This typeface is a tribute to well-known Italian designer Marcello Nizzoli. Nizzoli is a modern sans serif font that offers a wide range of alternatives—a workhorse type well suited for headlines, posters, corporate identity and advertising campaigns. This modular design is based on geometric shapes and combines straight lines with rounded corners. The whole family is composed of four 7-weight subfamilies: one normal and one alternative plus rounded versions. Each subfamily includes matching italics. This typeface is my own interpretation of those curves and shapes found in Marcello Nizzoli’s designs.

Simah zaza typeface - خط سمة ظاظا Simah Zaza is an Arabic typeface that has luxury yet warm and humane feelings. It's legible, soft, clear, flexible, simple, and contemporary. The design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Simah Zaza is highly crafted in order to perform well both on screen and in print. it functions well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Simah Zaza consists of five weights.

The 1930 Geneva Motor Show (Salon International De l'Automobile Et Du Cycle) showcased a lot of new cars, but one item in particular took my interest: the amazing art deco poster announcing the show. Lokomotiv font was based on this poster. It is a very deco-ish font, futuristic, angular, with bold squares, rounds and triangles. As I had to work with just a handful of glyphs, and needed to fill an entire font, I made up the missing ones myself. Lokomotiv, by the way, is German for Locomotive.

San Marco is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. San Marco was designed by Karlgeorg Hoefer and brings to mind the style of the Italian Gothic found on the cathedrals of Milan and Florence as well as on the facade of St. Mark’s Cathedral in Venice. Its highly stylized characters make San Marco a good choice for extravagant typography.

Swedish Runes Swedish Runes is a way to write Swedish with medieval runes devised by Sven Salvenson. Proto-Norse was written with Elder Futhark runes, and viking age runes were in Younger Futhark (an adaptation of Elder Futhark). Then early Old Norse was written in medieval runes (an adaption of Younger Futhark). Sven decided to carry on that tradition and adapt the medieval runic alphabet for modern Swedish. General information can be found on this site. I used the data here while working on the font. https://omniglot.com/conscripts/swedishrunes.htm

This is a family of "Gothic" types from the Monotype Design Studio. The faces named "Gothic No. 1 through 4" were produced by Compugraphic. Gothic No. 1 is a condensed, late 19th century American-style sans serif typeface. Gothic No. 2 and Gothic No. 3 are based on the Metro #2 series, designed by W.A. Dwiggins for Mergenthaler Linotype during the 1920s and 30s. Gothic No. 4 looks vaguely like Gothic number one, but is heavier and smaller on the body. Gothic Extra Light Extended is a very light and wide design.

Dearest John is the first font in the Love Letters series from Outside the Line. It is a bouncy hand lettered font. If you type caps and lower case you get one look. If you type all caps you get another look. Kind of 2 fonts for the price of one. I prefer to type caps and lower case and then go back in and tweak the headline a little to get the look I want. Dearest John was seen in the 2011 Typodarium Page-A-Day Calendar on 12-9-2011.

CamingoDos SemiCondensed fills the gap between CamingoDos and CamingoDos Condensed and combines them to a homogeneous and versatile type family. The flexibility of the semi-condensed version makes it a typographic all-rounder. On the one hand CamingoDos SemiCondensed is perfectly suited for compact headline settings. On the other hand, it works well as an ergonomic, space-saving typeface for large texts. CamingoDos SemiCondensed comes with a Pro version that offers a rich set of expert typographic features like small caps, ligatures, stylistic alternates, different figure sets, arrows, fractions and ordinals.

Briller is a super-wide display sans that covers 6 weights, from delicate Thin on one side to chunky Ultra on the other end. Briller tabular figures (via the OT feature) and most of figure related glyphs (such as monetary symbols) are the same width throughout the weights, leaving fun possibilities in pairing them up in contrast while retaining that sense of tabular order. Briller has a character set to support Western and Central European languages. Each weight includes ligatures, proportional lining and tabular figures, fractions and scientific superior/inferior figures.

One of the odder things I remember from high school (50+ years ago) is the tile floor of hexagons in the bathroom. There is something fascinating with the way hexagons fill the plane. BakerHalfDozen is made of white letters that fit on black, hexagonal tiles. BakerHalfWhite switches the letters to black on white tiles, and BakerHalfBare eliminates the tiles. There are no true lower-case letters, but some letters have alternate shapes. To make the tiles line up right, alternate lines must be indented half a space. Use the {} characters (brackets) to do this.

Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

As Word War I raged on during 1917, a large number of songs were written as morale builders for both the soldiers leaving for overseas service as well as their friends, family and loved ones. One such song, "Send Me Away with A Smile" has its title hand lettered in a simple, yet somewhat stylized sans serif design that was so much a part of the Art Nouveau style of that era. Simply Nouveau JNL captures and preserves that design within a digital typeface; available in both regular and oblique versions.

Saxo Grammaticus is a beautiful and friendly family that works great with family themes, elegant & classy material and professional settings. It's so versatile you'll find yourself coming back to it over and over for your projects, and that's whether you're looking to create logos, quotes, poster designs, brochures, packaging, anything with big letters like headlines, wedding invitations, holiday cards, advertisements, signs and on and on and on... There is a total of 107 ligatures and 76 alternates! That's plenty of options for any designer wanting to give those big letters a little extra wham bam!

Frederic W. Goudy (1865-1947) created over 100 typefaces during his lifetime. Like most type designers, he is known principally to most people only through his eponymously titled faces such as Goudy Modern, Goudy Old Style etc. This set includes one of Goudy's rarest Arts & Crafts styled faces, a font known as Aries. The font was originally created by Goudy for a private press in Eden, New York in 1926. Also included in this set are two decorative fonts: one font of 52 decorative Ornaments & one font that contains 52 Ampersands.

Germania is a Sans font based on classic roman proportions and forms based on my Imperia font. But I added that distinct, rigid, no-nonsense German touch. This monoline font with its classic proportions and personality is good for lots of occasions. And – I designed three »real« italic typefaces – not just slanting the straight ones. I corrected the stroke thicknesses and changed the lowercase a, e, f, g and q. I put in a collection of very interesting uppercase ligatures for free. Your classical type designer - Gert Wiescher

Too often, familiarity in type design can fool us into mislabeling similar styles of lettering. The Art Deco years provided many variations of the thick-and-thin alphabet, and we tend to lump all of them together as being "a version of Broadway", as this is the most popular of the genre. However, if one looks closely at each design, they will see variations of line thickness, angles and even individual character design. One such variation is Stagehand JNL, based on a set of wood type and now presented in digital form.

Bamberforth is a new take on the type of lettering that was often seen on Railway timetables, share certificates and anything else that needed a distinctive heading in the mid-19th Century. This sort of thing was used on both sides of the Atlantic and can carry us back to another time. Bamberforth aims to give a modern clarity to a style of lettering that, in all other particulars, harks straight back to Victorian times. Bamberforth is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

The wind howled, the night grew long, and British type designer and lettering artist Tim Donaldson created the typeface Banshee. This dramatic display face is modeled after one of Donaldson�s handwritten lettering styles. Banshee began as letters rapidly written by Donaldson with one of his homemade ruling" pens. The letterforms are firmly rooted in the tradition of classical chancery italics. With its ragged lines and counters, Banshee realistically captures the irregularity of pen and ink on paper, lending an immediacy to packaging, advertisements, posters, and invitations that few digital typefaces can match."

PRIMITIVE is an attempt for an essential of urban culture, especially graffiti and the unique pixaçao. PRIMITIVE is also inspired by the ancient cultures, especially scandinavian tribes as an anagram to the present. This "vandalism" is viewed from several angles. PRIMITIVE is one of them. PRIMITIVE is one of the modern headline fonts which include a lot of alternates, a variation of one word for a comfortable use. Two weights, ligatures and stylistic sets are obvious. And this cheap price is a support to this independent culture from me.

The French publication “La Lettre Dans le Decor et La Publicite Modernes” (“The Letter in the Modern Décor and Advertising”) was a 24-page booklet showcasing the then-current trends of the time (circa late 1930s-early 1940s). On one page was found a squared, extra bold sans serif alphabet set with strong Art Nouveau influences, yet it was ahead of its time by taking on the look and feel of 1980s techno typography. They say “everything old is new again”, and Nouveau Techno JNL is now available digitally in both regular and oblique versions.

Fortuna has some resemblance with handtexted characters based, loosely, on the classic italic. But, like Ad Hoc, Fortuna is drawn on a monitor in every detail. The name is Latin and means fate, luck. The composer Carl Orff was actual at the time when I worked with Fortuna, because he had been born 100 years earlier. Orff's Carmina Burana were being introduced on the radio when I was wondering what to call my most recent creation. The song cycle begins with a song to Fortuna: a fated choice of name. Fortuna was released in 1995.

Shicken Zoop JNL is based on an old lettering stencil from the early 1950s. The A-Z and a-z keystrokes contain the bulk of the Hebrew alphabet. Additional letters are found on the exclamation point, quote and apostrophe keystrokes. Vowels are positioned on the period, comma, hyphen, colon and semicolon. Please note that this is not a normal Hebrew font; it is in effect a latin font with Hebrew letters appearing in place of latin letters. It will not allow you to copy and paste with other samples of Hebrew text.

Delaguerra is based on a lettering style originating in the California Arts & Crafts period commonly associated with 'Mission Style'. It is still in common usage in signage at historical sites in California. This version is a sort of idealized hybrid of several different variations on the style from samples we were sent by a customer who wanted to use the font in a set of invitations. It features a basic character set on the lower case and then relief initial versions of the same characters for the upper case.

The Tabac type system is a static typeface with modern shapes and distinct, wedge-shaped serifs. It is primarily designed for the setting of newspapers, magazines and books. Tabac boasts great variability in terms of letter weight in all of its styles. Each style works as a font of its own, featuring the full set of glyphs. The styles may be combined depending on the user; the choice of text and title face thus depends fully on the designer’s own taste, on the needs of the readers and the technologies of printing in use.

The Treasury script waited over 130 years to be digitized, and the Canada Type crew is very proud to have done the honors. And then some. After seven months of meticulous work on some of the most fascinating letter forms ever made, we can easily say that Treasury is the most ambitious, educational and enjoyable type journey we've embarked upon, and we're certain you will be quite happy with the results. Treasury goes beyond being a mere revival of a typeface. Though the original Treasury script is quite breathtaking in its own right, we decided to bring it into the computer age with much more style and functionality than just another lost script becoming digital. The Treasury System is an intuitive set of fonts that takes advantage of the most commonly used feature of today's design software: Layering. Please do help yourself to the PDF and images in the MyFonts gallery for a quick look at the some of the limitless possibilities Treasury has to offer, from simple attractive elegance expressed in the main script, all the way into mysteriously magnificent calligraphic plates. To date in digital type history, this is the most comprehensive and versatile work of its kind. Every designer loves many options to experiment. Experimentation has never been as much fun and productive as it is with Treasury. If you're "compudling" your initial ideas for a layout, or you're just an alphabet fan who loves spending time with letters, working with Treasury is very inspiring and fulfilling. Some of Treasury's features are: - No more endless searching for initial caps that fit your project. The Treasury System lets you build your own initial caps, in any combination of colors, fills, linings or dimensions you like, with a few simple clicks of the mouse. - With two base styles and nine layer fonts, the Treasury System set helps you produce endless possibilities of alternation and variation in dimension, color, and calligraphic combinations to fit your layout's exact needs, down to the very last detail. - 12 pre-combined Treasury fonts are also there to help and inspire layout artists who love shortcuts and don't want to fiddle with too many layers in their layout. Available in small packages on their own, or as part of the complete Treasury package, these 12 fonts can start you up on your way to discovering the perfect fit for your layout. - Every single letter in the Treasury System comes with at least one alternative. Some characters have even three or four alternates. Although the main character set is an authentic rendition of Ihlenburg's 1874 classic, we made sure to include a treasure trove of alternates for maximum usability. - The most gorgeous set of numerals we have seen in a long, long time. The Treasury numbers are what really turned us onto this project in the first place. - Treasury Pro, the incredibly sophisticated OpenType version, combines the complete Treasury System into a single font, programmed for compatibility with Adobe's latest CS and CS2 software programs. Over 2000 characters in one font, for thousands of possibilities. Setting the ideal elegant wordmark, logotype, intitial cap, or headline, no matter how simple or complex, is as easy as taking a minute or two to push a few buttons in Illustrator, Photoshop, or InDesign. We can go on endlessly about the beauty and functionality of this Treasury set, but we really cannot do it justice with words. So try Treasury for yourself and see the amazing possibilities of fun and creativity it has. It can be used pretty much anywhere - signs, book covers, certificates, music inserts, movie posters, greeting cards, invitations, etc. Much thanks are due to the generous and considerable help Canada Type received from the Harvard Library in Boston, Klingspor Museum in Frankfurt, and many type hobbyists and researchers in Canada, England, Germany, the Netherlands, and the United States. Without them it would was near-impossible to track down the lost history of Hermann Ihlenburg, the most prolific German/American type designer and punch cutter of the 19th century. We hope Mr. Ihlenburg is proudly smiling down on us from type designer heaven.

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Sufferin' Succotash, was that five minutes already?! Seemed to us like that lunatic cartoon went by faster than a roadrunner being pursued by a wily coyote or a hare brained bunny dodging short sighted hunters during wabbit season. Adorn your favorite duck, pig, cat, tweeting bird or skunk with the warming strains of our merry melody font or it'll be all over for all you folks.

Refrankt is a multifunctional sans-serif type family with 18 styles, ranging from Thin to Black with matching italic styles. The key visual feature of Refrankt is its wider characters and expanded proportions, which accentuate the character of the type family and extend its application. Refrankt works well as a display font but can also be used comfortably in headings and larger bodies of text. Refrankt offers a clean and thoughtful take on the functional grotesque sans-serif style and can be used in a wide variety of projects, from UI/UX design to packaging and branding. It can also be employed as a font for logos and word marks. Whether you're looking for bold, sturdy letterforms or dynamic flexibility, Refrankt readily adapts to any task. Refrankt would look at home in projects related to technology, athletics, industrial design and many more. The functionality of Refrankt is defined by its multilingual support (200+ languages) and its extensive OpenType features, such as Case-Sensitive Punctuation and Stylistic Alternates, among many others. In addition to a standard set of figures, Refrankt includes tabular figures, old-style figures, superiors, inferiors, and fractions. The entire character set comprises over 800 glyphs. Free trials available on our website: https://groteskly.xyz/ Refrankt Features: • 18 Fonts (9 Upright & 9 Italic) • Variable Font • 800+ characters/font • 200+ languages supported • Extensive OpenType Features • Versatile and Multifunctional

Bergamot was inspired by vintage apothecary labels, but this font is actually quite modern in both style and effects. It features all caps plus 2 sets of alternates (so, 4 total variations for each letter). The coolest part… they intermingle randomly as you type! Ok, so it’s not exactly random, but that’s the easiest way to explain what you'll see. The letters are actually coded to rotate with their respective alternates. This effect is both useful or can be purely for fun! Let’s talk about the useful part for a sec… Repeating characters are often a dead giveaway that a font is being used. And sometimes we don't want that, right? We want to give the illusion that our design has been custom hand-lettered for a particular project… and can't be recreated by another. That’s exactly what this font aims to do. The randomizing effect is built into the Contextual Alternates feature and will likely be “on” automatically in your chosen program. Alas, even random doesn't guarantee that like characters won't appear in close proximity. So for those of you with access to the “Stylistic Alternates” feature, easily change repeated letters that are near each other simply by turning this feature “on”. Voila! Custom…hand…lettering. Bergamot also features separate files for Frames & Ornaments. Check them out below.

More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

Tekton font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer�s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the design by adding weight and width axes and making the font more usable for signage and display work, as well as informal correspondence.

This font is named "Halloween Party". This font was intentionally made to add to the excitement of the Hallowen event that will soon arrive. This "Halloween Party" font is very scary because there is blood on it. This font is perfect for adding to the excitement and mysticism of your Halloween event. In addition to Halloween events, this font can also be used as a movie title, book title or something else that is horror, can also be used to write quote words, tell mystical things, or as a horror and mystical pickle invitation card, and others.

Mikado is a friendly, casual type family designed by Hannes von Döhren. It is intended to be used everywhere where a pleasant feeling should be conveyed: Games, Food, Service or Advertising. Mikado has a positive, kind of "out-of-the-box-appearance" in big sizes, but because of its straight architecture the fonts are also very legible in smaller sizes and longer texts - in print or on screen. Mikado is equipped for complex, professional typography with alternate letters, ligatures, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.