Orange Voyage is a modern serif family with vintage charm, fashionable appearance with a touch of retro Quick access - using the built-in OPEN TYPE functions. Just add "-" or "_" to the letter and instantly get an alternative. This feature works in most applications Font is an open type with clean shapes and precise kerning. It includes ligatures and alternations Language support: All European languages Don't forget to subscribe so you don't miss out on the new awesome fonts Dima

Great Bromwich takes the ideas in Greater Albion's Bromwich family that little bit further. It can be used on its own, or as a compliment to Bromwich. Great Bromwich uses specially re-designed large and small capitals, to enable that bold headline statement to be made with impressive Edwardian flair. In the spirit of railway travel posters and illustrated news journals, its a wonderful font for poster design, or for book covers and other work with a period theme.

Introducing Kin Grotesque Kin Grotesque has been created to be your new go-to grotesque font that will work well for copy text and headline titles. With carefully crafted letterforms, ligatures and stylistic alternatives, Kin Grotesque is perfect for brand identity and logo design. With nine standard weights in standard and italic families. Features: 9 separate font weights + variable weight font for compatible software Standard and Italic Upper and lowercase Numerals Trial versions are available from www.wearecolt.com

Introducing our new "Eshetique", Elegant & Stylish Typeface, Typeface with Unique, Classy and Stylish. Eshetique Typeface is a Elegant & Stylish Typeface – This font is modern and classy and works great for logos, magazine, social media. Already matched up and ready to be used together for your next design! For those of you who are needing a touch of elegant, stylish, classy, chic and modernity for your designs, this font was created for you! Eshetique Features : - Ligatures - Multilanguage - Alternates

A set-aside work file featuring a bold sans serif typeface that may or may not have had a vintage source history was given a new treatment. Initially, the solid design was converted to a stencil format and an experiment was undertaken to see what the alphabet would look like with a dual line treatment. Surprisingly, it turned out quite well and the end result is Dual Line Stencil JNL; available in both regular and oblique versions.

Say hello to our new modern calligraphy font "Floristica"! Featuring handwritten, sophisticated flows, it provides a full set of uppercase and lowercase letters, multilingual symbols, numerals, and punctuation. Additionally, it includes lowercase beginning and ending swashes, making it perfect for invitations and monograms. With its smooth texture, it would be ideal for all kinds of home crafters (cricut, silhouette, etc). "Floristica" works great for wedding designs, logos, stationery, signature, quotes, cards, display text, and so many other designs.

Radellin is a modern serif with vintage charm, fashionable appearance with a touch of retro Quick access - using the built-in OPEN TYPE functions. Just add "-" or "_" to the letter and instantly get an alternative. This feature works in most applications Font is an open type with clean shapes and precise kerning. It includes ligatures encoded by the PUA. Language support: All European languages Don't forget to subscribe so you don't miss out on the new awesome fonts Dima

Hey there! I'm happy to introduce to you my new ethnic-based font. Hurray! It was long and hard work because every glyph is unique. I sketched each letter of the font. Each letter is uniquely designed and has nordic folk art in the background. What you will get: Filled and Regular styles Icons and patterns font Uppercase (lowercase glyphs are same) Numbers and symbols Multilingual support Please feel free to request to add characters you need: kaer.pro@gmail.com

Early 1900s songwriters had a penchant for devising lengthy titles for their compositions. A perfect example from 1909, "It Is Hard to Kiss Your Sweetheart When the Last Kiss Means 'Good Bye'" is a whopping fourteen words long. The sheet music for this piece has a hand lettered, Art Nouveau sans serif design which became the working model for La Vie Nouveau JNL [which translates to "the new life"], and is available in both regular and oblique versions.

Heartsome is a ‘forgotten’ word. It was mostly used in Scotland and it means: ‘giving cheer, spirit or courage’. I had never heard of it, but I thought it deserved a second chance, so I named this font Heartsome! Heartsome is a handmade Didone; I used a brand new bottle of Chinese ink and a brand new synthetic pencil to paint the glyphs. Brand new, because all of my drawing materials seem to have evaporated when we moved into our new house… A synthetic brush, because I don’t want animals to suffer because I feel the need to create fonts.

SPIDER-MAN! THE HULK! THE FANTASTIC FOUR! BATMAN! SUPERMAN! Superstar artist Mike Wieringo has worked with the most well-known characters in comic books, and just a few short years ago Comicraft teamed up with Mike and writer Todd DeZago in the pages of their creator-owned comic book fantasy adventure series, TELLOS! At Mike's request, we created a special Wieringo font which incorporated Mike's distinctive, slick-and-easy, backward-sloping letters, as well as a slightly heavier font -- carrying just a little more ink -- for the Shadow Jumper characters featured in the first TELLOS story arc. Now the Mike Wieringo font can be yours as it joins our ever growing library of Masters of Comic Book Art fonts.

Positronic Toaster is a modern interpretation of the French upright scripts of the nineteenth century. It started off as an attempt to make a stylized script that didn't feel like it belonged on a 1950s chrome appliance. Later on, however, the design grew to embrace the qualities of that style of lettering. The result is something playful and elegant, that is not tied to any particular time period. The distinctive angular loops on the ascenders will join together in words like 'bulb' or 'wallflower' using OpenType contextual alternates. It is suitable for cards, wedding invitations, or any project requiring a fashionable, upscale look.

Indenture English Penman is based on research into original English and American indenture contracts from the eighteenth and nineteenth centuries, mostly with roundhand scripts, paragraph versals in Old English script and many, many flourishes. This font has a little of everything, with hundreds of glyphs: dozens of versals to each alphabet letter, some versals in Old English style, plus flourishes to use at beginnings of paragraphs or chapters, and many additional flourishes to create perfect ancient documents. To better use the resources of this font we suggest using the Glyphs resource in Illustrator and other software.

Binny Old Style is based on type designs originally cut in Scotland about 1863. Binny Old Style shows the influence of the types cut by William Caslon but was an attempt to make a modernized version by eliminating some of Caslon's more archaic features. It was cut by some American foundries at the end of the nineteenth century and by Lanston Monotype for mechanical composition, in 1908. Binny Old Style was named after Archibald Binny, a Scotsman who established a type foundry in Philadelphia in 1796. The Binny Old Style font is ideal for small point size settings in newspaper advertisements, catalogues etc.

Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton's 'Karnak', produced in 1936 for Ludlow. "Karnak" itself was based on the geometric slab-serif "Memphis", designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century type founders." Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.

Monotype Old Style is a nineteenth century update of Caslon Old Face with characteristics of the moderns built in. Monotype Old Style was recut by Monotype in 1901 from a Stephenson Blake & Company version. The design originated at the Miller and Richard foundry in 1860. In some respects it can be seen as transitional between old style and modern, but the spirit of the old styles predominates. By the turn of the century it had become a successful rival to the moderns. The Monotype Old Style font family is an attractive design which gives a light, airy feel to text.

Niveau Grotesk—the companion of Niveau Serif —is a type family of six weights plus matching italics and small caps. It was designed by Hannes von Döhren in 2013. Influenced by classical nineteenth-century faces, the fonts are based on geometric forms. Because of its straight architecture, Niveau Grotesk has a “punch” in big sizes but is very legible in smaller sizes and longer texts—in print or on screen. Niveau Grotesk is equipped for complex, professional typography with alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

When Jim Lee sent us pages of his latest project, DIVINE RIGHT, we knew we had to do something special for him. Something Unique. We knew we had to create a whole new look for his book. We spent weeks holed up in our Colorado mountain retreat, meditating on the true nature of leading and kerning, sketching out ideas and rejecting all but the best of the best. As the dreaded deadline doom rapidly approached, we suddenly knew we had the answer: A line of 'Celebrity' fonts -- digitally remastered lettering based on handwriting samples of the many Artists and Creators we all know and love. Of course, our first font would have to be...the SAMMY DAVIS Jr font! But Jim didn't like that idea and made us create a font based on his handwriting instead. You're no fun, Jim.

A new, ultra-modern classic serif typeface.

An original new design with angled serifs.

Storefront is what the prolific and talented American sign painters of the 1920s and 1930s would have created if they had access to the advanced lettering and type technologies we have today. Rooted in an incomplete Alf Becker alphabet sample, Storefront is my usual overdose on alternates and swashes, my eternal attempt at giving typesetting that ever-elusive handmade impression. Though the main shapes, especially the majuscules, are almost a standard recitation of the natural evolution of nineteenth century scripts, the additional variants available within the font provide a leap in time to what sign makers and packagers are doing today. I can honestly say that Storefront’s influences are probably less historic and more in line with my recent travels and frequent supermarket visits. It’s difficult to avoid current visual culture when you're constantly bombarded with it. Not that I try. I certainly welcome the overflow. I'm probably addicted to it by now. With a very cool aesthetic, plenty of alternates and swashes, extended Latin language support, Storefront is over a thousand glyphs for your branding, packaging, and sign making pleasure.

We Love Nature Stems Two is a picture font consisting of 52 all new high quality, hand drawn illustrations with clean outlines and a minimum of vector points. Due to the overwhelming success of our flower font We Love Nature Stems, we have created this brand new set of original illustrations. We loved creating these beautiful new flowers and hope that you will love designing with them. Enjoy!

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

Konsteady a new very attractive brushed font with a natural, detailed and perfect texture. Additional Konsteady Underlines. Konsteady is perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm and more.

Novita is a new something. This font is a new very elegant – extremely slanted – joining script with long ascenders and descenders. It is the fiancée of Novido which is the more elaborate male part of this font pair.

Hello Aster is a new font brushed textured script which is also equipped with additional swashes. It is perfect for brand projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, or anything to feature a persona charm.

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.

John Quincy Adams, sixth President of the United States, didn't hit his stride until he'd left that lofty office. It was during his many years in Congress that he assured his legacy, not least because of his long, masterful oratory opposing slavery. His speeches, in fact, won him the nickname "Old Man Eloquent." So when I decided to simulate Adams's penmanship in his legendary diary (which he kept for nearly 70 years), it seemed fitting to call the font by that name. I focused on his handwriting from about 1810, when he was Ambassador to Russia, but also consulted pages from later years. Old Man Eloquent has both regular and bold weights. The OpenType version has more than 450 glyphs, including alternate uppercase characters, old-style and lining figures, and numerous ligatures; all formats contain several common (English) words.

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

A new gothic great for books and magazines.

Geometric Sans for any use. Strong, modern, new.

A new gothic; great for books and magazines.

Digibeck represents a new style of digital font.

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

Wanderlust Letters has returned, but now offered in a beautiful collection of hand painted scripts. New versions include Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments. Wanderlust Letters Pro is an extended version of the immensely popular Wanderlust Letters. This latest version includes three sets of basic alternates, one set of decorative alternates, and one set of ligatures. Wanderlust Decorative Pro offers a magnificent updated flow from the initial Wanderlust Letters release. Decorative Pro includes two sets of decorative alternates, two sets of basic alternates, and one set of ligatures. Decorative Regular comes with one set of decorative alternates. Boho, Chic, Shine and Gold are an updated spin off of Wanderlust Letters. These fonts offer new letter styles that blend seamlessly with all Wanderlust fonts. Pro versions of Chic, Shine and Gold comes with three sets of basic alternates and one set of decorative alternates. Boho Pro comes with with two sets of basic alternates and two sets of decorative alternates. Caps is a perfect choice for headline use since it’s an all uppercase font. But don't be afraid to mix it up with all the other Wanderlust fonts. The entire Wanderlust Collection works impeccably to enhance your magazine, packaging, advertising, branding, posters, websites, and films. Combine all Wanderlust fonts with Ornaments to create unique hand painted typography art.

Neeskens, by Enric Jardí. A few years ago we used to talk about Neeskens as the font preferred by the crew of Ganimedes' commercial vessels. Now we see it as one of most solid geometrics of our typefaces. Neeskens has two versions: solid and inline.

Somes Slab Small Caps Extra-Light Display IMPROVED VERSION 2.0 + SWASH Somes Slab is a slab serif small caps designed by Ivan Yelizarow in 2019, inspired and named after The Matiu/Somes Island in Wellington, New Zealand. Its distinctive feature is a combination of wavy curves with slab serifs that makes it ideal for titling, headlines, subheads, spotlighting a short few-paragraph text that needs detachment. Best at Display sizes. Complete classification: Wavy Squircle Slab-Serif Small Caps Extra-Light Display.

YES! Seemingly insoluble lettering challenges can now be resolved by Comicraft’s uneFXpected and eFXceptional new font, FXMACHINA! Generate Enormous Threatening Sound Effects or Sinister Spikey Logos and Titanic Title Lettering with this Nefarious Machination designed by John Roshell. Crossover Events between Parallel Universes will instantly become Darker and more Secretive with the application of this Apocalyptic Omega/Alphabet. It’s like a Celestial Intervention! FXMachina features upper and lowercase characters, Western & Central European accents, and “Spike Mode” in Opentype Stylistic Alternates.

A very glitzy Blitz! I always wanted to design a typeface that was top heavy, but I never knew how not to make it look like Antique Olive, until recently -- I had an idea. My new family is very readable despite it beeing top heavy, thin on the low end and thick on the upper end. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

An ultra modern typeface which combined with the proper text font can revive any dull-looking document. The wide simple forms combined with the selective application of a few distinct characteristics has resulted a stylish typeface which shines in the top 10 of our most wanted list. The powerful new “Pro” version comes complete with Greek and Cyrillic and includes a number of stylistic alternates as well as 2 groups of stylistic alternate sets, the last group being unicase characters.