Beautiful curved shapes of this serif font family make it a high legible and distinctive companion for setting texts as well as headlines.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, medium and bold weights.

Train OnTime and Train Delayed are based on the text used to display the destination info on the front and rear of trains.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, or text, closely related to Latin.

Hello! Introducing vintage hippie style font "Lovebus". It has smooth authentique design and 26 automatically replaceable ligatures to make your text more original.

Specially designed to improve legibility in long texts, Tascinorm is a unique, modern typeface which will meet the needs of a vast audience.

A text and display font suitable for various applications, many of which include, letterheads, packaging and logos. Excellent for very large typographic layouts

Hallandale JNL is versatile enough to be a headline font as well as a text font, without a loss of style or integrity.

Kona is a display font perfect for branding, homeware design, product packaging, magazine headers - or just perfect as display text against any background.

Metric Navy PRO is a lightweight monoline developed for short texts and loose phrases in versions: thin, light, normal, regular, bold and black.

Valimo RMX is a destroyed hard-to-read typeface. It's suitable for creating text "textures" where you don't necessarily need any actual content.

Ellen is a charming elegant serif face. Great for headline display and text use. Many alternates and ligatures are included with this font.

Designed as the main header text for the online, interactive, horror novel, DEAD ENDS. Based on historical documents of colonial-era New England.

Meet Arlen, a funky, variable type family in 36 styles. Inspired by 20th century hand-painted signs and the visual culture of the 1980's, Arlen adds a little extra to this already charismatic mix. Arlen is a display sans serif that can be freely used for larger bodies of text. Among its most prominent visual features are high contrast, flaring stems and dynamic letterforms. With 860 characters in each font, Arlen supports most Latin-based languages and offers a large number of extra characters, dingbats, alternate glyphs, ligatures, and punctuation marks. Some of the most useful OpenType features are included too, such as Case-Sensitive Punctuation, Stylistic Alternates, Tabular Figures, Fractions, Localization, and a lot more. Some letters and characters come in two versions: thin and bold, and you can easily alternate between the two using a corresponding stylistic set. Arlen is a cheerful typeface that conveys kindness, good cheer, and only good vibes. It would feel at home both in digital and print mediums; it can be used in advertising, editorial design, social media, web design, packaging, or personal design projects. With versatility at its heart, Arlen would be a perfect typeface for large design systems that require multiple styles for typesetting.

Earlier this year I visited a bakery in Newport Beach, CA and fell in love with the organic design and typography of the place. Hand-drawn menus, table cards, chalkboards, and wall quotes surrounded the charming spot. It inspired me to create a new font family based on the combination of hand drawn fonts. Included in this package are 5 font families, with 2 graphic ornament fonts. Each font family contains at least a light, medium and bold. Here is a breakdown of what's cookin' at Catalina's Bakery: Catalina Anacapa: Tall and skinny, this font comes in 3 weights for both sans and slab serif styles. It includes contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and also includes Small Caps. Catalina Avalon: Based off Anacapa, this sub family has a high contrasting line weight. It comes in light, regular and bold as well as an inline alternative for both sans and slab serif styles. Avalon also includes opentype features such as contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and small caps for each letter. Catalina Clemente: In a more standard width, Clemente is one of the two sub families that can be used for paragraph text as well as headlines. It's organically geometric in style and comes in ALL CAPS and lowercase, includes upright and custom italics, and has the opentype feature giving 3 versions of each letter. Catalina Script: A great compliment with the display sub-families, Catalina Script rounds out the package with a hand-drawn cursive flair. It includes contextual alternatives (giving 2 variations to each letter) as well as stylistic alternatives for many of the capital and lowercase letters. It has special ligatures for some letter combinations, and titling alternatives for all the capital letters. Catalina Typewriter: The second of the paragraph text sub-families, this typewriter inspired hand-drawn font family works great as either a display or paragraph text. It has contextual alternatives with 3 versions of each letter, and comes in both upright and custom italics versions. Catalina Extras! These two fonts go perfectly with the Catalina Family. They includes borders, frames, arrows, banners, flourishes and more. Catalina Flourish has all of it's options in a light and bold style, to use the light version type all lowercase letters, then to make something bold, used it's uppercase (or shift+) characters. For a breakdown of graphic/letter correlation, see the breakdown PDF. All of Catalina was drawn by the same hand, using the same ink and technique. While they contrast in their type styles, they work together perfectly to create one cohesive font family.

Morshine is a typeface which is inspired by vintage lettering sign and art. While this font has a victorian touch, it still looks bold and solid. Very suitable for for headline, logotype, apparel, invitation, branding, packaging, advertising etc with old school / vintage theme. This typeface looks great combined with decorative ornaments. It comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual and already PUA encoded. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Richsten is a typeface which is inspired by vintage lettering sign and art. While this font has a victorian touch, it still looks bold and solid. Very suitable for for headline, logotype, apparel, invitation, branding, packaging, advertising etc with old school / vintage theme. This typeface looks great combined with decorative ornaments. It comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual and already PUA encoded. Features : numbers and punctuation multilingual alternates and ligatures swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

BIRTGOCHE is a serif font with long, thin hooks, it's beautiful because it's quite formal and manly. Attractive fonts to support elegant art designs. A fairly standard serif font because there are not many changes from the basics of the previous serif fonts, only the modifications to the hooks are not too significant and some letters have their body part below the baseline. For media, it will also be very suitable for the headline of a magazine or poster because this font has a strong character supported by this font, which is an all caps font. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

Good Vision is an adaptable and casual handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look will add a personal and realistic feel to your designs.

Mirror Display is based on the condensed sans. Developed to 'double view' to give readers the same feeling they have when looking to a work of art they don't understand at first glance.

Wake Up Now is a cute and simple lettered handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look will add a realistic feel to your designs.

Cubissimo is a geometric font inspired by a 1929 poster advertising a museum exhibition. It is an all-caps cubist typeface designed to look good on posters. It comes with extensive language support.

Cheerful Yellow is a fun and cute display font. It has a playful style and great readability. It looks perfect on cards, branding, stationery, blog design, custom art, quotes, and so much more.

Albion’s Incised Masthead combines the heavy Black Letter forms of Greater Albion’s “Albion’s Old Masthead” with the ‘Hand-Tooled’ incised look demonstrated so readily by Mr Goudy. Another tribute to the engraver’s art…

The inspiration source for Viper Monogram is the 1934 Book of American Types by American Type Founders. Found in that specimen book, was a sophisticated two-color monogram design called Hollywood Combination Initials, which was available in limited size metal castings. This wonderful monogram style is now digitally recreated, revived, and updated for modern use! Viper Monogram supports one and two letter monograms, but due to its super condensed style works best for three letter monograms. The default typing style for Viper Monogram is an all horizontal all caps setup which can be used for headlines and titling. Type in Capitals for an outline effect, lowercase for a solid effect. By enabling OpenType Contextual Alternates, you can type diagonal top-aligned monograms up to three letters. By typing in all lowercase, and layer a copy of the lowercase with Stylistic Alternates enabled, you can create a two-color effect. Viper Monogram is available in Pro format Opentype fonts only due its unique setup. Download and view the MFC Viper Monogram Guidebook if you would like to learn a little more.

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

OPEN SERIF - answering the question “what font pairs well with Open Sans?”. Designed by Steve Matteson for extraordinary legibility and comfortable reading on screen and in print. Open Interpretation: Not quite Veronese – not quite Egyptian. A dash of panache in an otherwise sturdy serif typeface. Open Serif is an elegant text and display typeface family. Open Interiors: Visually open and legible at text sizes just like its cousin Open Sans. Open Serif reads smoothly but has an energetic texture. The chancery style italic contrasts nicely to the roman in a full bodied nod to Italian Renaissance forms. Open Type: Open Serif is full of OpenType features including Small Capitals for the Roman, Italic Swash Capitals and Old Style Figures for both. Open Translation: Supporting all the languages available in Open Sans, Open Serif completes the translation capabilities of international companies. Extended text is more pleasant to read in a serif typeface so go global with a unified typeface family! Open Face: Open Serif Titling is an elegant companion to round out the family. These ‘open-face' capital letters are ideal for initial letters, mastheads, titles and decoration.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

The robust impression of these titles will sure leave no dought as to how serious this book is.

A 1960 edition of the Speedball® Pen lettering instruction book yielded the model for China Doll JNL.

Stricken Brush is a very cool brushed font. Suitable for posters, movie titles, book covers, quotes and more.

You want to write differently: HopefulGrasshoper is for you. Recommended uses: packaging, children's book, title, brochure, label, advertising...

The alphabet that inspired Midtown JNL was found on a page from an old 'how to' lettering book.

Mood Boosters Handwritten Font Duo is a perfectly font duo for all your design project needs. Create your perfect design with Mood Boosters Handwritten Font Duo. Try this font for all kinds of your business projects like: logo design, business card, mood board, greeting card, magazine ,headline, social media design, watermark and more, and it will all look perfect.

Eurostile Candy is a fun spinoff from Akira Kobayashi's Eurostile Next family. As the name implies, it is based on Eurostile but with many striking new features. Most obviously, the corners and joints have been rounded off to give it a more friendly and softer feel. On top of those changes, the main skeleton of many characters have been modified. Any extra strokes have been removed - such as in the a, s, or t - and joints have been simplified to create even more square shapes - like in the n and r. With these contemporary and futuristic-styled alterations, Eurostile Candy is a cool new design great for many display projects.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Introducing a new bold CONSTRUCTOR font family. Perfect combination of 2 fonts (Light and Shadow) to create your own layered 3D headlines, eye-catching texts, logotypes, design, posters for sports, music, street culture, modern arts, industries and many more other themes. 2 more fonts (Emboss and Regular) have bold 3D effects thanks to their design and shapes. Fonts have extensive Latin multilingual support, uppercase, small-caps, numbers and basic punctuations.

NATRON is rounded and condensed sans serif typeface, designed for tight-fitting text. Supports Latin and Cyrillic codepages for Western, East and Central European, and Baltic countries. The NATRON family has two weights, medium and bold, and a collection of thematic adapted pictograms (for food product packaging and textile industry). This typeface has been designed for all type of visual communication projects and especially for labels and packaging and accompanying declarations.