The idea was to create a package containing prominent tag styles of graffiti strongholds like New York, Berlin and Paris. Shik (New York), Deon (Paris) and Etan (Berlin) came together to show the typical tag styles of their respective metropolitan areas. The fonts were digitized, spaced, kerned and programmed by Hannes von Döhren. The Subway Types are highly equipped. Each one consists of 4 alphabets (Uppercase, Lowercase, Small Caps & Swash). They also include ligatures and some specials like underlines and a huge range of accents for a wide language support. With the OpenType technology these features can be applied easily. For those who never used the OpenType features, we created the Std (Standard) and the SC (Small Caps) versions of the fonts. They contain the same basic characters like the OT versions but are split in two fonts. Hence you don’t need any OpenType knowledge to use the Std and SC fonts.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Looking for a fresh and new font for your design project? We've got you covered with Trust Royale, the latest brush typeface craze on the scene. With its minimalistic, graffiti-style feel, this typeface is perfect for both cool and trendy designs. Not only is it inspired by hand-painted letters on walls, but it's also available in multiple languages - giving you more freedom to express yourself. So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations, works on PC & Mac Download Trust Royale now and use it in your next project!

This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set. A totally enjoyable reworking of an original design. Now also with a Bold and a brand new Light variant! Please note that these variants are made by adding/removing from the regular shape, so the letters no longer sits on the baseline. 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.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

Crystania is a must-have signature script that has a diverse. This collection fills a void and separates itself from other scripts available. Crystania is a handwritten signature script with a natural & stylish flow. This collection of scripts is perfect for personal branding. But, this works well for many applications. Everything from personal branding & wedding invitations to advertising could benefit from this collection of signature fonts. These typefaces work well for many different aesthetics. They work well with something like 'cosmetics' for example but would also work well with Liquor Labels, Signage, & any type of signature-styled logo. Files Include : Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multilanguage Support Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

Hydrella is a modern sans serif with sharp, unique features and moderately high contrast. Its easily distinguishable attributes provide just enough of a fresh new look without overpowering the overall design. Available in 9 weights, Hydrella works well as both a display typeface and in smaller sizes.

A new take on the classic typeface used at Oxford University Press. Carefully crafted from original sources and updated for the modern times. Size specific weights and meant to act as a work horse for longer texts. A joint venture between Stefan Hattenbach and Johan Ström.

Have a great day! My new font was present, Night Michy!! Night Michy is a Bold vintage style serif font with strong character and soft features. modern and classic serif font with a clear and bold look. It’s a very versatile font that works great in large.

Introducing "Different Cultures," a font that effortlessly embodies the latest design trends. This modern serif display font transcends conventional styles, offering a perfect fusion of bold and thin strokes that create a visually stunning balance. Immerse your designs in the contemporary allure of "Different Cultures," where every curve and detail is meticulously crafted for maximum impact. Explore the font's diverse array of alternates and ligatures, providing you with a stylish toolkit to customize and enhance your typographic creations. "Different Cultures" is more than just a font; it's a visual journey that seamlessly blends modernity with timeless elegance. Elevate your projects with the unique and captivating aesthetics of "Different Cultures," setting a new standard for stylish and versatile modern serif display fonts in today's design landscape. Here's what you get: Regular & Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

astroluxtype’s Spacepod is a headline display font set. The font contains uppercase and lowercase letterforms with a minimum glyph set. The style suggests weird sci fi from the 1970’s or the far future... you decide? Is this the font for your sci fi western book cover title with a nod to The Matrix in the story or a poster for the movie remake of Westworld? Wherever your ship takes you in the universe Spacepod should be the letterforms on the side of your craft that states, “No rides for damn dirty apes!”

Fateya is a handcrafted script font amazing typeface that we created in freestyle for those of you doing work and crafts. This font has a total of 777 Glyphs to make it easier for you to choose a character according to your needs. It's perfect for all kinds of work you do with multiple purposes like logos, wedding invitations, titles, t-shirts, letterheads, signage, labels, news, posters, badges, etc.

There are many subtle and dramatic differences incorporated into this classic beauty. Many shapes have undergone a bold transformation, while others lines remain faithful to that classic period of time that we all know and love. Kaczun Oldstyle works great in headlines, but it works equally well in text at a wide range of point sizes. Use it instead of the old times because, after all, we live in new times.

Eckhardt Poster Brush JNL is part of a series of fonts emulating many of the various styles of hand lettering employed by sign painters and show card writers. The series is named in honor of the late Albert Eckhardt, Jr. - a talented sign writer and a good friend of the font's designer, Jeff Levine. Eckhardt Poster Italic JNL is an angled treatment of the font.

Boulevard is a new romantic modern calligraphiy font with exquisite accents, and distinctive style that is perfect for your branding design. Modern calligraphy with many alternatives. Now this is an opentype! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Includes the initial letter to terminal, alternative, ligature and multiple language support.

Mentone is a new general purpose typeface, an attempt at extending the line of the great sans-serifs of the previous century, Frutiger - Stone Sans - Myriad. The font has round corners and subtle chamfers, which are all but invisible at text sizes, but add an upbeat, irreverent expression at display sizes. The typeface is named after the beautiful bayside suburb of Melbourne, Australia, where the designer lives. This new version (2.01) was spaced and kerned by Igino Marini of iKern. The semibold cuts are now free!

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

Inspired by the old Stephenson Blake Caps only font Algerian from 1908, this version, named Algerian Mesa, has been freshened up with a new matching lowercase. The original Algerian, on page 142 of the 1908 Stephenson Blake specimen book, was a small caps to a more decorative lining caps and the plain black version, without the shadow line, was named Gloria. Also on page 142 of the 1908 Stephenson Blake specimen book is a shaded Latin font that gave me the idea for the Alt version of Algerian Mesa. The Alt version works well at smaller point sizes combined with the regular Algerian Mesa font on the same page. New for 2016 were Opentype features including original alternates, oldstyle numerals and case sensitive forms, also new is a fully usable Alt version. New for 2022 are the higher x-height, 90% small caps, 80% small caps and all new italic versions. Also new for 2022 are straight sided accent marks replacing the flared or curved accents. While Algerian Mesa includes some alternates our related Tavern font will still remain the version with more alternates and more weights.

The Norse Gods of Asgard, the Titans of Olympus and the Elders of Middle Earth have spoken! Their pronouncements have been carved in the solid rock across the mountains of Midgard and their Legend will now be known to many... 'cause JG --- our very own Mr Fontastic -- signed a license for comicbookfonts.com to make the typestyles of the gods commercially available. No really, he made a deal with Loki. Dipped his pen in his own blood and everything.

A set of historical Ossetic ornaments was designed by Lev Alborov in 1998 and licensed by ParaType.

In the late 60’s, one of the best art publications in the country was Motive magazine, published (amazingly) by the United Methodist Church. Filled to the brim with poetry, essays, line drawing and woodcuts, it also featured some cutting-edge typography. Boxy/Code is based upon my memories of woodcut typography from that great magazine. Since Boxy/Code ’s lowercase consists of the uppercase’s negative spaces, it’s easy to combine the two with Layer Styles in Photoshop in order to achieve the effect I used in one poster above. It also works great if you use a well-known text as a background. This new version is totally redrawn and features all the Latin-accented letters. Uppercase consists of black capitals in boxes; lowercase features the negative spaces of those boxed capitals. Uppercase and lowercase line up exactly for 2-color effects.

Another stencil font? Oh, yes. Circular trip time of bus number 17 is so long and designer has one relaxation: look over the letters in the bus. So many tables with bus stop names in it! And now you can write it yourself - enjoy new Marshrut Stencil typeface.

It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it ‘Creighton’.

In a design landscape dominated by modern advancements, ZT Ravigsfen emerges as a stunning turning point. A work of sans-serif grotesque font that celebrates the style and audacity of classic sci-fi, this font takes users on a journey through time. With Nine Weights spanning from delicate thin to commanding black, ZT Ravigsfen offers boundless flexibility to embrace any design project. Its unique alternative style, featuring a central split, creates characters shrouded in mystery and wonder. This is more than just a font; ZT Ravigsfen is a narrative. Each letter is a blank canvas waiting to be filled with stories and adventures. Both uppercase and lowercase letters, while sharing similar forms, exude distinct auras, framing each word with a signature touch. ZT Ravigsfen Key Features: 9 Remarkable Weights 3 Styles (Grotesque, Oblique, & Alternate) Captivating Alternative Style Distinct Aura in Every Thickness Rich with 525 Glyph Free Updates Download now, discover unforgettable retro aesthetics, and embrace boundless creativity with ZT Ravigsfen. This font is the gateway to a new dimension of design waiting to be explored. I hope you have fun using ZT Ravigsfen. Thanks for using this font ~ Zelowtype

"Love Heart" is a hand lettered font style that is perfect for greeting cards, branding, stationery design, social media, packaging, magazine layouts, prints, logos and more! This unique font features complete lowercase alphabets and uppercase alphabets along with a few other ligatures and stylistic alternates to create a truly handwritten look and feel. "Love Heart" has a variety of unique, coded features to create compelling, handmade outcomes. Multilingual support is included for Western European languages. OTF is included for the full, "Love Heart" font. Including Product : - Love Heart (OTF) - Love Heart Fill (OTF) - Love Heart Sans (OTF) This is the personal license font that can be used for all personal needs. If you want to use this font on items you are going to sell or on anything promoting your business, please purchase the extended license version. Happy Designing! Haksen

These four sets are based on the elegant and beautiful work of the German graphic designer Emil Rudolf Weiss. The initials were made to complement Weiss’ text fonts and were cast in the 1920s by the Bauer Type Foundry of Frankfurt. Also known as Weiss Initials Series I, II, II Bold, and III, the lettering has a distinct antique quality. These extremely hard-to-find digital versions look superb in large sizes and remain huge favorites among book designers. Wellsbrook Initials are now available in the OpenType Std format. Some new characters have been added to this OpenType version as Stylistic Alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.