Sparthones is an authentic display font with a beautiful character. This font building with lots of ligatures and versatile pairing between lowercase and uppercase and it makes this font more unique, beautiful, elegant, and stylish, it’s really perfect for headlines, typography, Poster, magazines, brochures, packaging, websites, and much more for your design needs, making your designs look like Luxurious nuances. What's Included : Standard glyphs Ligatures Alternates Web Font International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Thank You

Once I had a young, very eager and interested designer in my employ. We got into talking about where our letterforms come from and the habits in perception we are used to. He did not quite believe me. So I said, let's try to design a typeface where everything is just the opposite of what we are used to. We really had a hard time, our habits crept up on us all the time. But after a couple of weeks we finally finished this typeface and wanted to call it crazytype, but my young apprentice ­ who did most of the manual labor ­ said Contype sounded crazier. So it became Contype and it's really crazy, with a small asian touch to it. Yours very crazy Gert Wiescher

Would you hire one of the top hand lettering artists that worked for companies like Max Factor for your designs? Of course you would! Chas Bluemlein passed away many years back, and you couldn't have afforded his services anyway, but his lettering prowess which graced many advertisements, primarily cosmetic ads, has been pulled together from numerous samples to make this font. Bender Script comes with BONUS Swash alternates to mix up the flavor a bit, and exudes passion and confidence! Now you can own not only a piece of his lettering legacy, but you can also put it to work for you! This beauty is a sure fit into any font collection, so what are you waiting for, buy it today!

Funkydori is a typographic homage to the groovy ‘70s, updated for 21st century designs. Like most children of the ‘70s, I rocked the rainbow-striped bellbottoms, decorated my room with black-light posters of unicorns, and watched The Electric Company on TV. Funkydori is my tribute to the era that brought me so much happiness. Funkydori’s bodacious letterforms can be enhanced with extravagant swash capitals, alternates, and endings. Complement your design with 38 ornaments and patterns. See what’s included! http://bit.ly/2c98AZD *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

The first version of Kremlin was designed at ParaType (ParaGraph) in 1995 by Tagir Safayev. Based on an informal handwriting. Kremlin is a Russian word for a fortress or a citadel. The reason why the author selected this word for the font name is not quite clear even for him. Probably the appearance of the text line set in this font resembled a tight fence. Later the font was expanded in character set and got two style variations with extended proportions. The suffix "Pro" in the name was added to distinguish the new version from the previous one. The derivative work was done by Dmitry Kirsanov and Gennady Fridman in 2010. The font is recommended for advertising and display typography.

Typeface designer and Letraset type director Colin Brignall created the font Romic. The character of the strokes as well as the serif forms give the font its calligraphic look. The placement of the serifs, on the upper left and lower right of a character, also distinguishes this typeface and allows the figures to be set very close to one another. The dots on the i and j do not hang in the air, rather, they are connected to the rest of the letter with a light, serif-like stroke. The elegant and lively Romic font is legible even in smaller point sizes. It is best used in middle length texts and headlines and wherever an individual and sophisticated image is the goal.

Nono is the nickname of my oldest son, Konstantin. His little brother could not really speak yet, but he was always looking for him and said something to the tune of, "wea is a nono". From that time on I call Konstantin Nono. I designed a handwritten script with his real name, that i named Konstantin. Now I made this slick version of that script – hence – Nono! I made three basic sets of characters plus a smallcaps version. To top things off, I designed a set of endletters that I throw in for free. Everything can be mixed! I sell single cuts but the best deal would be the entire packet, it goes for a very fair price. Your generous typedesigner, Gert Wiescher

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

Beyond broadcast Like Truman Burbank, the star of The Truman Show, FS Truman was born for TV. You’ll know it from Sky One’s on-screen trails and announcements, but it’s just as at home in other media. Its starting point was the skeleton of a highly legible, space-saving, corporate font with some of FS Dillon’s geometric discipline built in. Its distinctive tone of voice and “ownability” are in its boxy but friendly shapes, and characters with hybrid features. FS Truman’s weights and widths were honed to work at TV screen resolutions. A face for TV it may have been, but this is a font that works on every level, on screen, in print, in headlines, in listings, in longer text, in tight corners and open spaces. The space-saver Compact, condensed but crystal clear, FS Truman comes into its own where a lot needs to be said in not a lot of space. Its letter spacing allows the type room to breathe, even at small sizes, while its fulsome x-height and diminutive descenders pave the way for tighter leading. A natural for headlines and titles over three or four lines. “Hybrid” features With every font, Fontsmith look for crafty new ways to imbue letterforms with a consistent character. The idea with FS Truman was to introduce “hybrid” features. In open letters such as “c” and “s”, for example, the top terminals have straight, vertical cuts while their lower terminals have a more angular, cursive finish. Boxy, spacious forms with unusual curves and angles create not just highly legible and efficient letters but strongly distinctive ones, too.

Usually fonts that are related to computers, space, future are not handmade, but rather digital made. Autoray is 100% handmade, and I am not sure which category it fits in. It has this futuristic and intergalactic look, but at the same time the handmade details are pointing in a more grafitti and comic way. I will let you decide where to go with Autoray! I have added 5 different versions of each letter, and they automatically changes as you type - and of course, there's multilingual support - and even intergalactic gravity! :)

Sanitation JNL is a bold Art Deco sans design inspired by some stylized hand lettering on a 1930s-era WPA (Works Progress Administration) poster and is available in both regular and oblique versions. The topic of the poster was "Your home is not complete without a sanitary unit" and that was recommended by the State Department of Public Health. A "sanitary unit" is the formal name for what rural folks called an "outhouse", and it's presumed the target group were homeowners not hooked up to major sewer lines such as in those rural areas.

Bodoni Classic Stencil is another of my personal additions to the Bodoni Classic Family that Giambattista would have never made. In his days people had enough skill and the neccessary time to put beautiful handlettering on parcels and cases. No need for stencils! Today we do not need them either since shipping has gone barcode crazy, but for some reason stencil-letters are very much in fashion. Bodoni letters lend themselves perfectly to be stenciled so I just did the whole alphabet; not just the capitals. Yours, Gert Wiescher

Spekulatus is a made up name, and that was what I needed for a font like this. I am not sure which category it fits in: grunge, square, handmade, rough or maybe even graffiti? Well, let's just say that it fits in all 5 - or perhaps even more? All letters are handdrawn, and messed up a bit with a thin fine white liner, leaving a gentle grungy and worn effect. I've added 5 different versions of each letter, which is quite nice - not having the same letters repeating all the time!

Usually, the condensed version of a face comes after the regular design. Not with gogo squat. After gogo big, I thought how strong a regular version would be. A nice clean gutsy face. A "today" Franklin Gothic Extra Bold. I find it ideal for contemporary headlines as well as for logo solutions. As with gogo big, in my terms and conditions, I permit the modification of up to ten of the letter forms for logos and monograms, but logos and monograms only, not the typeface in normal usage.

ZIGZAG is a funny font family whose letters have four varieties each in order to multiply expressions and attract the eye by breaking the rhythm of reading. There are two styles available Rounded and Not Rounded. The variations oscillate between a hand-drawn design and a geometric or imaginative drawing. Opentype’s function lets you choose between different variations of each glyph and contextual variables allow to mix the styles. Benoît Bodhuin designed ZIGZAG Rounded in 2011/12 for the theatre Vivat. In 2013 ZIGZAG Rounded was supplemented by ZIGZAG Not Rounded.

KampIngriana was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of Ingriana, a friendly, soft face, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020. It originally had five styles: regular, italic, bold, bolditalic, and extrabold. Medium, mediumitalic, semibold, semibolditalic, and extraboldItalic were added in 2022.

Cooks call thinly cut - like matchsticks - vegetables "Julienne". I found that was a fitting name for this very narrow typeface. Julienne Slim is the extreme cut of the two. Personally I do not use narrow typefaces very often, but from time to time they come in handy if there is much text to be crammed into little space. I could make a typeface that was even narrower, but I will not do it. This is as narrow as my typefaces get. Enjoy what I cut for you, Gert Wiescher.

A concertina is a kind of musical instrument, not unlike an accordeon. I just liked the name; I have to admit I’m not a particular fan of accordeon music… Concertina is a beautiful handmade script font. A little rough, but elegant as well. It was made with a small Japanese brush pen on coarse paper. Concertina comes with double letter ligatures and end-letter alternates. To access the end-letter alternates, type the letter you want + space (and make sure to tick the ‘ligatures’ box in your OT environment).

Jarvis is a hybrid. Not a pure grotesque, not a humanist sans, but the best of both worlds. Its open counters and strong geometry, coupled with smooth curves and features give it a unique personality. Very legible even at small sizes, instantly recognisable at large sizes, it is an ideal candidate for corporate identity as well as print and digital communications of all kind. Its wide range of weights (from Thin to Black), extensive OpenType features, circled numbers, and extended character-set are the hallmark of the highest technical level.

Fragilers Family is a sans serif family with high contrast, making it a versatile and elegant typeface. Fragilers Family is available in several weights, not too much, but not too little, just the right amount, and available in oblique styles. Fragilers contrast lines and smooth terminals give a sleek and elegant look to logos, holiday cards, wedding invitations, quotes, advertisements, and more. Fragilers is a versatile typeface full of character to enrich your designs. And of course multilingual support. Create awesome layouts of your designs with Fragilers Family.

Dirty Baker’s Dozen, was released in 1998 and has since become the gold standard in raunchy stencil fonts. This version of Dirty Baker’s Dozen is pants-full of handy symbols, fractions, accents and what not. Need numeric ordinals? Probably not, but if you do, Dirty Baker’s Dozen will be there with boots on and numeric ordinals a-blazing. Two new styles were introduced in 2009: Scorch & Spraypaint. When you're using Scorch or Spraypaint styles in an OpenType savvy application, common letter pairs will be automatically replaced by custom pairs for a more realistic, filthy effect.

Patent Reclame manages to be light-hearted, while clearly showing its blackletter roots both in the shape of the individual letters and the rhythm of text on a page. The designer is unknown. Schriftgeisserei Flinsch of Frankfurt a.M. cast the face around 1895. Nicolete Gray shows a quite similar face called “Graphic,” from Stephenson Blake in 1896. Personally, I don't think that Patent Reclame looks like an English design, but I do not have any proof one way or the other. The numbers are proportional, intended for posters, not spreadsheets. Two ornaments are included, an art nouveau rose at #172 and a lilypad with long tendril at #177. Great for invitations, posters and flyers announcing fun events. Do not use for obituaries. Quite readable in smaller sizes for short blocks of text. I really like the buoyant quality -- a nice combination of discipline and enthusiasm.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

Display Carlos is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. There are numbers and punctuation located under their respective keys.

Dungarees is a font on caffeine... It's a normal sans-serif typeface gone wild: jagged in some places, smooth in others. It makes documents not only fun to read but really interesting too!

I want the font to have a vitality of life, Visually, the details are beautiful, long and fashionable, low-key and elegant, quiet and delicate, with the aesthetic feeling of fashion, not aggressive.

PL Britannia is a display face with a clear contrast between thick and thin strokes. PL Britannia is a good font for posters and titling, but it is not suited for text purposes.

Display Plump is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. There are numbers and punctuation located under their respective keys.

You can not find such a lovely, unique and funny blackletter. Enjoy and have fun with this font. There are two other fonts designed by in the same concept. -Xesy -Ekistra -Deluta Black

Bumbershoot is a typeface for a rainy day. A letterbat font constructed of umbrellas, it does not have true lower-case letters. Rather it has two mostly different sets of upper-case characters.

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

Introducing our new Font named Seatyio This font is designed with a script model that is suitable for writing for outdoor and indoor events, such as traveling or for the title of any particular event. and to be sure this font is not only limited to that purpose but also very special for every need of your project, be it a formal or non-formal project, this font is still beautiful and elegant. start creating awesome designs with this font! This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

Saral, meaning simple in Hindi, is a monolinear design supporting most Devanagari based languages. Derived from the older Linotype typeface Rohini, it has been greatly expanded into three weights and a wide character set. Saral Light, Regular, and Bold are made to coordinate with the respective weights of Helvetica. This design works well in many environments, such as corporate designs, advertising, packaging, signage, and especially for bi-lingual texts. The OpenType font format accommodates hundreds of pre-composed conjuncts, accurate placement of vowel signs, and supports varying length matras. Saral's Unicode encoding guarantees your text is rendered correctly and is compatible across different software and computer platforms. Please note that due to current operating system and application limitations the OpenType features in complex scripts such as Davanagari are not universally supported. Saral is designed to be rendered correctly in Microsoft Word on Windows running the latest version of Uniscribe. If using a Mac or Adobe products such as InDesign then many features may not function as expected. This is including glyph reordering, substitutions, and mark positioning. In the case of small passages of text, alternate input methods can be employed. Apple's character palette and Adobe's glyph palettes are two readily available options that can be used to manually insert glyphs as needed."