Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Introducing DORIS: A Sweet Handwritten Font Family. DORIS is a stunning new font designed to add a touch of sweetness and charm to your designs. It was originally created for a series of children's books, then it was expanded with additional glyphs and additional thicknesses were added.. --- Key Features:. Handwritten Charm: DORIS captures the beauty and warmth of handwritten lettering, bringing a personal and intimate feel to your designs. Its imperfect lines and organic shapes radiate authenticity and evoke a sense of genuine connection. . Versatile Usage: Whether you're designing coloring books, creating beautiful illustrations, making invitations, or crafting nicely-made quotes, DORIS adapts beautifully to various applications, providing endless creative possibilities. . Feminine and Playful: With its soft curves and whimsical strokes, DORIS exudes a feminine and playful essence. It is a font that effortlessly brings a touch of joy to any design, making it perfect for creating illustrations, invitations, and other projects aimed at capturing a sense of happiness. . Multiple Thickness Options: The availability of five different thicknesses in the DORIS font family allows you to choose the perfect stroke weight for each project. Whether you need a delicate touch or a bold statement, DORIS has you covered. . --- Usage Recommendations:. Children's Books and Illustrations: DORIS is an excellent choice for children's books, illustrations, or any other project targeting a young audience. Its playful and friendly aesthetics will capture the hearts of kids and adults alike. . Invitations and Greeting Cards: Create stunning invitations and charming greeting cards with DORIS. Its sweet and friendly style sets the right tone for special events, celebrations, or heartfelt messages. . Nicely-Made Quotes: Give your quotes a personal and endearing touch with DORIS. Whether it's motivational quotes, lovely sayings, or inspiring messages, DORIS will add warmth and authenticity to every word. . Personal Branding: Incorporate DORIS into your personal branding materials, such as business cards, logos, or website headers, to showcase your unique personality and create a lasting impression. . --- Let DORIS bring a touch of sweetness and handwritten charm to your designs. With its delightful handwritten style, multiple thickness options, and endless usage possibilities, DORIS is the perfect companion for creating projects that are full of happiness and joy.

Ocean View is a beautiful handwriting lettering. This script typeface is cute and feminine, optimized for a modern signature logotype with a genuine craft style. Its monolined strokes and hand drawn letterforms emits optimism and lightheartedness. Use underscore _ to make a swash. Example: Cle_arly Use multiple underscores to make different swashes. Example: Super__________star (Download required.) The Ocean View family consists of five high-quality cursive fonts: Thin, Light, Regular, Bold and Black The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Ancyra is a transitional serif family designed with current usage areas and requirements in mind. Efforts were made to provide the most effective harmony within each character and with the characters they are associated with. For customizing the usage areas and providing an impressive and fluent reading experience; it is designed in three different optical weights as title, subtitle and body text. Sharp and soft terminals used together (such as v, w, y, s, c, k) have an extraordinary effect, especially in italic styles. Contextual alternatives are designed to be compatible with the letters after the letters "c, e, t" in the text and create a cursive effect. Ancyra is perfect for use in newspapers, magazines, e-books, packaging design and fashion industry, branding of quality products and services. Ancyra has a versatile usage area with its optical weights.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Jetworld is the space-age typeface with the retro-forward look. Jetworld’s tapered and weighted parabolic-arch curves interplay with its rigid, straight verticals and horizontals to create an unexpected but pleasing motion and a rhythm that is constantly changing. Jetworld is an OpenType font that speaks of clean space-age design, midcentury optimism, and the promise of new frontiers. Jetworld gives a midcentury-modern or retro-futuristic look to book covers, magazine layouts, posters, and album covers. But Jetworld is adaptable, too. With hints of ancient cuneiform writings mixed with the look of markings on an alien spaceship, Jetworld spans eons. And Jetworld’s large character set includes multi-lingual support and many other special characters. That means Jetworld can be used for more than just headlines and more than just English. Jetworld combines a distinctive personality with surprising readability. Jetworld is unusual in that it is not descended from handwriting or calligraphy. Instead, Jetworld was inspired by midcentury modern architecture and consumer goods. Think of the parabolic arches seen in midcentury masterpieces like the Theme Building at Los Angeles International Airport, the TWA terminal at JFK Airport in New York, and even the cartoon architecture of “The Jetsons” television show. Think of boomerang-patterned Formica countertops and tabletops, or arch-shaped “hairpin” legs on midcentury furniture. Jetworld’s character shapes were inspired by all of these. Jetworld—direct from the world of the future to you.

The Pagnol typeface has been designed with a principle developed by A. M. Cassandre in 1937, when the great French designer created the Peignot typeface following paleographic studies on the evolution of letterforms. Researches in the history of writing have proved that the lowercase "a" is at its origin nothing but the "A" shape transformed through centuries by scribes until the invention of printing. A large number of lowercases meanwhile kept their original shapes. If the scribes’ hand didn’t find the necessity to simplify them, it is only because these letters could be easily written. Integrating the classical shapes of capitals to the lowercases has already been used, keeping the lowercases which are only a deformation of capitals. Nevertheless, the respect of readability imposes to keep ascendants and descendants from traditional lowercases which serve as optical focus points in a text and make reading easier. The particularity of Pagnol is to use rounded shapes on top and bottom of pointed capital letters to make them fit with corresponding lowercases (Aa, Mm, Nn, Vv, Ww, Zz). Lowercases proportions are wide, to be in tune with classic lowercase shapes in order to optimize readability. Five weights in roman and italic have been designed to offer a wide palette of typographic possibilities in all sizes and all paper and screen supports.

Keswick is a beautiful small town in the English Lake District. It is a good place to hang out for a while and explore the surrounding National Park. During your stay you could visit the Keswick Pencil Factory - which brings us to this nice font… Keswick font was created using a 6B pencil (the crumbly, soft kind) and a lot of patience. I have to admit, the pencil used was not made in Keswick. Sorry 'bout that…

Anne's Hand is a custom handwriting font of Anne Hubbard, who tragically lost her battle with anorexia nervosa this past January. Anne loved to write, so her brother Richard designed a custom font of her handwriting as a tribute to her memory. All proceeds from its sale will go to the National Eating Disorders Association to support programs and services like the NEDA Navigators and Loss Support Network, programs that many families count on for support.

Welcome to the new font! An elegant slim handwritten font created from childhood memory. This is how my grandfather wrote. He seemed very beautiful to me when he was little and I really wanted to write "when I grow up" too:) Perfect for captions in photo albums, on photos, birthday invitations, calendars, magazines, Instagram posts and more! A vector font is composed of uppercase and lowercase letters. Feel free to email me shabanovasprt@gmail.com if you have any questions. :)

An extremely versatile, intelligently restrained design by Robin Nicholas for Monotype in 1980. It works very well at small sizes thanks to its large x-height, sturdy serifs, and lack of ornament; yet it is not characterless. Nimrod has been used successfully in national newspapers and books. (The Guardian, London, from its late-1980s redesign until it was replaced by a Carter interpretation of Miller in 1998; the Concise Oxford English Dictionary in the typographically unsurpassed 1990 edition.)

Getman is a light Gothic typeface. It made all the rules and traditions of classic Gothic typeface, but it has lightweight shapes, making it easy to read and understood. Getman is based on the works of type masters 1910s. This font has all 104 European alphabets, all Slavic alphabets, OpenType features (ligatures, oldstyle numerals, fistorical forms, localized forms, fractions, ordinals and others). Getman has an historic beauty of the medieval Germanic national script. Glory to the Germans!

Simple Crush is my down-to-earth-comic-font with no hassle! Well, actually Simple Crush might take you by surprise here and there - because there is no real rules to height, width, curves and thickness…or whatever. When it comes to Simple Crush, you’re in luck - because Simple Crush is legible and stands out as a strong comic font, ready for action…even though the mission is a party invitation, birthday, poster or products for kids and pets!

Asegunt is an abstract handwritten font but looks lovely on the eyes. with original hand strokes mixed together to make words and sentences This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children's writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

This font is inspired by the compact, high-impact design aesthetic of the 1990s in Chile, which was defined by the use of very heavy fonts to create eye-catching graphic pieces. With this idea in mind, Zennat Pro was born, a “semi-slab serif” that takes advantage of OpenType features which rotate in alternate characters to best fit the design. Zennat pro comes in 10 weights, and is ideal for magazine design, motion graphics, trademarks, logos, posters, etc. ...

The original idea of the Dada font and randomness was given new life with the introduction of OpenType programming. P22 Dada Pro includes over 500 glyphs of letters and images and can be used to create Dada inspired typography by simply selecting various OpenType features. P22 Dada Pro was released in 2006 as "Dada Special Edition" to coincide with the "First Major International Dada Museum Exhibition in The United States" at the National Gallery of Art.

In designing a font that had a Mayan or Aztec quality to it without the usual "Mariachi" look, I decided to make it single weight with some open ends and offbeat rounded serifs to give it a more serious feel which will lend itself to other non ethnic uses. I have added a few discretionary ligatures, which also contain old-style numerals, titling caps and small caps. Usage recommendations: Captions, packaging, cards, posters, ads, book jackets, manuals, and menus.

Brice refers to cultural products of the 80s such as music, art, literature, fashion, dance, film, that are consumed by the majority of society population. The Characteristic of Brice are in the small bouncy serif with a dynamic contrast, like R, B, S, K, P, etc. Perfect for Logotype, Caption, & Header. Brice are available in 5 Widths (Condensed - SemiCondensed - Normal - SemiExpanded - Expanded) with matches 6 weights (ExtraLight - Light - Normal - SemiBold - Bold - Black) and support for 75+ language.

Mangan is a new text face which combines classical rationality with contemporary design. Mangan appears dynamic, elegant, vivid and provides a high standard of functionality. The Mangan family comprises 14 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain small caps, ordinals, ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, and arrows.

Alfrere Sans is a clean Sans Serif display family inspired by a well-known 1950s television caption. The family of seven faces have been designed for independent use, but they also have an extra feature. All faces have identical metrics and can be overlaid with each other, to yield an unending range of multi-colored lettering effects. Bring a touch of the 50's to your next poster design. Better yet, explore the world of multi-colored overlaid typefaces....

Rigid Square There is a rule, Octagonal shape and 45 degree cuts. Very geometric shape but designed especially for body text, long sentence such like a mechanical instructions. Capital I and lower l have distinguishable shape. Neo-humanist shape on lowercase b.d.g.p.q is for further smooth readability. However, Also useful for display, titling, captions by their sophisticated glyph shapes and their eye-catching geometry. Consists of seven weights and their matching italics. Supporting almost all latin languages.

Toms Finger Family fonts is a hand drawn sans serif series containing Regular weight (Toms Finger), Bold weight (Toms Thumb), and Light weight (Toms Pinky). Drawn entirely using his finger tip on a tablet Tom created this font to be user-friendly for Notes, Signs, Posters, Ads, Captions or anything where the writer wants to convey a casual, non invasive voice in the copy. Toms Finger Family is legible in a wide range of sizes in all weights.

Hello, i'm Nakilla, a contrast, yet beautiful display serif font. In some vocal both in uppercase and lowercase, my designer made some tweak alternate to give me modern feeling, along with ligature, it would make your next project outstanding. You can see me in action, kindly swipe my preview image. I can be headline, i can be body, my Uppercase lookin cool right ? Modern, classic and minimalist. I'm ready for your next project, buy me now. Peace out!, Nakilla.

Faculty is a robust, warm and rational sans, with a large x-height that lends clarity in text and headline. Functional, clear and authoritative, it still has character. Stroke terminals are cut vertically or horizontally, minimising inter-letter gaps and lending it an even 'colour' in extended settings. Suitable for both headlines and text, the family has extensive language support, alternative characters, lining, tabular and old style numerals, making it a versatile all-purpose type system.

Say hi to new member of Typoforge zoo! Gambero family consists of 18 styles (including italics) with a subtle rounded finished details. Gambero is a stable, slab cousin of Kapra, Kapra Neue adn Kapra Neue Pro. It is ideally suited for advertising, editorial and publishing, offering new design potential. Font Gambero is inspired by a "You And Me Monthly" published by National Magazines Publisher RSW "Prasa" that appeared from May 1960 till December 1973 in Poland.

SYN NOVA is a digitisation project of SYN – futuristic typeface designed by Wojeciech Freudenreich, famous polish graphic designer. Our concept, besides giving it a digital form, was to expand the character set, design minuscule and opentype features for the typeface. Together with Wojciech Freudenreich we created 4 new weights. The complete family (5 styles & Variable Font Version) is distributed under open and free font license. Subsidised by the National Centre for Culture under the programme Kultura w sieci

It is inspired by the friendliness and cordiality of neo-humanist typefaces with a mix of rounded shapes, some apexed characters, and a little bit of black. Although it follows the ductus, D Sari is also a daring font with less pointed shapes, as is the case with regular neo-humanist typefaces. D Sari has 22 variants, which make it a very dynamic typeface. Well-suited for highlighting lettering, magazines, motion graphics, advertising, logotypes, signs, etc.

Cervo Neue is the new perfected and extended version of Cervo, containing 18 variants. It differs from the previous version with the higher accents over glyphs, enlarged punctuation, old-style numerals and the newly added varieties Semi Bold, Bold, Extra Bold and Black. Additionally, there is the variety of grotesque. Font Cervo is inspired by a “You And Me Monthly” published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland.

Alvina made for text display purposes inspired by handwritten font. We crafted this font for your design project. Support Multilanguage and you can easily create a simple, clean, cool logo, branding, and promotion with this font. Alvina brings a modern and strong impression to your design make this font suitable as the main text / header text on a website or layout design. The font is suitable for blog titles, headers, promotional text, call to actions and more.

Adigussto is a signature font that we created with dramatic hand strokes paying attention to the aesthetic appearance in every curve that is so elegant and fun. This font is designed with a natural touch of handwriting refined to create portions and compositions that suit your needs. So this font is perfect for crafts, kids writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headers, book covers, and more.

Casper Display is a Unique Modern Elegant Typeface with Web-fonts. It's a very versatile font that works great in large and small sizes. Casper would perfect for branding, logos, headlines, Captions. or simply as a stylish text overlay to any background image. Strong capitals and a smooth, open lowercase are effective in a variety of applications. It's shown a clean, minimalist, warmth, quirky, yet still purposed to be versatile and easy to read. 9 Weights Included.

Miramar font has elegance in every detail, which means that it isn't very easy to use. I like it very much, but would use it myself on rare occurencies, for very special tasks and even then in small portions. The name refers to the castle of Miramar just north of Trieste on the Adriatic coast, once the weekend resort of the Austrian imperial family. Now it is a museum with a marvellous park. Miramar was released in 1993.

The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling face, Eagle Bold, which was drawn in 1933 for the National Recovery Administration and became the symbol of American recovery. Font Bureau’s Eagle was started in 1989 for Publish magazine. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series; FB 1989–94

In most cases, motion pictures with a Western theme have their titles and credits lettered in type styles that reflect the period of the Old West. In 1966, the titles and credits for “Texas Across the River” used casual sans serif lettering more suited to the 1960s than a Western taking place in the 1800s. Nonetheless, the lettering inspired a digital font entitled Adventure Film JNL and it is available in both regular and oblique versions.

“I Don't like No Cheap Man” is a piece of early 1900s sheet music featuring its title hand lettered in a condensed slab serif design. The influences of the Art Nouveau era are clearly found in the many eccentric character shapes within the various letters of the original artwork. Recreated in digital type, Tightwad JNL is available in both regular and oblique versions – and its font name is a variant of the “Cheap Man” portion of the song’s title.