Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. This version of Bodoni was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. Although some of the finer details of the original Bodoni types are missing, this family has the high contrast and vertical stress typical of modern types. It works well for headlines, logos, advertising, and text."

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. 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.

NEW UPDATE Ver 2.0 Now is support font Variable with 2 axes (Weigh + Italic) + Adding selected Emoji Fracktif typeface is a modern Grotesk, Reveals a strong constructivist identity with classic type character proportions. Inspired by the historical German classic Grotesk designed by Genzsch & Heyse in 1874. Fracktif develops with simplicity in mind and refers to radical shapes by combining with calligraphic contrast logic there are many distinctive letters with clear modernist roots and a strongly contemporary finish, They were solid designs, suitable for advertisements, titles, and posters. Fracktif typeface family consists of 7 weight plus matching italics, Designed with powerful OpenType features such as alternate characters, Standard ligatures, discretionary ligature, case-sensitive forms, fractions, super- and subscript Language Support: anguages Support: Afrikaans, Albanian, Arapaho, Alsatian, Aragonese, Aromanian, Arrernte, Asturian, Asu, Aymara, Basque, Belarusian (lacinka), Bislama, Bemba-lang., Bena, Bokmål, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Cimbrian, Corsican, Chichewa (nyanja), Croatian, Czech, Danish, Demo, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, French (creole), Frisian, Fijian, Friulian, Galician, German, Genoese, Gilbertese, Greenlandic, Gusii-lang., Hungarian, Haitian (creole), Hawaiian, Hiligaynon, Hmong, Hopi, Icelandic, Italian, Ibanag, Iloko (ilokano), Indonesian, Interglossa (glosa), Interlingua, Irish (gaelic), Istro-romanian, Jerriais, Kashubian, Kurdish (kurmanji), Latinbasic, Latvian, Lithuanian, Ladin, Lojban, Lombard, Low (saxon), Luxembourgeois, Malagasy, Makonde, Maltese, Malay (latinized), Manx, Māori, Megleno (romanian), Mohawk, Morisyen, Norwegian, Nahuatl, Norfolk (pitcairnese), Northern (sotho), North-Ndebele-lang., Occitan, Oromo, Pare, Polish, Portuguese, Pangasinan, Papiamento, Piedmontese, Potawatomi, Quechua, Romanian, Rhaeto-romance, Romansh, Rombo, Rotokas, Rukiga, Rundi, Rwa, Rwandan, Sami (lule), Samoan, Serbian, Slovak, Slovenian, Spanish, Sardinian, Scots (gaelic), Sena, Seychelles (creole), Shona, Sicilian, Somali, Soga, Southern (ndebele), Southern (sotho), Swahili, Swati (swazi), Turkish, Tagalog (filipino), Taita, Tahitian, Tausug, Teso, Tetum, Tok (pisin), Tongan, Tswana, Turkmen (latinized), Tuvaluan, Ubasic, Uyghur (latinized), Volapuk, Veps, Votic (latinized), Vunjo, Walliser German, Walloon, Warlpiri, Xhosa, Yapese, Zulu.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. 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.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. Parma was designed by the monotype Design Team after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818.

Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

From A to B, or not to Z: that is the question mark: whether 'tis nobler in the mind to kern with the left and right arrows of outrageous keyboards, or to take arms against a sea of ' thought bubbles,' and by opposing, burst them? To sigh, with those little fireflies: to sleep; No more; and by sleep that is to say we end each line of dialogue with 'zzzzz;' The heart-shapes and the thousand drops of sweat popping off my forehead that sight of flesh is sure to produce, 'tis a consummation devoutly to be letter'd. To die with still at least five balloons of dialogue, to sleep; perchance to flashback to a scene in a previous issue while a picture of my head floats in the corner of each panel: ay, there's the rub; 'Nuff Said.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you are looking for a font that is perfect to make your designs look hip and fresh, go no further. Jorge Jenks has got it all. It’s simple, organic, versatile, and super modern – but not too futuristic. It will set you above the rest of the market. Jorge Jenks is an urban brush font reflecting the urban freedom and organic flow of city life. it has strokes that are made of multiple connected nodes and his forms are unique and imperfect. This makes him a great match for both display and text typography, as well as logo design. A Million Thanks www.colllabstudio.com

This typeface is an attempt to offer as a font the well known marvelous Hans Holbein “Death Alphabet”, first published in 1523. We have tried to preserve as much as possible the spirit and appearance of the original Initials set — incredibly fine and enriched with detailed figures — trying at the same time to create a font not too complex to be usable. Neverteless, the font files are large, and when used, the decorated initials may appear on screen more slowly than ordinary characters. (Minimum size recommended : 96 pts) We are offering here two complete standard sets (no accented characters) : Initials and capitals. We have reconstructed the missing letters : J and U, Eth, Lslash, Thorn and Oslash. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

Bloque es una fuente moderna de tipo bloque perfecta para proyectos de grandes dimensiones como vallas, pósters artísticos, señalización, packaging, títulos y logotipos. Ya que su contador es tan estrecho no debes usarla en tamaños pequeños porque la definición de cada carácter se perderá. Es una fuente que cuenta con una sensación limpia y minimalista. Bloque es una excelente elección cuando se necesita una fuente impactante de letras en bloque para crear diseños impresionantes. Bloque is a modern block font perfect for large projects like billboards, poster art, signage, packaging, headlines and logos. Since its counter is so narrow you should not use it in small sizes because the definition of each character will be lost. It's a font that boasts a clean, minimalist feel. Bloque is an excellent choice when you need a striking font of block letters to create impressive designs.

Hey there, cats and kittens! Are you tired of the same old fonts cramping your style? Well, look no further than Hickertown - The Cat's Pajamas of Retro Comical Fonts! Hickertown will transport you straight to the Roaring Twenties, where flappers and dapper gents ruled the scene! 🍸✨ It's the bee's knees for all your design needs! These fonts are the real McCoy, capturing the essence of the speakeasy era. Your designs will be the talk of the town! Whether you're jazzing up your posters, covers, websites, social media, logo, branding, or invitations, Hickertown Fonts will add that authentic touch of yesteryear. Your projects will be the duckiest thing since sliced bread! Packed up with many Ligatures and Stylistic Alternates to elevate your design experience furthermore. Don't be a flat tire. Get Hickertown now and let the good times roll!

Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination. The hint of Art Nouveau makes the font more expressive and individualistic. A number of alternative capitals allows the font’s expression to be turned up or down at will. A generous complement of accented characters (Western & Eastern European, Baltic, Turkish) enables multi-lingual use.

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

My pet peeve for many years has been with the 'rn' in small texts, especially with my smart phone. I felt that perhaps others may have the same peeve. I decided to try and fix that with Atlantica. As you can see in poster No. 4. "With the combination of 'rn' in small text it tends to appear as 'm'. Therefore it may be read as 's t e m' instead of 's t e r n'. Altalntica has an alternate 'rn'. By invoking the < Contextual-Alternate > feature. Atlantica will replace each 'rn' - or you may individually change them if you desire". Also note the deep cuts to help legibility for smaller texts. This combination apparently does not appear in many words, but when it does it can suggest a different word as in; eastern, stern, tarnish, Tornado, Turn and in some names as well.

What do you use to write a price tag at a store or to design a wall menu in a cafe? What to choose – a marker or chalk? Now it makes no more sense to be torn apart by the choice – use both techniques for your design. Walls fontfamily allows to perfectly combine an eco-friendly style with contemporary motives. Walls fontfamily supports over 70 languages and consists of 10 typefaces in 5 popular weights (Thin, Light, Regular, Bold, Black). Initially we wanted to create a font that would imitate an inscription made by a square tip marker which is usually used to write price tags at supermarkets, shops and cafes. During the working process we've decided to extend the conceptual boundaries of the Walls fontfamily and added 5 rough typefaces that imitate the style of ecologic chalk writing

»Supra Demiserif« is the demi serif addition to the Supra family. I am no fan of slab serif fonts, so I designed this one with half serifs, that makes the serifs less important. Then I found, that the italic does not look nice with slab serifs, so I did only one italic cut for the normal weight. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts. with each other.

A new vintage display typeface by Ilham Herry. Started from the passion of collecting the old tin packaging with classic labels on it, the layout and composition make Ilham pretty inspired and the urge of crafting the letters is getting bigger since that day. That's what comes first as a motivation in making this Ephemera Kingsford typeface.Adapted and referencing from the real physical collectible old tins and cans to a single pack of digital fonts asset. Packed up with 9 layered fonts, 1 font as a pair, and of course ornaments and vintage panels as a vector file.Perfectly fit for display printing, handcrafted product, screen printing industry such as apparel, packaging, labels, and also sign painting, scrapbook, glass gilding, et cetera. Not every visual can go vintage but if you want to, there's no other choice, oldsport. check Ephemera Kingsford type specimen here

BLOCK CAPITALS is a square, geometric, small caps display face that avoids fashionable foibles and exudes the neutral, unpretentious functionality of time-honoured block lettering. The family has three widths (Narrow, Normal and Wide), and the Bold weights are loosely based on well-used squared nets – 3x5, 4x5 and 5x5. However, the typeface escapes its grid origins whenever necessary with slightly modulated stroke weights, sensitive spacing and careful kerning. The aim is to retain the strength and simplicity of strictly geometric characters while introducing barely perceptible refinements that add elegance and usability. That said, letters and numbers line up horizontally without overlapping the capline or baseline, even the tail of the Q does not descend below the Baseline. Diacritics are modesty proportioned, accented characters extending no farther than necessary, allowing the leading on multiple lines of text to be kept to a minimum.

The Woodblock font is a heavy face with angled counters and wedge serifs. The angles of the terminals and non-vertical strokes have been carefully drawn to add emphasis to the shapes of the letters.

Display Squares Two is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Squares Two has upper and lowercase alphabets, numbers, and punctuation.

Display Dots One is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Dots One has upper and lowercase alphabets, numbers, and punctuation.

A 1922 piece of sheet music entitled “Japanese Sailor” had its title hand lettered in a Far Eastern motif. This design is now available as Sea of Japan JNL, in both regular and oblique versions.

Latinaires Pro is a new version of one of the first published Sudtipos typefaces. Now covering more latin languages and extended to 9 fonts, Latinaires is specially designed for modern brand communication and editorial use.

LD Grandpa is such a great font for any journaling application...and definitely not just for your masculine scrapbooking creations. It's bold and casual handwritten style is a perfectly useful addition to any font library.

Display Dots Seven is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Dots Seven has upper and lowercase alphabets, numbers, and punctuation.

Antipasto is a soft round font and really smart, created by Cosimo Lorenzo Pancini. It is coordinated, compatible and based on Arista font collection by Zetafonts. Now with 2 brand new weight, ExtraBold and ExtraLight!

A 1930s-era hand-lettered sign advertising a club lunch (consisting of soup, salad, dessert and coffee for 35 cents) provided not only the Art Deco lettering style but the name for Club Lunch JNL.

Kaluny Pro is a humanistic style font. It has two versions: one slab serif and one non-slab serif. Modern and with some classic features, it is easy to read and forms a homogeneous set.

The Barry family combines two opposite weights. This display face has a great effect if the two fonts are used together. If you want to make your design ordinary, Barry is not the right choice.

Maeva is a non-joining wide formal 60s script, directly designed and carefully finished by hand on screen, trying to keep the script alive – preventing it from looking mechanical – by drawing each letter from scratch.

Display Squares One is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Squares One has upper and lowercase alphabets, numbers, and punctuation.