Albion’s Incised Masthead combines the heavy Black Letter forms of Greater Albion’s “Albion’s Old Masthead” with the ‘Hand-Tooled’ incised look demonstrated so readily by Mr Goudy. Another tribute to the engraver’s art…

Oktah Round Overview: 1600+ characters per font 16 static fonts 1 variable fonts Extensive OpenType features Support for 220+ Languages (Latin & Cyrillic) Special Symbols, Alternate Sets, and Features Free Trial Fonts Available Oktah Round is a rounded version of Oktah Neue. Oktah Round is soft and friendly, modern and warm. It's a typeface that combines human touch with high functionality. Oktah Round comes equipped with 1600+ characters per font and is available in 16 styles (from Thin to Black), and as a variable font that allows you to change weight and slant angle. Oktah Round supports more than 200 Latin languages and has amazing support for Cyrillic languages like Bulgarian, Serbian, Ukrainian, Macedonian, Russian, and others. Relying heavily on the geometric forms and proportions first introduced in Oktah, this rounded version does more than just smooth out a few corners. To make curves sharper and more uniform, some terminals were modified. Other visual features (like curving tails in 'l' and 't') were dropped to create more clear cut look. Oktah Round is perfectly balanced and finely tuned to be the font you'd want to use again and again. The variety or styles and availability of a variable font give Oktah Round a potential to be used across multiple mediums. Oktah Round supports most Latin based languages, it also has support for Extended Cyrillic. The remainder of the extensive 1600+ glyph character set is reserved for punctuation, numbers, special symbols, and all sorts of additional symbols like squared numbers, geometric shapes, etc. All characters are evenly spaced and carefully kerned, so that there are no overlaps or glaring gaps in any language. OpenType features include Legible Alternates, Case Sensitive Punctuation, Fractions, Sub- and Superscript, Black and White Circled Figures, Ligatures, Oldstyle Figures, Tabular Figures and many others. The variable font incorporates both axes (Weight and Slant) and can be used for web and graphic design alike. 16 static font styles can be purchased separately or as part of Oktah Round family. Two fonts can be downloaded free of charge.

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

A Historical Revival for Modern Typesetting Flair Pennyroyal began as a Barnhart Brothers & Spindler typeface called Plymouth Bold, first cut in 1900. What began as a straightforward rustic typestyle has been revived to include a more extensive character set. But this font wasn’t just revived, it has come alive with character and personality. Taking things further, Pennyroyal Pro adds in Unicase (stylistic alternates), Swashes (swash alternates), and a collection of grunge alternates from the original source and additional alternates included (PUA encoded). You’ll find that Pennyroyal Pro contains 1476 characters. The expanded SmallCaps option for Pennyroyal Pro gives the typestyle a more sophisticated option, while the expansive options like Unicase and Swashes allow for more uniqueness, play, and experimenting far beyond the original typeface inspiration. Opentype features include: A collection of ligatures. Smallcaps. Full set of Inferiors and Superiors. Proportional figures and Oldstyle figure sets. Unicase Capitals as Stylistic Alternates Swash Caps & Lowercase alternates Smallcap Swash Caps & Lowercase alternates Grunge Alternates for Capitals Additional Swash Alternates

First developped for a logo that was rejected we made a font of it! It is an old-style techno but still modern new font (what a mix!). It is simply playful and fashionable.

Grace was designed by Elisabeth Megnet and appeared with Linotype in 1992. The font is a part of the package Calligraphy for Print, which also contains Ruling Script and Wiesbaden Swing. Calligraphy for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. The basic style of Grace is based on the Gothic miniscule of the 13th century. It represents a modern philosophy held by Andre Guertler, Professor of Typography in Basel with whom Megnet once studied. With this philosophy, calligraphy is not to be seen as a decorative art, and fonts created according to this tenet have far fewer ornamental strokes. They are eccentric, drawn out and almost bulky. Like Gothic forms, one of the predecessors of this font, Grace gives vertical lines a particular emphasis. This font is not meant for long texts but makes a distinctive impression in shorter texts or headlines.

First, the important information…Nori is a hand-lettered typeface that contains over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. To make sure it is perfectly clear—Nori is the result of brush and ink on paper. The textures produced in each glyph are real and the imperfections are intentional and add to the sincerity of the letters. I say this to be as blunt as possible in order to avoid confusion and to frame what this typeface represents—calligraphic, handwritten letters captured digitally for their warmth and poetic variation for print and screen. Like my handwritten, calligraphic or brush-driven faces before it (the Baka series and the TDC2 2010 winning typeface, Fugu), Nori is a product of my analog and digital hand. To view the words and sentences formed by this typeface is to look at how my hands, yes hands, make letters. The fluidity, as well as the irregularity, is human, honest and intentional—to do so lets the brush I am holding breathe life into each letter. Once digital, any number of points and repetitive processes can’t mask its influences—and I like that. The brush, a simple instrument, my tool, my friend designed to emulate traditional Japanese sumi-e brushes... the Pilot Japan Kanji Fude brush pen. Each letter, each variation was written over and over again until I found the right combination. From there, each was scanned, digitized and optimized. Points were removed in order to ‘clean’ the glyphs up some but I did not want to compromise the integrity of the actual brush stroke. Once this base set of characters (about 350) were completed, the thoughtful manipulation of the glyphs, their gestures and forms were further expanded to solidify the embellishments used within the ligatures, alternates, swashes and additional features. This process was admittedly self-indulgent to an extent. I wanted the words created with this typeface to have the flexibility of variation and cohesiveness of movement that someone fluidly producing these letters by hand might have.  I hope you enjoy this typeface as much as I did during the six months working on it. A specimen and style guide is included with the purchased of Nori.

CoolKids was inspired by the song “Signs of Life” by Arcade Fire. Since the lyrics talk about some cool kids we wondered what a typeface with the name cool kids would look like. We immediately knew it had to be laid back yet bold and to stand out from the crowd. After designing the bold script we decided to include a light, regular and medium weight to offer you more options for your designs. It comes with initial and final alternates, that show up automatically, to make it feel more natural and similar to handwriting. Every character was carefully drawn and connections are real smooth. This casual font-family speaks most Latin languages, both in their basic and alternate forms. CoolKids is great for creating logos, packaging, posters and much more. More important than to create a font is to use it… so now it’s up to you to create something awesome with it. Feel free to share your designs with us via email to hi@seventype.com We would love to see and share them with the world!

Check out the new Lust Pro & Lust Pro Didone to see how the series has grown and evolved. Confident, voluminous and versatile, Lust is an exercise in indulgence—an attempt to create something over the top and vastly useful. Lust Hedonist pushes contrast almost to the limit. The letterforms, especially the Script style are very self-indulgent for me, dare I say Hedonistic, and how I like to see letter masses taken to extreme contrast. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that.

Confident and versatile, Lust Pro™ is an exercise in indulgence—an attempt to create something over the top and vastly useful. If Lust Pro seems both new and familiar, that’s because it is. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that. Intended to be set large, the typeface boasts 3 widths and 5 weights and matching italics for both the Regular and Didone variants (that’s 60 fonts in total), making it perfect for editorial use and a highly flexible solution for any display need.

“Fanfare is such a fun typeface,” says Toshi Omagari, who revived the design for The Wolpe Collection. “It was my happiest discovery when I was digging through the Monotype archive. I came across it and had to check the designer’s name.” No wonder: Fanfare is modern, light and playful – not what you’d expect from an 80-year old design. From the original, very heavy weight design, Omagari started by creating a black weight, followed by four lighter weights for Wolpe Fanfare, preserving the character of the letterforms all the way down to a thin version. “I wanted to do more than digitize the original weight,” he says. “It’s surprisingly modern, and its skeleton, its basic structure, is so beautiful.” The new design packs more into a small space than most typefaces. It’s a natural for publication and advertising design. With displays capable of revealing fine details such as Fanfare’s subtly slanted baseline, its lovely forms will easily translate to mobile devices. With an extended European character set that includes Greek and Cyrillic language support, Wolpe Fanfare can speak in many languages.

Galliso is a serif font with a classic yet modern style with subtle curves and a beautiful binding, consisting of regular and italic versions with four types. allowing for a very sophisticated and contemporary typographical approach and the unique look of this font also features ligatures and multi-language support. This font is perfectly made to apply especially to logos, and many other formal forms Galliso provides a distinct, creative, and expressive message for branding, advertising, packaging, headlines, magazines, websites and more. Features: All Caps Font with different uppercase and lowercase Number & Symbol Supported Languages Alternates and Ligatures PUA Encoded What is included: Galliso Regular +Outline Galliso Italic+Outline We highly recommend using a program that supports OpenType features and Glyphs panels like Adobe apps and Corel Draw, so you can see and access all Glyph variations. This type of family has become the work of true love, making it as easy and fun as possible.I really hope you enjoy it! Thank you Enjoy the font and go get creative :)

Confident and versatile, Lust Pro™ is an exercise in indulgence—an attempt to create something over the top and vastly useful. If Lust Pro seems both new and familiar, that’s because it is. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that. Intended to be set large, the typeface boasts 3 widths and 5 weights and matching italics for both the Regular and Didone variants (that’s 60 fonts in total), making it perfect for editorial use and a highly flexible solution for any display need.

Ballet Mechanique is a custom designed font for musician Jeroen Borrenbergs, aka Ballet Mechanique. For his upcoming record releases Jeroen asked me to create a special font for him. As co-founder and graphic designer at Stoere Binken Design he creates his own artwork and therefor had very specific wishes. The font should be warm, soft and have soul. He gave me some sketches for his logo that I should use as a starting point. The result is a very narrow, kind of techno, monocased font called "Ballet Mechanique" (what else). After having served his purpose, Jeroen Borrenbergs allowed his font to be sold publicly. Jeroen Borrenberg’s debut work, in 1996, received hugely praising reviews. Muzik Magazine made Evolutionary Entities techno single of the month, Laurent Garnier and Mister C constantly played it in their sets and Morgan Geist just said “I won’t do a review here - let me just encourage all of y’all to listen to and/or pick up the new Eevolute 12″. Beautiful stuff - complex, melodic, soaked in just enough reverb to take it to another room. Check or regret.”

Say it with authority and style with Boppa Delux, a big, bold display font in four weights. For use in OpenType aware applications, Boppa Delux includes small caps, alternates, case sensitive forms, and more.

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

Alfrine is a gently rounded oblique Sans-Serif typeface, ideal for banner text with a simple clear outline and a sense of motion and speed. Two typefaces are offered-regular and diagonally shaded forms.

Its very simple form is the hallmark of this font, the bond font is a simple styled font but still has an aesthetic value, this font is suitable for use in simple themed designs.

Perfect for anything from treasure maps to grocery flyers. This font provides directional arrows in outline, solid and highlighted forms. Each arrow is available in at least 4 directions, and many in eight directions.

Alfredo is a neo-humanist family with a contemporary touch, presenting a subtlety in forms, in which it’s simu- lates calligraphic fluidity. With rectangular serifs, Alfredo was designed exclusively for publishing projects and texts.

Each letter or character comes in two forms on this font: One as a complete disc, the other as a disc with a segment removed so the succeeding character can overlap the preceding one.

Splinters JNL is a fun, hand-drawn font emulating letters formed from pieces of wood. Use at larger point sizes for best results. Please note: There is no kerning and a limited character set.

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

Do you want to give a cheerful and carefree mood to your work? Rither will ideally help to bring your ideas into reality! Rither was created for warm emotions and the most cheerful projects!

A prolific lava producer, Volcan Puntas Negras is a collection of flows and domes forming a distinct large edifice. There is no current activity known unless you will activate the font on your computer ;)

Hellya is an elegant script font with a contemporary atmosphere and impeccable form, inspired by timeless classic calligraphy. This font is PUA encoded which means you can access all glyphs and swashes with ease!

A triple condensed gothic based on the letter form of Franklin Gothic. Great for fitting a lot into a small space. With its condensed and extra bold appearance it makes a great headline face.

Straying outside of our usual logo driven typestyles, but remaining within typographic styles that have a strong brandable vibe to them comes our Decade font. Spawned from the 1938 book "Letters and Lettering" by Paul Carlyle and Guy Oring, this display style has been fleshed out into a full blown typeface, rich with a personality that evokes Art Deco and Jazz sensibility yet rooted in Russian Avant Garde Constructivism. Decade has a constructivist feel, yet contains letterforms that take take its appeal to album covers, holiday cards, minimalist corporate branding, and beyond. It adopts a sturdy yet approachable style with its geometric forms and curves, creating a straightforward, powerful presence that creates a solid foundation for designers and design trends. Here's what's included with the Decade typeface: - 368 glyphs per style - including All Capitals, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 5th graphic for a preview of the characters included) Here's why Decade is right for you: - You're in need of geometric typestyle evocative of the Jazz Era - You love that Constructivist look, but are seeking something "different" - You're looking for an Art Deco Showcard style typeface. - You're looking for a typeface with letter minimalist styled geometry. - You just like to collect quality fonts to add to your design arsenal

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

Meet Aeroko, a slick variable typeface that evokes grit and speed, a dynamic play, a future–present competitive edge that evokes motorsport and all progressive brand design. This is a robust type system that creates memorable brand headlines. Powered by four display weights and three widths. Turbo-charged by a two-axes variable font. High performance brands can expect Aeroko to out-pace in every graphic condition. Aeroko is bold and assertive, it moves fast in headlines, it flexes when and where you need it. The forms are boxed and solid from Condensed to Wide, and they provide a distinct contrast when paired with rounder text fonts. Aeroko’s secondary power unit is harnessed from the ever adaptable variable font format. Variable font technology enables vast levels of typographic scale and expression, furthermore it allows Aeroko to react instantly in any digital space to maximize results. Aeroko evokes confidence, this is a typeface that actively encourages you to be courageous and daring with type in your own way. Brands demand distinct and robust typography, much in the same way that drivers demand pace. Aeroko meets these demands with ease, delivering assurance and weight across a valiant aesthetic. Aeroko is designed by Krista Radoeva and the Monotype Studio.

Ever since we started publishing on MyFonts in 2009, we've received requests for a typeface to complement our popular dingbat fonts. So here it is: LiebeErika. Friendly and polite, rather thin, extra narrow, and of course‚ carefully hand-crafted. LiebeErika’s casual and warm style is perfectly suited for invitations and personal correspondence. It’s even in the name: German phrase, Liebe Erika‚ translates to, Dear Erika, the beginning of a personal letter. But LiebeErika is not limited to English or to the German character set. It supports many other languages, too! LiebeErika comes with a stunning variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 500 glyphs, so it’s actually two or three fonts in one. If you like this font, you may want to look at LiebeOrnaments, our perfectly matching set of swashes and curls to complement LiebeErika. By the way: LiebeErika gets along great with our wide range of illustrative fonts such as LiebeCook, LiebeFish, and LiebeTweet.

Tritto is what happens after you give up a pencil and start using a mouse. It's some wild handwriting that you definitely didn't learn in school. Fun with attitude, great for all sorts of things.

Abagail Jackson is a wild-looking face that was one of my early designs. I had no particular use in mind when I designed it and I no longer remember what inspired this whimsical font.

The 1963 German release poster for "What Ever Happened to Baby Jane?" features a creepy, sinister, hand-lettered type design that became the model for Creepy Events JNL, available in both regular and oblique versions.

Jemgonza is a Sans-serif font started on January 26, 2022. This font with hyper-extended character sets allow for usage for billboard signs, logos, and even professional documents and essays. It contains localized forms for certain languages that write them differently. For example: Л and л shaped like upside-down V's, д shaped like a lowercase g, и shaped like a lowercase u, and more for Bulgarian; б shaped like the Greek lowercase letter delta for Macedonian and Serbian. There are two non-standard variation sequences for the light and dark shades for when they are used vertically. If it bothers you, you can add Variation Selector-14 after each one of those This font also contains 256 braille patterns for the blind people. Note that each pattern is not tied to any specific letter since multiple scripts have a braille system

I always admired the beauty of Gothic letters, but lamented their low readability. The revivals of Gothic faces are beautiful, but they revive everything, including the traits that prevent readability. Blackletters are fine in ads and titles, but can’t be used in long texts (like books on Middle Ages, Medieval romances etc) where they would be the perfect historical choice. And I wanted to change this scenario. With Giureska, instead of taking one particular face to revive, I chose the best traits from many Gothic faces, i.e. the forms that were pleasant to look and easy to read. For the ‘small caps’, I studied uncial scripts and made a similar selection, adapting everything to make a unified font. With three weights, true italics and the uncials, Giureska can endure a variety of projects, bringing the appeal of Middle Ages much beyond the cover.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Paneuropean covers Eastern and Western Latin, Greek and Cyrillic Extended.

Nosta is a modern text typeface. It was designed to be easily legible and therefore expressly suitable for setting sizeable lengths of continuous text such as magazine articles, books and essays. It achieves this through, amongst other things, finely balanced proportions, optimal character spacing and an adherence to predictable letter forms. Despite this, however, Nosta manages to retain a contemporary look and feel by using a variety of modern type design devices such as the efficacious wedge serif. The italic avoids using too many of the cursive elements that are often found in traditional italics and has only a modest slant, giving it a modern look that does not overly disrupt the text while still providing emphasis. While designed for continuous text, Nosta can also be used as a display face, making it a good all round typeface, suitable for many applications.

Monk is a multi-language geometric harmoniously balanced font in Arabic and Latin. The font family has its origins in Benedictine and Franciscan writing. Both Arabic and Latin work seamlessly together having shared counters, stem thickness, and curved forms. Monk is a type family that seeks a balance between the openness and legibility of humanist sans serifs. Letterforms have a distinct direction of the ductus, a wide overall stance, large open counters that help in its legibility. The typeface is versatile and can be successfully used in magazines, posters, branding, websites, headlines, large-format prints, brand identities, social media, advertising, editorial design, posters. The family contains over 40 alternative glyphs and over 50 ligatures in each style and comes in 10 styles with their corespondent italics. The family Latin supports Western, Central, South Eastern, South American, Oceanian, Pan African, Vietnamese, Sámi & Arabic

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.