This slab serif font is inspired by European industrial, machine-made letters. It looks rational and geometric, but optically corrected and balanced. As the name says this font face is designed to be used by mostly for posters, headlines, visual identities and short texts. Font was created for Celebration of the 5 year anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG contains all the Latin and Cyrillic glyphs.

Damian is a font designed with simplicity in mind and a hint of flare to catch the attention of the user. The sans serif style is based off of the geometrical features of Futura and Univers. With the focus on the circle creating the forms this font is geared towards a feeling of modern art deco. The name comes from a colleague who asked to be named after the font, it was his birthday, how could I say no.

Is it royal, or is it dandyish? Either way it's sure to catch the eye. Prepare for titling figures any movie executive would be jealous of using. Do you write sci-fi, fantasy, costume, or cult; or is your announcement for an off-beat wedding? Lectori Salutem offers salutations to the reader, and a kick. Lectori Salutem is the serif counterpart of the Lectori Salutem Sans font. A postmodern font with slightly romantic features, and playful ligatures.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Trapped in a world they never made, the characters in our Story So Far have been engaged in final battle with their Arch Enemies... the characters known only as ToBeContinued. One of our characters will win, one will die, at least two of them will be engaged in a Clash of Titans. Face Front, True Believer, This One's Got it All! The Story So Far & Near complete family includes eight weights with support for Western & Central Europe.

Spring is in the air! At least, where I live. My two pear trees are in bloom, bees are buzzing and everything turns a brighter shade of green. Time for a new and fresh font package with a spring-inspired name! Springwood is a handmade set of fonts, ranging from a fat display font to a messy script font. Use it for your freshest ideas, your coolest designs or just anything that needs a bit of springtime.

Ramsey is stout and warm, rectangular with rounded edges, and dynamic with swift cuts. Ranging from thin and condensed to extended and black, Ramsey has seen applications in sports teams to movie titles and even art magazines. Through the years, Ramsey has proven itself to be a true workhorse of a font. This version has a lot of minor updates to the form and spacing, and we now see an extended family to complete it’s legacy. A true workhorse.

My father is retired from teaching after a distinguished career as a professor at the University of Texas (and other colleges). He's also retired from writing in longhand, ever since I digitized his script several years ago. Professor is a slightly modified version of my ol' dad's cursive hand -- a good, strong, helpful, friendly, personable hand, much like the man. Use Professor for all your casual handwriting needs: my father doesn't mind. Comes in a single, medium-weight style.

Wittingau is the original German expression for “Třeboň”, which is a beautiful town near my studio in South Bohemia. I love it for its calm and inspiring atmosphere and rich cultural past dating from the 12th century. The present typeface family is released as homage to Třeboň in the style of its greatest glory – Gothic Revival with classicistic decorativeness. Wittingau is excellent for music covers, book and catalogue jackets, invitations and posters. Contains many ornaments for creating decorative wallpapers.

Bauen (worker in German) is a tribute to the Bauhaus school that has just completed its first centenary and whose ideas are still relevant. It is a geometric typeface inspired by the sans serif typefaces prevailing in those years, and whose cradle resides in the Bauhaus school. It has a wide language coverage, and a generous range of OpenType functionalities, to make it an all-rounder for our day to day, and especially for corporate use.

Imagine the year 2099 and a merger between two multinational conglomerates dabbling in space colonization and research - maybe Nostromo would be their typeface of choice for branding. Inspired by all-time favourite dirty space movies where it would look natural in a setting with green glowing CRT screens on a rundown and dirty space ship. Nostromo is a futuristic / science fiction display typeface in several weights and styles. Nostromo also comes with stylistic alternatives on several letters.

Stonecrop is a font unified by bold, imposing lines as well as its use of rounded rectangles as the central stylistic shape. Stonecrop loosely conforms to the monospaced font style, with near-equal widths for all letters and numbers (but not all symbols/punctuation), however it does incorporate kerning for all types of glyphs where appropriate to aid in legibility. A perfect font for usages that demand consistency and precision, while still maintaining a quirky and stylized handwritten effect.

Clydesdale is a five-weight compressed sans serif font family. It was designed by Steve Jackaman over a several-year period, and was released in 2017. Clydesdale, much like its sister typefaces Coliseum and Torpedo, was inspired by authoritative Roman display typefaces. The font family excels in displays, but is a great performer in all text sizes. It is perfect for users who enjoy the impressiveness of Coliseum Pro and Torpedo, and need a complementary sans serif typeface.

What started out as a typographic exercise to produce the TypeTrust logotype turned out to be the product of obsession. Epic is the culmination of two years of work that has yielded a versatile and respectful contemporary garalde. With a full complement of six weights and true italics, the family offers itself as a true workhorse. Numerous standard and discretionary ligatures, majuscule ligatures, stylistic alternates and swash characters ensure visual interest as an effective headline face.

Our Original Surfer Pro is an offbeat sans serif font bursting at the seams with lively personality. Inspired by a vintage advertisement for the "California Cliffs Caravan Park", this font exudes all of the fun of a summer vacation anytime of the year. The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font. The SmallCaps and extensive figure sets offer Original Surfer Pro an even wider range of design options.

Nonchalant was inspired by an old Peter Sellers poster from the around 1970 (the year that I was born!) I wanted to keep the funky look of the 70's but update with a more modern 21st century look. That's how Nonchalant ended up looking like a hybrid between funk, grafitti and sans serif! Use Nonchalant for your posters, commercials, postcards, invitations, shout-outs or whatever needs something funky! Comes with an extensive amount of international letters!

Rustic Stamp presents gritty lettering produced by unknown and ancient mechanical means. Perhaps it was even meticulously hand-crafted. The effect is a near-magical quality laid over Rustic Stamp's jittery baseline, giving this font a unique character intensity. Great for a storybook, adding fantasy or nostalgic elements to the text, or if simply a faded worn look is required. Rustic Stamp is extended, containing West European diacritics and ligatures, making it suitable for multilingual environments and publications.

About family “ZestPro” Creativity and creative zest. Used to try to beat past records to add zest for monotonous jobs… Zest means something like mirth, ardor, enthusiasm, appetite, deliciousness, delight… Zest is a food ingredient that is prepared by scraping or cutting from the rind of unwaxed citrus fruits such as lemon, orange, citron, and lime. This series is composed and includes ten fonts with 631 glyphs each, with true italics, and supports of course: Latin, Greek & Cyrillic.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

I like Carrot Juice a lot. I don’t drink it that often (and I should, really), but nothing beats a freshly squeezed glass of cold carrot juice!! Carrot Juice font is a lovely script font: handmade with love (and a rather cheap Chinese brush pen which I bought online). Carrot Juice will come in handy when you need that handmade look - cookbooks, websites and product packaging spring to mind. Comes with a abundant harvest of diacritics.

Rick Bradley - known for his Fine Hand, Bible Script, Bradley Hand and Calligraphic Ornaments - drew this font from a gravestone in Ashbourne, Derbyshire, dated 1241. The irregularity lends a special charm to this 'English dialect' version of the international Lombardic style, while the ornamental points reflect the mediaeval 'horror vacui', fear of empty spaces where the evil one might creep in with his influences. Perhaps most useful as a display font, but complete with lower case and extras.

An early 1960s hand-lettered trade publication ad for an upcoming single 45 rpm release inspired the type design of Miss Rhythm JNL. The nickname of "Miss Rhythm" was given to Ruth Brown because of her popular "jump tunes"; that is rhythm and blues with an uptempo beat. Because the trade ad for her record was the inspiration for the font, it was only fitting to use that nickname as the font's name in honor of her.

Virtuosa Classicis the 21st century OpenType re-release of a classic Hermann Zapf design, his very first script typeface, Virtuosa. Based on the same sketches that would inspire Zapfino 50 years later, Hermann Zapf developed Virtuosa in 1948-49. It was originally released in metal in 1952. Virtuosa nova is an English copperplate script with character. The font includes two form variants for each capital letter, and there are a number of lowercase alternates and ligatures, too.

Sol de Jalisco inspired by view of blue agave valley in Jalisco, Mexico. With Sol de Jalisco font you can give your project it's own unique and stylish feel. Sol de Jalisco typeface is perfect for your tequila and mezcal label and packaging design, social media quotes, logo and branding design, t-shirt design, whiskey, beer label and packaging design, heading, scrapbooking, calendars, book covers. Enjoy using the logos and little marks in your design projects.

Setsuko finds its origins on the ancient Silk Road, a network of trade routes crossing the continent of Asia, named for the Chinese silk trade which began in the Han Dynasty more than two thousand years ago. Originally designed to brand and package products celebrating the charm and mystery of the Ancient East, the characters in Setsuko are intended to express admiration and respect, not stereotyping or parody hoping to leave room for a designer's creativity and personal interpretation.

The lettering style of Location JNL is based on sets of "vintage" metal house identification letters and numbers seen for sale online. As these sets are available from overseas sources, it's not clear whether those metal characters are cast from original vintage dies that have been used for years or just designed to look like a vintage style of lettering. Nonetheless, they make for a great digital interpretation and the design is available in both regular and oblique versions.

Part of the wave of modern explorations expanding on the 50+ year-old traditions of groovy psychedelic typography, Mysterylab brings you Phaserwave. With an intriguing fusion of pillowy shapes and sharp stroke ends, this font cooks up a heady mélange of whimsical flow and high precision. We've applied our usual meticulous attention to great kerning, extensive character set, and seamless functionality, so this font's ready to rock your designs any way you might want to do it.

I designed this font a few years ago to address a direct problem. My work demanded small paragraphs of text to be screenprinted in a varsity font style. The house varsity was rather uneven and created small blobs of ink at sharp angles when printed. I designed Beau's Varsity to address both of these problems. The new font eliminated the blobbing, and I like to think my original design is a step up in evenness from the other options.

Sometimes you need things organised in a neat way. Organic Tuesday has that, but also a will to break free at the same time. Years ago I was at a restaurant where the menu was handwritten with a clumsy, but characteristic and charming, monospaced font. I must have focused so much on these letters that I can’t recall what I actually ate. But what I do remember is that it was a Tuesday, and the restaurant was organic!

Whether it's your grandparents birthday, „Almabtrieb“ (ceremonial driving cattle down from the alpine pastures) or Oktoberfest (ceremonial drinking of huge amounts of beer): create the homely feeling of embroidery with this font. It comes with a vast language support, open type features, stylistic alternatives, boxes and frames, various numeral sets ... DEUTSCH: Ob Alm-Abtrieb oder Oktoberfest: Erzeuge das heimelige Gefühl großelterlicher Stickereien mit diesem Font. Große Sprachvielfalt, Opentype-Features, stylistische Alternativen, Boxen und Rahmen, diverse Zahlensysteme …

Salto was developed by Karlgeorg Hoefer and introduced in 1952 by the foundry Gebr. Klingspor in Offenbach. The capital letters were drawn with a brush, the lower case with a broad-tipped pen developed by Hoefer especially for the task. Salto reflects the Zeitgeist of the 1950s, appearing frequently in advertisements during the years of the Wirtschaftswunder. The font’s extravagance and dynamic quality arise from the contrast between the strong, zestful capitals and the more reserved lower case letters.

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Dionisio, a CastleType original, takes its inspiration from one of the overlooked treasures of the CastleType library: Ransahoff. The latter is extremely condensed and very elegant. I particularly like its hairline slab serifs and cross-bars. I decided to use it as a starting point for a new design, but to make the proportions more classic and to make it more sensuous with gentler curves and bracketed cross-bar serifs. The result is very Bodoni-like, but less extreme and more contemporary looking. Meanwhile, Dionisio maintains a hint of Ransahoff with condensed letterforms and very fine serifs. Dionisio brings together the best of both, making it the perfect choice where a slender, sophisticated typeface is needed. Dionisio is available in two widths: normal and condensed, five fonts each. Includes an extensive character set and OpenType features.

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

Joachim Müller-Lancé's Uppercut is a rather sporting fellow, originally developed for the Krav Maga training center of San Francisco (Krav Maga is a simple and efficient self-defense system that has become equally popular in Hollywood and with law enforcement). Joachim has spent several years training, hitting things and people whenever he needs a break from kerning. Uppercut can be seen on the school's t-shirts and other articles. Despite bearing the same moniker as an upwards punch to the chin, the name actually fell together quite naturally as Uppercut is an all uppercase typeface, and the word "cut" is also historically used to describe a type style in hot metal type. For this slanted look, "Angle" felt just right (with thanks to Mia McHatton). The design idea sprang from pencil sketches for the center's new identity. Uppercut's shapes are not calligraphic or handwritten, more like lettering seen in comics or sports logos. Its brush movements are imaginary, not too literally brushy. During development, details were simplified and reduced until a bit of a cut-paper feel emerged, but more fluid like writing. The shapes are economical and efficient; simplicity makes the font versatile, holding up in small as well as big sizes. Uppercut is decidedly analog, muscular but not bulky, with the fluid but determined movements of a boxer or martial artist - not theatrical but powerful, fast, confident and dynamic. Well... it has punch. In the proportions, there is emphasis on a strong upper edge "keeping its guard up", while several stems protrude downward, giving the impression of leaping or being "light on the feet". Use Uppercut to pick up the pace, add snap, verve and drive - on movie posters for action and adventure, to advertise your dojo, rumble or prizefight, racing team or tuning shop, or invite friends to your barbecue with old time rock'n'roll and homemade hot pepper sauce.

Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text. Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diácono to create some 3D visualizations. Ale’s type has never looked saucier!

Introducing Softly Bright, a dynamic font duo that effortlessly combines the contrasting styles of sans-serif and brush fonts. The sans-serif component of this font is a testament to clean lines and modern minimalism. Its characters are created with precision and defined strokes, offering a sharp and sleek appearance that exudes professionalism and readability. On the other hand, the brush font in Softly Bright adds an expressive touch to your designs. It embodies the authenticity of hand-lettered strokes, with each character bearing the organic irregularities of brushwork. This brush font retains the proportions of the sans-serif, ensuring that the two styles harmoniously coexist. Softly Bright fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Like a bright star shimmering on a still and quiet summer night, Arched Gothic Condensed is a glowing example of Victorian type. Thin in the middle with clumpy wedges on top and bottom, it truly bears the spirit of a bygone era. Originally known as Concave Extra Condensed, this typeface has shed its waist-high spur notches and gained new figures and lowercase letters. Developed around 1885 by the James Conners & Son Foundry (New York), Arched Gothic Condensed is a marvel of sparkle and glitter in nineteenth century typeface design. Arched Gothic Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.