, making them more versatile and useful. On its own, it is a very elegant calligraphy script, that will make every project you create look great. The capital letters overlap and intertwine just like in days gone by, for a unique style. Also included are tools that can give you very precise spacing, right inside a word processor. Usage: Photoshop styles, InDesign, personal promotion logos, monograms & signatures.... That’s where it shines, yet it’s still great for art, cards, fancy documents, really fancy labels & even notes to Mom. Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.

Gearing is a typeface that is widely associated with the extreme music genre of death metal. It is characterized by its dark and aggressive appearance, evoking a sense of brutality and chaos. The font is typically designed with sharp edges, bold and angular letterforms, and intricate or distorted shapes. The death metal font typically features strong upper and lowercase letter variations, often with sharp, exaggerated serifs or thorn-like spikes. These embellishments contribute to its menacing and threatening aesthetic. The letters may also have broken or damaged elements, giving them a weathered or decayed look. Though death metal fonts come in various styles and variations, they often prioritize legibility and impact over ease of reading. This means that certain parts of the letters may be missing or disconnected, making them appear jagged or incomplete. Ligatures, which are unique letter combinations, are sometimes included in the font to add a sense of continuity or artwork to the overall design. In terms of color, death metal fonts are commonly depicted in monochromatic shades such as black, grey, or dark red to maintain their sinister appearance. The color contrast often enhances the sharpness and intensity of the font, making it more visually striking. Due to its association with the underground music scene, the death metal font has become an essential element in album covers, band logos, posters, and merchandise. It effectively conveys the aggressive and rebellious spirit of the genre, becoming instantly recognizable to fans and enthusiasts.

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Outlook Font Duo offers a perfect combination of elegance and versatility by seamlessly blending serif and script font styles. This font duo provides a harmonious balance between a sophisticated and traditional serif typeface and a stylish and handcrafted script font, resulting in a visually captivating and dynamic typography experience. The serif font of Outlook Font Duo exudes a sense of refinement and classic appeal. Its letterforms are meticulously crafted with clean lines, precise curves, and balanced proportions, also includes many ligatures (CC,CO,EA,GG,GO,KA,LA,NN,OC,OG,OO,RA,TT) and dligatures (CC,CH,CI,CO,LL,LI,OC,OF,OH,OI,OO,OU) which lso you can see in the preview. Complementing the serif font, the script font of Outlook Font Duo adds a touch of creativity and informality. The script font features hand-drawn letterforms with rough strokes.This script font also includes ligatures, lowercase swsh which lso you can see in the preview. The versatility of Outlook Font Duo lies in its ability to be used together or separately, offering flexibility in creating various design compositions. Outlook Font Duo is suitable for a wide range of design projects, including branding, logos, packaging, invitations, and editorial designs. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products. ~Redy

A practical sans serif need not appear dry, constructed, or derivative. It can excel in its sensible role and yet possess a distinct flair. Iskra (spark or flash) is a new sans serif designed by Tom Grace. It was conceived to challenge the limits between utilitarian and decorative. Sporting a low-contrast profile, it is a study of bridled energy in the Cyrillic and Latin scripts. Its eye-catching forms are an oblique tribute to the less-predictable style of brush lettering, and contain daring, elegant curves, economical proportions, and a slight top-heavy asymmetry. Its warmth comes from the subtle emphasis on the structures and details of individual letterforms, whereas its solidity is demonstrated through its balanced rhythm over long spans of text. Each font supports over 75 languages and is hand-tuned for a pleasing legibility and aesthetic both in print and on screen. This type family makes an excellent choice for presentations, articles, branding, and advertising. Available in 14 styles, Iskra represents a fresh, stimulating, forward-looking perspective on how we see both the vitality of the particular letter and the overall harmony of text. Iskra is available in three different character repertoires: Iskra, complete set — Iskra CYR, Cyrillic-based subset with a Latin supplement — Iskra Cyr, Latin-based subset. Both the LAT and CYR series conform to most standard codepages used by typical software covering their respective scripts. All three series have similar OpenType functionality."

I noticed this font for its versatile techno look - it makes wonderful logotype word images. Every letter combination is perfectly kerned so that the letters fit together nicely... Also includes some alternate letterforms, but only in their basic forms (not made in combinations with diacritics). These alternates are available via your programs' glyph palette or using the OpenType functions "Stylistic Alternates"/"ss02" and "Swash"/"ss01". Technique BRK Pro is the perfect companion for Technique Outline BRK Pro (it exactly fills the "holes") but also a nice techno font in its own right. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Neufile Grotesk has its roots in some of the earliest commercially available sans-serif typefaces. This highly legible sans-serif design is well-suited for many display and text-based typographic uses. Users can apply the fonts effortlessly to a large number of messages and media, from advertising to book design. The typeface family ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s eight static OpenType font files instead. Those weights run from Extralight through Black. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Neufile Grotesk Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. But even the eight static fonts satisfy the need for flexibility, creating harmonious variations of texture and emphasis. Whichever format you choose, the Neufile Grotesk fonts include several sophisticated OpenType features. In addition to standard ligatures, there are a few discretionary ligatures and a stylistic set replacing “a”, “g”, and “R” with geometric-sans-style forms. Other features include numeral variants – there are proportional and tabular versions of lining figures and oldstyle figures – as well as fractions and numbers in circles. The fonts have arrows and a feature for setting case-sensitive forms, too.

Black Witcher is a spine-chilling display font that will cast a spell of fear on your designs. With its big letters and bold weight, this font demands attention and exudes an aura of dread. The horror theme is brought to life with meticulously crafted tree root details on each letter, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, making a powerful statement in your designs. The large size of the letters enhances the font's haunting presence. The tree root details in Black Witcher give the font a sinister and otherworldly appearance, as if the letters are entangled with ancient and malevolent roots. These haunting details add a sense of mystery and foreboding, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Witcher fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The history of Able’s connection with the Harry Potter phenomenon is really up in the air. It’s a catch-22 in this business - you either promote your own work and negotiate expensive exclusive licenses, or you work with a promoter and sell your designs to anyone and everyone. It could have been an in-house designer at Rowling’s publisher, Scholastic, or a freelancer who proposed Able for the headings and such. The responsible party licensed it from T26, and JK Rowling’s storytelling made it a star. (I suppose it’s ironic that there’s a whole lot of unwritten history in the typography business.) Able’s rise to fame really is a classic love story between reading and type design. If the books weren’t so popular, Able might still be waiting for some Mexican fast food chain to pick it up for packaging design. The movie deal certainly made the font all the more recognizable, what with its merchandising campaign. Popularity can also cripple a great decorative face. It’s always being recognized as “The Harry Potter Font.” It might just have to wait a few decades for the Potter phenomenon to subside to be freed from the “Chamber of Pigeonholed Fonts.” In the meantime, I’m sure that a lot of fledgling graphic design apprentices are reading their new Potter books, being charmed by the idea of type design when they’re not turning the pages too fast to notice.

JT Olifer is family font of Jolicia Type designed by Laire Banyu Sandi Pawenang in October 2021, JT Olifer inspired by Modern Typography developed by us in our perspective, with a typeface detail in every corner we make more rounded, and give an inktrap accent to make unique impression special in every glyph, we really consider about aspect legibility, therefore we make family font amount 40 to assist the selection according to visual needs. Font type of JT Olifer contains several nuances that combain aesthetic, contemporary and modern, furthermore we make some alternates glyph that have a friendly and subtle impression, for example ‘f’ the alternate of this name our font we designed is more circular and smooth. JT Olifer has a total of 465 letters with regular, slanted and condensed styles support in 90 languages : Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch Embu English Esperanto Estonian Faroese Filipino Finnish French Friulian GalicianGanda German Gusii Hungarian Inari Sami Indonesian Irish Italian Jola-Fonyi Kabuverdianu Kalaallisut Kalenjin Kamba Kikuyu Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Maltese Manx Meru Morisyen Northern Sami North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Walser Zulu