Monopoint is the little brother of Doublepoint. By overlaying the single weights from light to bold you will get a nice outline-in-outline look.

A light roundhand with mildly clubbed terminals on the capitals. It was expertly transferred from an engravers’ pattern plate to the Fotosetter Intertype about 1955.

Confident, endearing and youthful, Judlebug is brimming with personality that’s hard to deny. Now available in 3 weights, Judlebug is ready to light things up!

Finally the light version of Wilhelm Berg’s hot-metal classic which had found its way from Schriftguss to Typoart can be released for nowaday’s use.

introducing Lordish Blackletter, a unique blackletter for your design. Lordish consists of 3 weights thin, light, and regular Including uppercase, lowercase, punctuation, and international characters

Kinsley Script is a beautifully light script font with a silky smooth feel. It will add plenty of class and character to any design project!

URW Geometric® is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric® . These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric® is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for todays needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The numero sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric® is perfectly designed for today’s requirements. Please have a look at the URW Geometric® Type Specimen (PDF) for further information.

Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. Due to the high contrast in the design - slightly reminescent of didone typefaces - Blacker has been developed in two optical subfamilies. The display version offers tighter tracking, higher contrast and sharper corners for maximum effect at big sizes, while the text variant offers better readability and screen rendering at smaller sizes, with lower contrast and looser spacing. In the pro version, two additional condensed variant families have been added (condensed display and condensed text) allowing for more freedom and versatility in typesetting where space constraints are present. Also, three titling uppercase-only variants have been added, with a slightly extended feel, and two decorative subfamilies (inline and diamond). Each of these seven variants has been developed in six weights from light to heavy, with matching italics, for a total of 69 styles covering a wide range of editorial and advertising uses. All Blacker Pro feature a revised and extended character set covering over two hundred languages using the latin, cyrillic and greek alphabets. Open type features include small caps, positional numerals, fractions, superior & inferior figures, alternate forms, and an extended set of standard and discretionary ligatures. With its bold personality, Blacker aims to be a modern classic used for bold statements and self-conscious brands, making your text look great both on paper and on the screens.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

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. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

Mono-Spec Stencil is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width, which is immediately noticeable for its condensed nature. Mono-Spec Stencil is a sibling of a non-stencil family, simply named Mono-Spec. Characters in each are just as wide, allowing Mono-Spec Stencil to be used together with Mono-Spec, as a secondary typeface. As a typeface whose characters are stencil-shaped, this design channels the spirit of resistance and street culture. When you look at the family, remember that it ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Stencil Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec Stencil fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec Stencil’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

After months of testing and development, we have managed to put together the Brandogram Typeface, an ultimate tool for monogram design. With the help of this typeface you can easily create a monogram in less than a minute. Thanks to the way we have created and optimised Brandogram, the uppercase letters effortlessly fit together with the small caps that are activated by the lowercase letters. Using the Brandogram typeface you can create unlimited monogram combos with 2, 3 or even 4 letters in some cases. And these are all possible thanks to features like: Multiple letter widths, from condensed to wide; Both sans serif and slab serif letter designs; Up to 24 different designs per letter; All letter variations are available as alternates so you can easily choose your favorite; Accents are available for each letter alternate; Uppercase and lowercase activated letters are constructed to perfectly center and middle align; There are 5 solid ready-made weights; There are another 2 stencil weights that can bring a new touch to your designs. The 7 weights of Brandogram Monogram Typeface: Thin Light Regular Medium Bold Stencil One Stencil Two Each of these weights are thought to express different levels of heaviness. The thicker the weight of the font gets, the less white space will be left between the letters when they are combined, therefore your design gets heavier. The role of the stencil weights is to create depth in the monogram designs. With those you can easily delete the extra overlapping shapes of the letters and create passages between the letters and give an interlocking impression. This typeface combined with your creativity can have no limits!

Characterized by quickness, lightness, and ease of movement, Bird Script is a font which challenges many aspects of type-design: every single stroke, comes directly from the author’s hand and tries to reflect not only the tool used, but also his feelings at the moment of writing. Bird Script is a font filled up with the energic gestures of what it’s called gestural calligraphy, a not very explored field in typography, where hardly ever a letter comes the same way two times: When manipulating the pen, the letterer seeks for the beauty of the differences and the grace of a confident execution. Originally done with a flat speedball pen nib nº5 and retouched with pencil for the bolder elements, it turned into a very pleasant to the eyes font which dances between the formal rules of typography and the artistic look of calligraphy. Bird Script Pro and Bird Script Light Pro come with many ligatures, alternates and ornaments. Into the standard ligatures we find lots of pairs of two and three ligated letters so when they are activated the font seems alive. However if none of them are activated, the font gives a really particular text pattern, specially in smaller sizes. Get Bird Script, add rhythm to your work.

Be a trendsetter and stand out with bold and sophisticated style font. The epic Castre. Castre is a serif font family to better charm your designing experiences. This package package to please you with a variety of choices for your own project consisting of eight different choices of thickness level. It is designed to be simple and easy to read without losing the modern feels. The uppercases design is paired with thin lines allow us to dive more into the world of modernity. Included: Castre Thin Castre Extra Light Castre Light Castre Regular Castre Medium Castre Semi Bold Castre Bold Castre Extra Bold Slay your design with Castre’s best features so you’ll look your best on what ever your design is, all the time. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Castre fits best for any design projects, such as posters, banners, logos, book covers, album covers, quotes, invitations, greeting cards, name cards, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thank you for purchasing our premium fonts. If you have any further question or issues, don’t hesitate to contact. We’re happy to help! Happy Designing.

Step right up, folks! Introducing Budmo, the font that’s always ready to party! This jubilant display typeface is inspired by classic light bulb marquee sign lettering and is perfect for all your festive needs. Whether you’re sending out dance invitations, announcing a gala, planning a parade, or just looking to add some pizzazz to your party, Budmo has got you covered. But that’s not all, folks! With Budmo Jiggler and Jigglish, you can really ramp up the carnival atmosphere. Layer the Bulbs, Honk, and Solid styles to create a truly carnivalesque effect. And don’t forget to try adding a glow effect to the Bulbs style for even more razzle-dazzle. But here’s the thing, friends. Even on its own, the Bulbs style is nothing short of snappy. Add your own special effects and watch it light up the night! So come on down and see Budmo for yourself. You won’t be disappointed! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Amongst some pages scanned and posted online of old wood type alphabets comes this lovely, ornamental design in a reversed style of white lettering on black rectangular boxes. This classic set of wood type is now available digitally as Wood Fancy Reverse JNL. There is a narrow blank box on the “less than” key for use as an end cap, and a wider blank box on the “greater than” key to use between words as a blank space if so desired.

Whichit contains typefaces designed with a hexagonal motif. The opposite sides of the hexagon are parallel but two of them are longer than the other four. It does not have reflective symmetry so flipping it over a vertical line returns a different appearance. One of these appearances is the basis for WhichIt and the other for WhichItTwo. Each has three weights and each weight has an italic style. The result is a quirky sans-serif family of a dozen faces.

Westcoast Letters is a fun hand painted headline font by Cultivated Mind. Westcoast Letters comes in four font styles, extras, frames and page rulers. Westcoast Letters is a sister typeface to the ever popular Pacific Northwest font family. Westcoast characters are wider than Pacific Northwest and offer a new style of letters. Extras include hand painted pacific ocean icons, wild animals, a set of numbers and symbols. Frames and page rulers are decorative and look great with the Westcoast fonts.

Basecoat is a handcrafted, geometric sans serif inspired by sign painting and influenced by modern gothics. It has a subtle organic feel without sacrificing legibility. The design of the uppercase began with chalk marker lettering for a side project and eventually grew into a small type family. Basecoat comes in three weights and includes more than 500 glyphs with European language support. It has popular OpenType features plus catchwords in multiple languages and arrows for all your sign making needs.

Saffran is a project of Erasmo Ciufo and Alessio D’Ellena. Saffran is a clear sans-serif with big x-height, short ascenders and descenders, that works well both for headlines and main bodies of text. The objective of the design is to improve readability of small size texts, by clearing the junctions and enlightening the structure of each letter as a consequence. The broken junctions, inspired from the hebrew alphabet, turn into spiky endings that connect to the flat sides only under 7pt.

Pax is clearly a didone, using Vox classification. The contrast between the thin lines and the thicker ones is noticeable, as you would expect from a didone. The basic form is relatively narrow, therefore I designed another Pax, slightly wider and darker, and called it Pax #2. Otherwise they are more or less identical. Pax is Latin for peace, on everyone's want list in 1995 - as well as every single year before and after that. Pax was released in 1995.

Introducing Rustic Darling; A stylish handwritten script font! Equipped with 117 ligatures to create the beauty and unique side of the font. It's the perfect choice for stylish branding & logo projects, wedding invitations and cards, handwritten quotes, editorial designs, and more. What's Included: Rustic Darling comes with a single font file that includes uppercase, lowercase, numbers, punctuation, and multilingual support. That's it! I hope you enjoy it. You can also say hello to me on Instagram: https://www.instagram.com/atharuah_ Thank You!

The name of the font is taken from the concept "Littoral zone" - this is the part of the sea that is close to the shore. The width of the shore varies as a result of the tides. Hence the idea of my font family — changing the width of a character from condenced to extra expanded. Litto is a modern sans serif geometric font, includes upper and lower case characters, Latin and Cyrillic. Graphically, the characters have uniform thickness for all family.

WOLFSZN Anniversary! WOLFSZN is the tenth Font of André Toet. The inspiration for this capital alphabet came from the trails of an agricultural machine (think tractor) leaves in the soil after working the land. But it’s not meant to be ‘like a heavy workload’, in fact to us it seems like a very useful Font for headings, logotypes, advertising or films. We hope WOLFSZN will be happily and wisely used by my dear colleagues. Concept/Art Direction/Design: André Toet © 2017

Rasmi font It is a font for print and the web. Especially for coordinating university and school books, scientific research, exams, government and corporate correspondence, and coordinating financial, judicial, and diplomatic documents. The Rasmi font family includes four weights: thick for headlines, bold for subheadings, medium for body text, and thin for footnotes and explanations. The font supports Arabic, Latin, Persian, Urdu, and Kurdish languages. The graphic designer can use Rasmi variable font to reach wider options in working with the text.

Darker Marker is just what the name suggests: I found a very big fat marker in a local stationary store, bought it, came home and went to work on this font. Darker Marker is a very clear, very easy to read marker font. It is all caps, but upper and lower case differ and can be interchanged. Darth Vader would have said: “come to the dark side” and I believe you should. Darker Marker comes preloaded with all the diacritics you need.

ASF Diana is a Serif family font. It has 5 upright weights and their Italics and supports Latin, Armenian and Cyrillic alphabet systems. The weights from Regular to Bold and their Italics can be used as text fonts. ASF Diana can be used as Display fonts too. It is an easily readable two side serif font and the eyes don't get tired while reading. ASF Diana has a contrast style and at the same time is quite bright and clear.

Toward the end of the 1920s, Art Deco influences were starting to creep into modern design. The hand lettered title on the cover of the1928 sheet music for “Fascinatin’ Vamp” not only embraced the new Deco movement, but sent it on a wild typographic ride. Letters of mixed thicknesses and stylings made up the two word title, and this unusual group of letter shapes became the inspiration for Free Form Deco JNL, which is available in both regular and oblique versions.

Edits and Credits JNL is a cheerful sans serif typeface modeled from ceramic letters in a movie titling set from the late 40s or early 1950s. In the original kit, letters would be lined up accordingly against a contrasting background and photographed for home or professional movie and slide titles. Note: The cap height is slightly smaller than normal for the respective point size. This will give the effect of wider line spacing - similar to that of home movie titles.

Config Rounded is a condensed geometric sans with rounded corners. Config’s sibling, this typeface was influenced by geometric sans with circular forms on the tops and bottoms of characters, but the proportions have been condensed by incorporating straight sides for a design that is efficient yet friendly. Use it for a subtle softness that still looks modern and strong. With 10 weights, there are options to fit the need—black and thin for extreme uses and intermediates for more common needs.

Ferments is a stylish modern and natural handwritten script font with casual chic flair. It is perfect for branding, wedding invites and cards, and maybe for red wine label. Ferments includes full set of Natural uppercase and lowercase letters, numerals, a large range of punctuation and ligatures. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Thanks and have a great day, Haksen Studio

Hardipe is logo fonts with unique side that will make your logo and design looks more simple and stylish. With the unique characteristic lowercase, this font can make your logo even more stunning. You can use this font for any purpose, especially to make logotype. You can mix and match the uppercase and lowercase to make your logo more stand out. Hardipe also comes with italic version that have different vibes. This font also comes with number, symbol, and multilingual support!

Pax is clearly a didone, using Vox classification. The contrast between the thin lines and the thicker ones is noticeable, as you would expect from a didone. The basic form is relatively narrow, therefore I designed another Pax, slightly wider and darker, and called it Pax #2. Otherwise they are more or less identical. Pax is Latin for peace, on everyone's want list in 1995 - as well as every single year before and after that. Pax was released in 1995.