Kapra Neue Pro is a younger sister of Kapra Neue – he was the #1 bestselling Grotesque Sans released in 2017 on MyFonts and grandson of Kapra. Now you really have a lot of options to choose! New family is full of everything – 96 weights contain a wide range of instances, from Condensed to Expanded, everything with rounded corners or with sharp ones. Now, font has also: small caps, cyrillic script, and old-style figures. Kapra Neue Pro is inspired by a “You And Me Monthly” magazine, published by National Magazines Publisher RSW "Prasa” in Poland, from May 1960 till December 1973.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

Chaweng is a coastal region on Ko Samui, an island in the Golf of Thailand, about 20 miles off the mainland. The design of Chaweng is based on some 'Latinese' characters Peter Rosenfeld detected while celebrating Chinese New Years Eve with people from Thailand and China on the beach of Chaweng. Ralph M. Unger took on the idea and developed a completely new typeface, very beautiful, very 'Latinese'. Chaweng obviously shows some of the typical characteristics of Chinese ideograms, still keeping a high level of legibility. To add something really special, Unger digitized the Chinese signs of the zodiac which change annually, on the occasion of the Chinese New Years Eve.Chaweng is perfect for signs and small texts, e.g. for any Asian restaurant and shops, menues, displays, China towns etc.

Way back before digital imaging, video tape and computer editing, the home movie enthusiast had to shoot on film his own titles using any one of a variety of movie titling kits on the market. One common approach was to arrange white ceramic letters on a colored background and film them. A set of such letters provided the inspiration for Entitled JNL from Jeff Levine. The classic, sleek Art Deco lines of this font makes it an all-purpose design for any headline needs.

Girl Anything is the latest Modern Calligraphy love theme that you can get now! The replacement model for Swirly Love is updated with special glyphs that have been given a combination of fantasy and handwritten ink. This font will look beautiful on all designs, New Year designs, Weddings, branding materials, blog titles, quotes and invitations, and business cards. Open Type includes: Alternative Style Set style Thank you very much for viewing and Enjoying it.

“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827. At first glance, the upper case letters of Austin Antique look very much like Figgins Antique. But, upon examination, one will note that the Austin face is much darker. In general, the letters designed and cut by Richard Austin have fatter strokes, larger serifs and smaller counters -- more metal and less daylight. The premise was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and “bills” -- competing for the attention of the passerby. Morris and Updike aside, the early nineteenth century marked the beginning of a commercial as well as industrial revolution. Patterns of commerce were changing. With new methods of marketing came the need for new typefaces to support the new methods. Foundries found the display types were very profitable and competed most energetically and creatively for the trade. There was a lot of trial-and-error. Some ideas faded away. Others, like the Antiques or Egyptians, were refined and developed. From them came the Clarendons that were to prove both popular and long lasting -- because they worked. Their job was to sell goods, not please the aesthetic sensibilities of the critics. They did their job well. Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Surprisingly readable.

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Kwersity is a boxy, geometric, slab-serifed typeface with strokes of uniform weight. Its circular elements are almost rectangular. The narrower style has a high x-height. Both the narrower and wider variants come in three weights, regular, semi-bold, and bold. (In its original, pre-2020 form, what is now semi-bold was bold. What is now bold is new as of 2020.) There is also a shadow version; Kwersity-semibold can be layered on top of it to color the interior of the letters.

Type Tiles JNL is based on a ‘completed’ version of ‘Alpha-Blox’ by American Type Founders, circa 1944. The capitals, lower case and numerals shown in the sample sheet put out by ATF depicted type made with five-high blocks comprised of modular units spaced two points apart. These units could be combined in varying ways to create custom type of varying heights and widths and was available for purchase in both linear (multi-line) and reverse (white on black) formats. Using the 'reverse' model shown on the sample sheet, all of the characters were re-created digitally, and missing punctuation, foreign characters and other glyphs found in a basic computer font were drawn and added. The 'J' and 'T' in the type sample had truncations, so a more complete character was created for each of those letters. For those wanting an unbroken string of words or blank end caps, there is a double column space on the vertical bar key. A single column space is located on the broken bar key for shorter end caps. Type Tiles JNL is available in both regular and oblique versions

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

The Stomp Family is a set of three different fonts, Swirl, Flowers and Circles which are designed to be used with Stomp Black to create dual colored type for bright and exciting images. Metrics and Kerning information for the four faces are identical so that they overlay perfectly. Stomp Black is also very usable on its own for bold, high impact type.

Yee haw! Send me a shot of sarsparilla and let's celebrate a new cowboy font! This time we're pleased to introduce a new, more legible counterpart to Chank's Drunk Cowboy font. The resultant new font has a bit less of a drawl to it and is known as Dry Cowboy. Now you have a choice for smaller text setting when using Drunk Cowboy as the headline font. Wrangle the two together and put a little giddyup in your designs.

Here's my new experiment, Second Song. This font breaks the boundaries even more. Now the inscription looks as authentic as possible. Includes: Regular Script Uppercase and lowercase Numbers and punctuation Foreign language support Ligatures

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

Here's a new, softer take on the classic typeface Koralle, released by Schelter und Geisecke in 1913, and as fresh today as it was then. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

Lettering found on the cover of the 1923 song "I Love Me (I'm Wild About Myself)" can take on various graphical possibilities. Although its design is Art Nouveau in concept, it is somewhat reminiscent of the "bubble letters" most school kids used to doodle on notebook and portfolio covers; yet the lettering style also evokes the 1960s-70s Hippie movement. As a sidebar, a couple of lines from the song's lyrics were used by Jeff Levine's late mother to chastise him as a youth when he got "a little too full of himself". The lyrics were: "I love me! I love me! I'm wild about myself! I love me! I love me! My picture's on the shelf!"

I'm letting my inner nerd show through on this one: "Chaotic Neutral" is a Dungeons & Dragons thing. But the name applies to this font, too! Chaotic: This font has all sorts of built-in irregularities. Some variation in letter heights and letter widths, and the stroke widths are all over the place. It's all about the hand-written messiness. Neutral: And yet! I've smoothed the strokes a bit, and gone for as few nodes on each letter as I can (while still keeping a bit of roughness), so this font can be used for any kind of purpose -- not just print, but cutting out as well! Chaotic Neutral also comes with over 300 extended Latin characters for language support, and is fully PUA-encoded for easy access no matter what program you're using.

Introducing Magnetic Script, a bold stylized font family that is not only eye-catching and assertive, but highly legible at both display and text sizes. The heart of this font's usefulness is the three-layer setup that allows you to quickly copy a text block twice, then reassign the main layer, the extruded shadow underlayer, and the top highlight layer to three different colors. Magnetic Script is massively versatile, and appropriate for many uses including university / collegiate logos, sports team logos, graphics for motorcycle clubs, automotive rallies, microbrewery labels, and vintage & retro styles of all kinds. It's the ultimate branding and logo design font suite.

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

ITC Freddo is the work of New York designer James Montalbano and was inspired by a sign lettering manual from the 1930s. Montalbano liked the character shapes illustrated in this manual but found many of the proportions odd. So he reinterpreted them to produce capitals and lower case letters which, according to today's standards, better complement one another.

Meets Glaw, A new carefully crafted Fonts from Ilham Herry to bring a new heavy look of Psychedelic Theme. The Ideas of this fonts are from 70s, Psychedelic, Funk, Hippie, Party, Music and Etc. Even though it’s a specific theme for this fonts. It doesn’t ruled out the possibility of creating a new style or themes. Glaw Created with a 3 Weight on the traditional OTF, Condensed, Regular and Expanded. Not Just that, If your software are support for Variable Fonts like Adobe Illustrator or Photoshop, The Weight are going to 100 Weight!. Glaw Best used for a Large Text such as Headline, Poster, Branding, Logos, Concert, Branding and Any other use that needs a Heavy looks for the Title. Our creation on the display to give you a reference what it looks like on your project. It shows that how Glaw will look on your design style.

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day. At the root of Salden’s design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there. This set covers the gamut of Salden’s lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling. All the fonts in this set include Pan-European glyph sets. They’re also loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts. These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden’s original drawings, access to which was graciously provided by Museum Meermanno in The Hague. The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.

Picture yourself on a New York subway station platform with the location name set into the tiles on the wall. Borough Hall JNL evokes the feeling of urban industrialism at its best.

Pesky Bug is a clean comic and kids font. Initially drawn by hand, but cleaned up digitally, leaving a fresh look - which makes it perfect for anything that has to do with kids products, sports, toys, clothing etc. The x-height, width of strokes and variating baseline are off here and there, and that leaves this active look!

Lively, friendly and fun. Blackcurrant is derived from a poster campaign Rian Hughes designed for the youthful Japanese woman's outfitters, Yellow Boots. The original logo formed the basis of the Black version; the narrower Squash version was added fro the commercial release. The lower case was added two years later due to popular demand. In 2010 the font was further accessorised with extensive ligatures, made possible with the then-new Opentype technology.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

Brandold is based on the repetition of one shape, the equilateral triangle. Using these triangles as pixels I built a medieval-like font that looks new, but follows an old aesthetic. I chose to make this font because I hadn’t seen anything similar.

Britanica is an extremely versatile family inspired by the neo-grotesque typefaces of the 20th century. Its morphology has a modern and geometrical feel and is based on simple and recognizable shapes, making it highly legible. A perfect mix of modern and practical, ideal for any kind of project. Britanica comes in 6 styles and 7 weights, along with a set of bespoke icons.

The inspiration for Home Room JNL was a 1950s-era package of die cut cardboard letters and numbers manufactured for educators by the Mutual Aids Company of Los Angeles, California. Pre-cut lettering was popular with teachers who used them in their classrooms for posters, bulletin boards, displays and flash cards. These bold, blocky letters are great for headlines or for recreating the look of school days past.

Introducing Little Humble Font Little Humble is natural kid font. It made based on real handwriting. It can be used for cafe or coffee shop menu lists on board, branding, invitations, watermarks, advertisements, product designs, labels, product packaging, book content, quotes and more. It came with number & punctuation, multilingual support, and PUA encode Hope you like this product.

Bommer project started in January of 2014 and I am happy to announce the first family - Bommer Slab - is now ready for release. This family includes 14 weights - being seven uprights and seven italics. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks.

Meet Revla Serif, an unashamedly spirited font, with a spring in its step and a lust for life. Loosely based on a few letterforms from a mid century poster, it takes the feel of Madison Avenue print ads and runs with it. OpenType acrobatics ensure letters don't repeat monotonously, using the contextual alternates feature. Also included for your viewing pleasure - automatic fractions, case sensitive forms and one solitary stylistic alternate, an alternative ampersand. And that's it! Put the fun back into your text with Revla Serif.

Hi there, introducing an abstract font named Dash Grid. At's a geometric display typeface made of square dashed blocks. Dash Grid font supports most of the european latin languages and includes ukrainian cyrillic alphabet (check out all available characters on the last screenshot).