Barricada is a loud-voiced typeface with small counters that gives an interesting strong weight. Moreover, it has a solid structure providing strength. Its curved serifs and swashes give a touch of softness and make the letters a little playful. This is the right option to set a fresh and solid text.

Jemina is a modern, unique serif font. The dynamic curve of each letter looks elegant and charismatic and will be the center of attention for the eye which sees it. The abstract feel of its characters strikes a balance between modern and classic typography. Perfect for branding, logo, and fashion-related concepts.

Joy is sure to spice up your text life! She overflows with style and personality. She loves to be center stage on headlines, flirting with her readers eyes. There are over 100 ligatures, creating words with some letters connecting and others standing on their own. This creates a modern, fresh, handwritten look.

Loft is a typeface family of extremes: from the extra compressed Hairline to the extra wide Mammoth. Paris-based designer Julien Janiszewski’s aim was to create a type family based on a strict hierarchy — a suite that would provide graphic designers with a tool to create systematic solutions. Its design was inspired by 19th-century wood type as well as the sign saying “DÉFENSE D'AFFICHER” (Post No Bills) that is ubiquitous in France. Loft comes in seven weights with matching italics. Interestingly, counter widths remain the same across all weights. As weights increase, the characters extend by building stroke thickness outside the counter. Loft is space-efficient in lighter weights while making an increasingly stronger statement as the designs become heavier. The Loft typeface family is distinctive, versatile, and always intriguing.

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Created by Jovica Veljović, the Agmena typeface family is a fine melding of digital technology and beautifully crafted Renaissance fonts. This typeface makes skillful use of proportion, form and spacing rather in the way that a practiced storyteller varies the timbre of his voice and deftly inserts longer pauses to bring his tale alive.

Our font of the original was only ten point, so we had to use our imagination to a great extent. As specialists in Victorian typography, we have found that many people do not like the "center alignment" idea, used on several old time faces, but we have been faithful to the original. So there!

The second in our Cool Japan series, Odaiba Soul echoes back to some of the futuristic amusement centers and entertainments found on Odaiba Island in Tokyo Bay. Tailored for sci-fi lettering, anime awesomeness or even just making flyers for a day trip across the Rainbow Bridge, this is one to keep in mind!

Henny is a simple but elegant handwriting font which is legible even in very small sizes and longer texts. There is an extended character set with some extra ligatures for a natural look. Henny was used in “Coffeeshop” for titel and headlines: http://www.amazon.de/Aus-dem-Coffeeshop-Dr-Oetker/dp/376700688X Have fun using it!

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

Caterina, was selected personally by Francis Ford Coppola for the film he produced called The Legend of Suriyothai. It's not the credits, but text placed in the center of the screen to introduce information about the setting, the characters, and so on. Something like chapter headings in a book, or the text in silent movies.

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

Belco, designed by Slobodan Jelesijevic, was the first font family released by Tour De Force Font Foundry. Belco is elegant and useful for all kinds of publications such as books, magazines, catalogs and brochures. With a wide range of possibility and smooth personal touch, the Belco font family is ideal for longer texts, titles and typography exercises.

Play a while with Horsefeathers, and you'll find yourself feeling kind of a combination of giddy and up. a lively, animated font that draws attention in short bursts yet has remarkable balance in longer text blocks, even at smallish point sizes. And that can be said for all three styles: Regular, Bold, and the aptly-named Horsefeathers Buzzsaw.

This heavyweight poster sans is based on the typeface Samson, designed by Robert Hunter Middleton for the Ludlow Type Foundry in 1940. The slanted uprights suggesting brushwork make this face a perfect choice for casually commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Freshy is friendly, artistic typeface that is clean enough to use for longer text. It is a complete family with 6 weights and there italic. It has an amazing character set and some of ornaments for your design. Freshy is perfect to use in any friendly situation such as a lovely packaging, restaurant menu, children's book and etc.

Joe Cool is a bold geometric sans with minimal counters designed to achieve the maximum weight, solidity and impact on the page. Joe Cool Extended was actually created first, then it seemed like a good idea to add progressively more compact versions for added variety and versatility. See also Gravitas, my Bauhaus inspired font family which explores similar territory.

SavoryPaste is a grungy sans serif from insigne. SavoryPaste includes 64 discretionary ligatures of the most common letter pairs for a more natural look without distracting repeating characters. The typeface family also includes OpenType small caps, old style figures and alternates without filled counters. The SavoryPaste family also includes a completely interchangeable and more restrained alternate.

Bricola (rhymes with Nicola) is a condensed display face that contrasts soft curved outlines with sharp cuts and counters. Sturdy and idiosyncratic, Bricola is an eye-catching blend of functional and funky, appropriate for headlines, labels and branding. The licensed family includes Regular and Bold weights that both pack a punch, and also two handy italics (obliques).

The 1884 specimen book of San Francisco Palmer and Rey Type Foundry featured this elegant design under the name Oxford. The decorative caps, combined with the centered small caps, have a timeless appeal. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

Blue Fires is a quick and easy handwritten font, with lots of ligatures and a bonus set of swashes, circles, arrows and ornaments. It is a versatile font that looks great in both short bursts and longer texts, in lower case and all caps. Use Blue Fires in logos, quotes and social media posts, branding and packaging, and merchandise.

Jali is a humanist sans serif typeface, suitable for wayfinding. It supports Arabic, Greek, and Latin. ‘Jali’ means clear in Arabic. Its design reflects clarity, with low-contrast strokes, ample counters, and distinguishable marks. Jali offers a warm and efficient reading experience. Awards: TDC Certificate in Typographic Excellence and Granshan’s 1st Prize, Arabic & Latin Category, 2019.

Sadi Slab is designed to be used on small scales like book texts, newspapers, magazines etc. Also its large counters make the font suitable for digital screens. The anatomy of the typeface gives a formal appearance which is a more fitting choice for subjects like law, finance, medical science etc. Another member of Sadi family is Sadi Slab.

Kufwan Arabic style display font can be used to give your designs a genuine Arabic touch. The display font displays a beautiful style similar to the handwriting on a typical Arabic book. Use this font in your super projects to grab everyone’s attention. Don’t put off adding an elegant Arabic touch to your designs any longer.

Free-flowing pen lettering of the Art Nouveau period took letter forms into interesting curves and angles. The style was embraced and revived by the 1960s counter-culture in its rock concert posters and record album covers. However, the source for Casual Nouveau JNL is a 1911 piece of sheet music entitled "Back to the Carolina You Love".

Wrought is a bold geometric display font by Jon Cartagena. It's purpose is to give a rugged, heavy feeling to your designs. Wrought is available in four weights: Thin, Light, Regular, and Bold. Each character is carefully designed to be vertically aligned at the center. This gives Wrought a unique flair, while promoting a harmonious look through each word.

TKT Kate is a new interpretation of elegant sans serif display font with a modern touch. It inspired from Optima and Humanist font. The overall look is round, open counters and with a large x-height, geometrically constructed which is intentionally meant to be used in branding projects such as packaging, corporate design to on line applications.

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

Big, thick and chunky, Bastinado is imposing, but the bat-like, scalloped edges give it a sinister presence. Bastinado is an ancient Asian method of torture in which the bottoms of the victim's feet are beaten until he can no longer walk. This font looks like it wants to catch other fonts in a dark alley.

Sail the seas with Nautical Doodles. This seaworthy font has 32 illustrations of water craft, anchors, star, compass, flags, whale, shark, birds, starfish, seahorse, rope etc. Even a mermaid... and the scripted word Ahoy! If you would like the character chart go to the Gallery Tab and print. (PDFs are no longer downloaded with the font.)

Introducing "Eighty Miles" font's thick and attention-grabbing characters ensure that your message takes center stage. While "Eighty Miles" embraces wild shapes, it never compromises on readability. Each character is carefully crafted to ensure that your audience can enjoy the whimsy without missing a beat. It's a font that's as fun to read as it is to look at.

Roxon is a sans serif typeface of 4 weights from Extra Light to Bold and can be used as both a headline and text face. Roxon is recommended for using in long-form writing and articles, since a serif is far more readable for longer passages of text. The typeface has a carefully crafted weight range, with ligatures.

Who needs counters? Although this typeface is bold as hell, it is still absolutely legible. If You are looking for fat curves, this is may be Your choice! There are also extra letters (A, V, v) to let You make better logos and headlines. Please take also a look at Dollbats for suitable Arrows, Symbols and Numbers.

Herrmann is a sans serif typeface family. It was especially designed for use in headlines, but it's great legibility also allows for use in longer texts and smaller sizes. The geometrical design gives it a distinct industrial / architectural style. Herrmann comes in 10 styles (thin, light, regular, semibold and bold, all in regular and italic) and has 374 glyphs.

Lisa is an elegant script family in the tradition of early Italian type designers like Bodoni. I added counter strokes and floral embellishments to the font. Lisa comes in three variations: the beautiful Lisa Bella, the flowery Lisa Fiore and the extra swinging Lisa Piu (which means more in Italian). Enjoy! Your elegant script designer Gert Wiescher

The other day I discovered that, regrettably, I no longer am a Spring Chicken. Time flies when you’re making fonts… So, after I recovered from that shock, I created this font and called it Spring Chicken! Spring Chicken is a handmade cartoon-ish, script-ish, dunno-how-to-label-it-ish font. Use it and be rad.

FF Milo Slab is not just the sans with slabs attached. It has undergone a wide range of careful adjustments from increased contrast, longer ascenders and descenders and modified glyphs in the heavier weights. All these changes amount a typeface that feels enough like Milo but also can stand on its own as a new and fresh typeface.

Tarquin is a All-Caps sanserif typeface, inspired by the beautiful hand-painted sign. It has a strong personality, high contrast stem, and widely opened counter to improve the readibility as it designed for display purposes. It's available in 3 different style, REGULAR, STENCIL, and SHADOW designed for display purpose design Crafted beautifully and carefully with hand.