‘Scion’ is an original design by Alex Kaczun. The inspiration for the typeface came from the Toyota SCION logo, which bears its name. In Alex’s own words, "I loved the simplicity, proportions and hi-tech look of the logo and decided to create an entire new design series based on its unique look". The fonts come in five flavors: thin, light, regular, bold and black. All the font weights were designed systematically on tabular widths so that the user can make adjustments to overall type color without changing the line length. In addition, Alex Kaczun has provided us with several alternate glyph substitions to further enhance the overall appeal of this contemporary new design. The large Pro font character set, which supports most Central European and many Eastern European languages, makes this typeface series ideally suited for display copy as well as text composition. In the near future, Alex plans to include a narrow, compressed and ultra expanded, along with true-drawn italic variations to further expand the possibilities of this great new display series.

Cherry is a bold and smooth display family with connecting script “Brush” and supporting thin marker caps “Sans”. In addition there is “Extras” which is a set of strokes and ornaments designed to go with the fonts. Cherry Print is the same set with rugged outlines and eroded print texture. Cherry Brush has clear and smooth letter shapes with lot’s of character. It’s great for Logo, Poster, Headlines, Packaging or any Display use. Cherry Brush is equipped with plenty of contextual alternates and ligatures that keep the connections smooth. This feature is set in Standard Ligatures and it’s on by default. Cherry Brush is designed so that you can also use it to writ ALL CAPS. For more flashy initials try Swash feature. Cherry Brush is PUA encoded so you can access extra characters in most graphic design softwares. Cherry Sans is an all caps thin marker font with two size of letters (uppercase & lowercase). Cherry Sans is clean and legible. It’s designed to work with Cherry Brush but works just fine on its own too.

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

The tale of Pumpkinseed began with a bit of hand-printing I noticed on the dinner menu at a local restaurant. I took a menu home for future reference. Several months later, some similar hand-lettering on another dinner menu caught my eye. I became a sort of connoisseur of hand-done menu lettering. After tweaking and adjusting a few of these menu-inspired (uppercase) characters, I placed them -- along with some other designs -- in an online Type in Progress survey. They won. So I finished the caps, drew out the lower case from scratch, created three weights and oblique styles. The result: Pumpkinseed, a full-featured casual hand-lettering face. Comes in Light, Medium, and Heavy.

Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy. This font include "long s", naturally, as typically medieval, and only a few special characters as there were not very often used in the text, no more than abbreviations. Added, a lot of accented characters no longer existing on this time. A render sheet, joined with the font file, makes it easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts, greetings... This font supports as easily enlargement as small size, remaining a readable and beautiful regular gothic.

Nero is built on the Nero framework, our popular family of geometric types. Like the sans-serif Nero letterform, it has two contemporary look and feel styles. Echoing late 20th-century modernism, the Rounded's overall look is clean and sleek, more ephemeral and dynamic than pared-down bourgeois asceticism. Nero's place in font history is a complex one. Praised for their readability and also at the same time their fashionable qualities, they look very modern and nostalgic, easy to read and very stylish, authoritative and fun. Nero and Nero Rounded when combined, offer 2 styles to suit all text types and sizes. Both are excellent for short texts that require a sense of urgency or playfulness.

This font is a collection of ornaments and drawings suitable for Halloween themed materials. There are bats, singly and in swarms, owls, dead trees, spiders and webs, as well as calligraphic ornaments with a decidedly creepy bent. Most of the characters in this font were drawn on a napkin with a felt marker, and the resulting ragged texture was very suitable to the Halloween subject matter. Where the same stroke is repeated in one glyph, the contours have been edited to minimize obvious repetition. Use it for your Halloween party invitations and posters. Combines well with: PR Bramble Wood 1, PR Bramble Wood 2, PR Hallow Doodles 02, PR Cauldron, PR Swirlies 01, PR Swirlies 05.

Linotype Sansara, from Swiss designer Grégoire Poget, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This fun font is a type experiment behind whose oriental facade hide Arabic letters, recognizable only at second glance. This font displays generous, pointed ascenders and descenders as well as a bar-like emphasis on the upper third of the figures which connects lines and words and gives them a decorative look. Linotype Sansara reveals an astounding variety of details which bring to mind 1001 Arabian Nights, flowing gowns and snake charmers. This font is best for display in point sizes of 14 or larger.

The three fonts in the Prescott series are re-creations of 19th century favorites with an Old West flavor. The town of Prescott was the capital of Arizona Territory from 1864 until 1912, when Arizona was admitted to the Union, and the capital moved to Phoenix. In 1986 Page Studio Graphics started its digital foundry in Arizona. The fonts are thoroughly pair-kerned, including all accented characters. Auto-kerning should be turned on in your application program. The font packages include both TrueType and PostScript versions, and are available in either PC/Win or Macintosh format. In order to avoid serious problems, be sure not to install the same fonts in both TrueType and PostScript on the same computer.

Statistics Prove. Near and Far. That Folks Who Drive Like Crazy. Are! Burma-Shave. In the days before the Interstate Highway system, you were likely to encounter a series of signs like this, somewhere in the backwoods between the large and small towns connected by the U.S. Highway system. The fonts in this series are based on the typefaces used on U.S. Highway signs from the 1930s to the 1950s. Included in each font are a sign shield in the backslash position, and a Burma-Shave logo in the section mark position. The Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

WriteHand is a light-hearted, fluid, freeform script font. It is one of Anton Scholtz's contemporary designs. Based on actual handwriting, the font contrasts a strong, artistic nature with a feminine sensitivity. WriteHand successfully combines exuberant capitals with devil-may-care swashes, and toned down lower case characters to make an extremely readable handwritten font. The font is most versatile and has a number of uses, among which are contemporary invitations, greeting cards, magazine pages, adverts, cosmetic packaging and promotions, clothing swing tags and promotions, and book covers. It has been carefully letterspaced and kerned. It contains a full character set: all upper and lower case characters, punctuation, numerals and accented characters are present.

A font based upon my own handwriting (when I am concentrating and making each letter legible!) Very suitable for anything that needs a handwritten feeling. I've added 4 (slightly) different versions of each lowercase letter, and that really helps making your text look more like real handwriting rather than "just a font"

Italia is the work of Colin Brignall, a refreshingly different serif typeface. At first glance, Italia might seem comparable to any other square serif typeface, but it has a distinctive pattern all its own. Italia can be used as either a display or text typeface and will give any text a unique look.

Modeled after some antique stencil cutting tools spotted in an online auction, Stencil Cutter JNL portrays the look of hand tooled lettering. The rounded-end characters have their own personality and this eccentricity provides a warmth and charm from times past. Stencil Cutter JNL is available in both regular and oblique versions.

Lightly playful, this font had a lot of influences in its design. I liked the look of this style in three fonts and decided to create my own version. This is it. Included is a version called Italic, but it is not a true Italic, just a variation in some lower case letters.

Monolite occupies a space of its own, ignoring the common rules dictated to it. At once simple to look at and complex to perceive, this font is solid and resilient, perfect for making a stand. This font speaks in the language of the Resistance fighting for their freedom, stubbornly opposing blind conformity.

You will see this in the old type catalogs as Dainty. Late in the nineteenth century, type founders developed a number of fonts with a "pen-drawn" look. They wanted to complete with the work of the hand lettering artists who were coming into their own, thanks to the new art of photoengraving

In Issue Number 84 of Push Pin Graphic, Seymour Chwast offered up this rather odd variant of his own extrablack, superbold in-your-(type)face, Blimp. Not recommended for body copy, but makes interesting and unusual headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

With its straight and clean face Hybi10 Metal can be a quite normal antique font family. But the alternates with different versions of spikes at the uppercase letters gives it an additional use. Decide for your own, how to use it. The styles with real capitals widens the range of use too.

Mixed Drinks JNL derives its look from a set of gold foil self-adhesive letters made by a company called Cameo for the Schenley distilling company circa the late 1950s or early 1960s. The letters were used to personalize bottles of whiskey for your own bar or to give as a unique gift.

A cool looking bouncy font, with its unique characters, you can actually mix caps and lowercase letters in the same word. Sugar Shack allows you to be as creative as you want, it has its own designed animation built into the font. Experiment with the characters and you will be quite satisfied.

Backstreet is a purely handwritten typeface with its own unique characteristics. It has an elegant, feminine style with good readability. Perfect for Valentine day, neon design, signatures, invitations, titles, and much more! To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

ZT Kloftel has three variants of handwriting with different auras and also gets one variant of icons with a sketch style, this helps add depth to the art of handwriting. ZT Kloftel Stalle is a well-matched and Beautiful Style with natural lines, with a very large difference between uppercase and lowercase letters, and can produce a very natural writing style. ZT Kloftel Wortugo with a wider groove, with a messier concept, it also has its own uniqueness, such as children's writing which is suitable for branding explanations, or graffiti explaining your designs. ZT Kloftel Zlamora with a small and chubby style exudes a relaxed aura, perfect for vintage branding or your sad sunset caption I hope you have fun using ZT Klotin Thanks for using this font ~ Khaiuns X zelowtype

Amadi - Quirky Serif Font is a delightful typeface that dances to its own beat, infusing a dash of whimsy and charm into your designs. With its quirky serifs and playful letterforms, Amadi takes the traditional serif style and gives it a whimsical twist. This font is the perfect choice for projects that aim to stand out and make a statement with a touch of quirkiness. Whether you're working on invitations, posters, or any creative endeavor, Amadi adds a distinctive and charismatic touch. Its irregular flows and unique character shapes inject a sense of fun and individuality into your designs. Amadi is like a joyful dance in the world of typography, making it an excellent choice for projects that want to break free from convention and embrace a playful, quirky spirit.

Sabbatical is a no nonsense brush font family with lots of character. The family contains 3 hand-lettered fonts, Regular, Bold and Basic. This dry textured script font is inspired by travel journals written by adventurous souls, hence the name. The design is perfect for any type-based creations, quotes, invites, packaging, branding and much more! Sabbatical Basic has his own unique form which complements Sabbatical Regular and Bold. It consists of a fun caps font with an even more playful variation. All Sabbatical fonts have alternate glyphs that can either be accessed by the swashes feature, stylistic sets, or glyphs panel, depending on the application you are using. There are lots of discretionary ligatures that offer more variation. With over 880 glyphs the design options are unlimited.

Star Ornaments are seen as a long standing companion to many wood type poster layouts. Various manufacturers managed to derive many variations of the five pointed star motif and offered them as a ubiquitous ornament option in almost all of their catalogs. Manufacturers such as Wm. H Page, Morgans & Wilcox, Tubbs Mfg. Co. and of course, Hamilton Wood Type each had their own slight variations. This digital font features almost 100 glyphs of mostly stars, but it also features a unique star border that can create boxes just like the modular offerings of the 19th century. The twist on this digital version is the inclusion of additional connection options that become a unique lettering 'kit' that can create typography or maze-like connections using a limited set of component parts.

The DIN Next™ Stencil suite of designs is DIN with an attitude. It’s even more industrial strength than the original. DIN Next Stencil’s seven roman weights are perfect for projects that require a mechanized, military, or commercial vibe. If you’re looking to create commanding display typography, be it in advertising, apparel, packaging, posters, signage, wayfinding – or crash dummy name tags, DIN Next Stencil can be the perfect typographic enhancement. Based on Akira Kobayshi’s DIN Next with stenciling by Sabina Chipară, the wide range of weights and large complement of diacritical and international characters – including those for Cyrillic and Greek – further expand the design’s capabilities. The DIN Next Stencil fonts are powerful tools in their own right – and provide a distinctive supplement to the DIN Next typographic palette.

"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! The Philosopher Script is a different take on what a monoline script should be. It’s not like anything else out there and it works in any context The conciseness of The Philosopher Script makes it well-suited not just for those seeking a new direction in design, but also for anyone producing art, looking to add their own style. Professional design and smoothed curves that are inherently better than a standard font. It comes with a vast array of ligatures, alternates, and many other helpful glyphs not found in any other typeface A Million Thanks Colllab Studio www.colllabstudio.com

We’re delighted to bring you ‘I’m Fashionista,’ which simply oozes trendiness, style, glamour, and of course high fashion! This is a font that sings out ‘elite’ in the design sense of the word. Its sophisticated sensibility sets it apart from any other font you may have used. If you’ve ever needed to create your own fonts to use on a fashion flyer, you can already appreciate the value of having ready-to-use fonts such as ‘I’m Fashionsita’ in your bag of tricks! Anything to do with fashion and glamour needs to have that touch of delicacy, charm, beauty, and exclusivity to it, and we find the ‘I’m Fashionsita’ a perfect fit for such jobs. ‘I’m Fashionista’ is a must-have for any designer, especially those working with modern and upmarket designs.

Chaletliness is a script brush font that has its own uniqueness and characteristics from brush fonts, because it is handwritten manually. This font is carefully crafted with a modern touch. This font looks elegant, luxurious, natural and rustic. Chaletliness would perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need handwriting taste. Your download will include 2 font files; Chaletliness ~ A hand-made, all characters brush font which has a complete set of A-z characters. Chaletliness Swashes ~ A bonus set of 52 swashes. Simply select this font and type any A-Z & a-z character to create one of the bonus elements. All font files are provided in OTF font formats. Includes a range of multilingual support

The single-named, multi-talented designer Joluvian now lives in Madrid. But he grew up in the “Caribe” of Venezuela, where thick jungles meet endless beaches, and fecund trees bear juicy fruit – a tropical paradise where music and dance vibrate in the humid air. The Tropical pack, designed by Joluvian and digitized by Ale Paul, echoes the spirit of his birthplace. Its three faces are casually stylish – a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look. Like a fruit cocktail, each ingredient is tasty on its own, but they combine even more deliciously. Sprinkle the included catchwords, shapes, and bursts in your layout to complete the easygoing, Carribbean vibe. Each face includes alternates and support for multiple Latin languages.

Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari. While the original typeface was popular in its own right, there were some things in it that were too quirky to work in the display applications it was intended for. Some of the letter combinations just didn't work to their visual optimum. For example the a and o were too similar, ditto the C and G, the E, F and J were too overwhelming to be set properly within certain display uses. Gaslon eliminates these problems by the inclusion of plenty of alternates for the vast majority of the original letters. In fact, the original a is itself now an alternate to a gorgeous new one. The Gaslon Alt font includes tremendous possibilities for both unicase use, and proper use in conjunction with the main font. This is our true homage to a typeface that had great potential more than three decades ago, but was overlooked by digitizers because of a few quirks it had in film type contexts. Full of curves and invitation, Gaslon ranks very high among the friendliest poster faces ever made. It is ideal for friendly store signs, children book covers, and plenty of other applications. In fact, if you're planning on contributing to a few protests around your neighborhood or city, you would probably be better off using Gaslon to help your sign/placard carry words and slogans that are big but friendly. Nothing beats "DOWN WITH GAS PRICES" set in a nice imaginative mix of the many Gaslon letters. The OpenType version of Gaslon is a single font that contains all the alternates and niceties programmed within features accessible by OT-friendly programs.

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.

Franko Luin, Odense's designer, on this typeface: With Odense I entered the field where Optima reigns in royal majesty. The first question I received was, in fact, why I designed another Optima. Look closely: Odense has as much in common with Optima as Garamond with Baskerville. Am I right? Odense Neon is a special variant that can be used for logos or single words. I had the idea for it when I noticed that the neon tubes in a sign over a store only partially followed the characters. The name comes from the Danish town Odense, the town of the famous storyteller Hans Christian Andersen, author of, e.g., 'The Little Mermaid.' Odense is also the place where the first book in the Nordic countries was printed, the 'Breviarium Ottoniense', in 1482.

The Trump Mediaeval Office family is designed after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C.E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Akira Kobayashi, Linotype’s Type Director, released his own revived design, Trump Mediaeval Office, in 2006. Trump Mediaeval Office has two weights, each with an italic companion. Unlike the original design, Kobayashi has harmonized the varying letterforms across the two weights, allowing Regular and Bold text to stand side by side harmoniously. Trump Mediaeval’s numbers now match across weights as well, optimizing their legibility in sizes large and small. Decades ago, Trump Mediaeval was a popular choice for setting book texts, because of its robust serifs. These are exactly what make the face a good choice for office application today; on lower-resolution printers, these serifs will still remain a strong feature on the letterform, increasing legibility along the line of text.

The Jazayeri Kufic Shoushtar font is a beautiful typographic implementation of the decorative Kufic calligraphy inscribed on the walls of the historic Grand Mosque of Shoushtar in southwestern Iran. This mosque contains many other inscriptions added over time for documentary purposes but its four monumental Kufic inscriptions which are revived in this font are the most essential ones to understand its design and meaning. Built in the ninth century CE, this mosque is one of the earliest hypostyle mosques in Iran. It was built in “the city of scholars” when its residents included two great Sufis, Sahl Ibn Abdullah Tostari and Mansur Hallaj. The designer and producer of the font is Seyed Mohammad Vahid Mousavi Jazayeri, a well-known Iranian master calligrapher, designer, scholar, and author. Mousavi Jazayeri has taken a personal interest in the Kufic script and devoted years to independent research, visiting archaeological locations, historic buildings and cemeteries, mosques, libraries and museums to study the script through direct contact. He has developed a systematic research methodology and published his findings in several books. His professional interest in script and calligraphy stimulated his discovery of the historic method for cutting the Kufic pen, which has had a direct impact on his own work, as seen in several well-received exhibitions and workshops. The historical research and achievements of Mousavi Jazayeri brought together the first international group dedicated to the study and revival of the historic Kufic script operation through kuficpedia.com.

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.

DF Riga is a minimal bitmap typeface which works very well in small sizes both on your screen and on paper. But... if you want to express its deep beauty, use it in display sizes and the smell of ink is there. These typefaces (DF-A BIT, DF-Riga and DF-Dudok) owe their existence to the excellent letterpress printing of Hanneke Briër at the Grafisch Centrum Groningen. Beyond ‘the perfect’ there is a lot to get, it is made, you can see that.