Based on lettering from Eric Gill for the British bookseller WH Smith, Colins Banks made the Gill Facia family for Monotype in 1996. This lettering from Eric Gill was one of the first alphabets that was used for corporate branding. Gill Facia is an elegant signage face for advertisements and for displays.

Embossanova was initially sketched to be a monospaced typeface but quickly took on a life of its own. It developed serifs and numerous arcs and stroke weights. I wanted it to retain a pre computer/unmathematical feel so there is a slight variation on curved characters and their relationship to the X height.

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

Pablo is the work of British designer Trevor Pettit, who based this dramatic typeface on the signature of Pablo Picasso. The chunky lowercase reflects the very essence of Picasso's influence and the initial capitals can also be used on their own. Pablo is excellent for work requiring a vivid, cutting edge appearance.

Choc font is the work of French designer Roger Excoffon, based on the traditions of Japanese brush calligraphy, thick yet graceful. Choc light font was designed by Phil Grimshaw, who had to redraw many times in different weights before finding one that worked as a text face and remained true to the original.

Calligrapher Cursive Modern, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on Cursive Modern calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. Cal Cursive Modern contains all the Latin and Cyrillic glyphs.

This elegant stencil face is based on lettering used by Charles-Edouard Jeanneret, popularly known as Le Corbusier, on his architectural drawings. Big, bold and beautiful, it's the perfect choice for commanding headlines or subheads. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Moneta™ Sans is an elegant transitional sans-serif with high contrast. Its morphology is based on the study of traditional broad-edge pen script. It comes in 2 styles and 4 different weights (Light, Regular, Bold and Black) and has variable features. Designed by Santi Rey and launched on May 2020.

Do you like fat fonts? Well here is a free one from me. Regular & Italic both free. Fat is a caps only font. Because of that if you type something with caps on, as you can see is typing in Greek I decide to make it like this since there no lowercase letters.

Octagonist JNL is based on ‘Octagon’ [which was introduced in the George Nesbitt 1838 specimens of wood type] and is available in regular, oblique, solid and solid oblique versions. The font’s name is partly an homage (to the original type name) while at the same time making a pun on the word ‘Antagonist’.

Templit JNL is one of a number of fonts modeled from actual lettering stencils by Jeff Levine. This one takes its style from a set of individual letters and numbers used for marking and identifying objects. Some of the letters and numbers have solid shapes rather than traditional stencil breaks in the characters.

One good pun is worth a simple description… Nondescript JNL… 'Non' - not. 'de' - of, in Spanish. script - a cursive (handwritten) letter form. So… while nondescript generally means lacking any defining description, in this case it also means "not of a script"… which is precisely what a typeface such as this one is!

Tectura II is Greater Albion's answer to the infamous Comic Sans. It's a family of four 'hand printed' typefaces that provides our very own answer to the infamous 'Comic Sans', and follows on from one of our early release 'Tectura'. Tectura II offers a distinctive blend of hand written character with legibility.

CIRCUMULUS is a font that designed based on a single circle SOFT AND CURVY Circumulus has soft appearance and curvy lines, which gives it's nice look GEOMETRICALLY RATIONAL Every glyph has a ratio to one another, which makes this font can be used in any kind of rational system like repeating patterns

Introducing vintage label font named Fishman. This font has a multilungual characters support (check out all available characters on previews). The font family has six styles: Regular, Shadow, Light, Shadow FX, Light FX, Aged. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

This engaging headline face is based on a rather pudgy typeface named "Bullion Shadow", which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Octagon is a basic sans serif font. This font showing a simplicity in design and readable. One of the feature is the optical kerning precisision, that supporting ellegantly in the writting result Hope this font will be fit on your next design project. If you have any question please feel free to contact.

Crysh Graffiti is the newest typeface with a simple graffiti style. There are three styles of font. Regular, extrude, and line styles Inspired by a simple piece of graffiti. The entire typography has been designed to work on large sizes. This font is good to use on posters, zines, stickers, and t-shirts.

A rollicking fun face based on lettering on a poster for Britain's LNER steamship lines, which featured a piano-playing mouse and a dancing goose. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Calligrapher Humanistic Cursive is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional cursive calligraphic stile. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. It contains all the Latin and specially-created Cyrillic glyphs.

The Zapf Renaissance Antiqua type family was designed by Hermann Zapf for the German Scangraphic Dr. Böger GmbH in Hamburg, from 1984–1986. The typefaces were engineered for use in digital CRT phototypesetting. This version was based on Scangraphic SH version (For Display use) and not on the SB version (for text use).

Introducing Galvitra Display Typeface! A modern display typeface take on a grotesk style, comes in 5 weights and it has opentype features. Galvitra typeface have unique shape and serif on selective characters, that's sure make your design stand out. Use Galvitra for most any aspect of graphic design, from logo to display designs.

Hidden Forest is a collection of 52 hand drawn tree silhouettes. It is a super fast tool for creating wonderful illustrations!

Aphrosine is a font based on pointed pen script. A huge lot of alternatives and smart OpenType features allow it to look almost indistinguishable from real live handwriting. Aphrosine is something between handwriting and calligraphy: it took too much effort for being “just handwriting” but lacks seriousness and regularity comparing to true calligraphic fonts. That’s why it was called after a peculiar character from a children’s book: a witch who was very fond of dressing, makeup and writing letters. Aphrosine has three faces. But unlike most other type families, the glyphs from one face do not match exactly the glyphs from another one. The faces are based on writing with different nibs but by the same hand. The type is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015.

Rolling gemstones… The name "Eris" is again borrowed from Greek mythology, is related to the myth "the apples of Hesperides" which were gold and one of them got the Erida!!! More about this myth can be found on the web... And in this font (as in one section in the "Cyceon" font) I have mixed in the lower case with the capitals in many letters.I tried here to give a different illustration in lowercase letters, simply because of whims or because the monotony is tiring me!!! One can also mix here with two levels to get a third color depiction using the “ErisPro-Black” with “ErisPro-Strap” or “ErisPro-BlackIt” with “ErisPro-StrapIt” This series is composed and includes twenty-four fonts with 658 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

While browsing through a sourcebook on historic calligraphy and antique type I came on an interesting sample of a gothic style attributed to the legendary artist Albrecht Durer. I had previously seen fonts based on the peculiar style of lettering Durer used on prints for his signature and some captions, but this style was radically different and much more characteristic of the lettering and early printed types of the 'Northern Renaissance' which Durer was a big part of. Whether it's authentically Durer's work or not is up in the air, but it's a very nice example of early gothic type. We've called the resulting font Albrecht Durer Gothic and it's a very striking face well suited to titles and other contemporary uses where you need something heavy and eye catching.

Probably one of the most unusual applications of a stencil took place in 1964 when Union Carbide [then-owner of the still-new line of "Glad" brand plastic wrap and storage bags] sponsored a $100,000 contest to match up a stencil of their logo in order to win a prize. The magazine ad told of how one thousand lucky participants would win $100 by simply taking a die-cut stencil of the brand name to the store and overlaying it on the logo printed on the food wrap box to see if it aligned perfectly. The hand-lettered title proclaiming "match the stencil and win" was done in a casual sans design and reflected the cheerfulness of many typestyles found in ads during the late 50s and early 60s.

During the turbulent era of the 1960s, the youth of America found various ways to protest against "The Establishment". Whether it was campus unrest, protest songs, sit-ins or other methods, the message was the counter-culture movement. Arising from this disenchantment with traditional social standards, a small but effective means of protest arose that made no sound, yet spoke volumes - the pin button. Statements against the war in Vietnam, free love, drug use and other messages popped up on little metal discs pinned to tee shirts, suspenders, head band and hats. Sixties Pin Buttons JNL recreates twenty-six of these messages in both white on black (upper case keys) and black on white (lower case keys). Blank buttons in both white and black are found on the parenthesis keys.

In 2006 the art director of Emotion, a women’s psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs. In the composition I wanted the two extremes to work together. All the other elements had to be harmonized. The proportions needed to match the magazine’s requirements. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes. As you can imagine, the emotion-job never happened. In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.

Miguity is a display serif font in thick volumes designed to leave professional, formal, lovely impressions. This font’s character is the hook on the final corners of each letter. Plus, some of the letters show swinging wipes on their edges. It surely eases the eyes to explore the text to add its readability. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations You can use Miguity on various designs, for example the posters, banners, logos, magazine covers, quotes, name cards, headings, printed products, merchandises: social media, and so on. Find out how to use this font by watching the font preview. Hopefully you have great experience using this font. Feel free to contact us if you require more information when you are experiencing a problem. Thank you. Happy designing.

Larisa Script is a smooth, elegant, and flowing handwritten font. It has as many characters to play as you want, readable and incredibly versatile. will look outstanding in any context, whether it’s being used on busy backgrounds or as a standalone headline! Larisa Script - includes many alternative characters. Coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people who have opentype-capable software: Alternatives can be accessed by turning on the "Alternative Style" and "Ligature" buttons on the Photoshop Character panel, or through any software with the glyph panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

Legan, created by PeGGO Fonts, is a typeface with a large number of glyphs. The uppercase letters follow the classical Trajan pattern. It is designed with several geometrical proportions such as root five, divine proportion (Golden Ratio), regular square, and others, just like the Greek Trajan letters used on Trajan’s Column. The major innovation is a lowercase that is designed in accordance with the same Trajan rules. My concern for the global community is reflected by the large number of diacritics I have provided, first on the basic alphabet, then on extended latin languages, as well as ones for Cyrillic and Greek. Because it is OpenType, there are various setup possibilities including traditional ligatures, as well as various alternates. Altogether you will find this a very playful, fashionable, and elegant typeface.

Although ITC Styleboy has a retro feel, it isn't based on any earlier typeface. As far as inspiration goes," says designer Chester Wajda, "I'd have to say comic strips of the '20s and '30s, and silent-film marquee lettering from the '20s - with a hint of a Chinese brush?" He originally created the typeface for a children's book he was working on. "I wanted it to be fun, but still somewhat formal in its underlying structure," he says. "It's largely based on right and 45-degree angles, with slight tucks inward on the stems and bowls, and a few flourishes here and there." Styleboy's top-heavy look is most noticeable in the caps, but it's exaggerated too in the "8" and the lowercase "g." Styleboy is Wajda's first typeface design."

ZT Frimpong is a sans serif look made by hand, all the letters are drawn one by one, so that no one line is exactly the same. This is a closed, low contrast typeface with an emphasis on connecting strokes. Sensational style, potentially unique atmosphere, ZT Frimpong comes in three thicknesses, and each type has a different feel, namely each weight of the font texture is getting denser, so there are fewer cavities. It can be used to create almost any type of design project such as Poster materials, logos and web designs. Just use your imagination and your project will come alive and alive than ever with the ZT Frimpong Font. I hope you have fun using ZT Frimpong Thanks for using this font ~ Khaiuns X zelowtype

The multi award-winning Seria (1996) is Martin Majoor’s second comprehensive typeface family and the successor to his popular text letter Scala. Seria explores the proportions of classical text typefaces. Its degree of sophistication is perfect to be used for poetry and other refined literature, its eye-catching details however makes Seria also suitable as a display typeface. The first sketches for Seria emerged in the summer of 1996 on the train from Berlin to Warsaw, to be precise, on July 25 – the date Majoor noted on the napkins of the train’s on-board restaurant, which he used for lack of suitable drawing paper. The italics are almost upright which contributes much to Seria’s delicately proportioned appearance. The Seria family consists of Seria Serif and Seria Sans. Combining the two creates countless possibilities of expression.

Slacker is a carefree brush script with soft features, low contrast and well balanced character forms. Slacker is excellent for creating easygoing yet catchy headlines, logotypes or even longer texts. Slacker is equipped with Standard Ligatures and Contextual Alternates - they help to keep the flow lively and balanced and connections smooth so you should normally keep the features on. In addition Slacker has Stylistic, Swash and Titling Alternates for more showy letterforms. If you want to keep letters connecting to one another at maximum try turning on Stylistic Set 01 (SS01). On top of these Slacker has even more alternates in the Character Window making the total glyph count to 660. Slacker Extras is a set of 50+ brush strokes with the same style as the brush and a set of catchwords.

Matchbox Font Collections Inspired by a vintage book, old style design, a classic casual vintage look fonts. Minimal decoration on the fonts made it more casual look. The fonts are very versatile, even it works also on modern design but still keep the classic look. Created 6 Fonts that can be combined each other. Like on the Preview images, I've been created from the victorian style to the minimalist badges. It's still blend to each other. What's inside : Matchbox Linea - Bold, Sharp, Standout with inline cut. Matchbox Lettre - Popular Vintage Sign Style. Matchbox Deco - As it names, Art Deco Style. Matchbox Scriptura - Casual Script Fonts, Good for Pair or on a small details. Matchbox Ornato - The Only fonts with a touch of vintage decorations. Matchbox Graso - Little touch of a Fat, Fun and Casual.

Night Train is a new font built from the ground up; while Night Train may resemble an old classic wood type there are a few lines that make this font a little more modern setting it apart from other wood type revivals. If you're a railroad enthusiast you're sure to enjoy the steam locomotive graphic located on the less than and greater than keys on all versions of this font, due to the fine detail of this train illustration the best printing results will be at 600dpi or higher on a laser printer. An alternate K and R are within the Night Train fonts, for Win Type1 these alternates are on the left and right bracket keys, for Truetype and OpenType you may access the alternates by using the Character Map in Windows or Adobe Illustrator, for OpenType you may also find them on the stylistic alternates page of the glyph map in Illustrator. There's something new with Night Train that the sign making people will love, for the first time FontMesa is pleased to offer a block shadowed version in four directions. One fill font is all that is needed for all four open faced fonts, you'll need an application that works in layers in order to use the fill font with the open faced fonts, simply place the fill font in its own layer then move it behind one of the open faced fonts of Night Train. The Night Train name has been on my list to use as a font name for a few years, a friend from years ago used to sail his boat in the Mackinac race from Chicago to Mackinac Island, the name of that boat was the Night Train. Watching the 2010 Olympic four man U.S. bobsled team win gold with their sled also called Night Train has inspired me to complete this font.