Matt Desmond (MADType, Pufficlaude BT) would like you to meet Mesotone BT. This computer typeface design is monoweight and somewhat monowidth. The squarish unicase glyph forms feature eased corners and rounded terminal ends, which takes some of the edge off its techi look. Yet Mesotone still inspires one to explore the outer limits of the design universe. So, don’t tone it down; Mess with the fringes. Get Mesotone. Available in PostScript OpenType format, Mesotone’s extended glyph set covers the Western and Central European, Baltic and Turkish languages.

SK Moralist is an authentic handwritten font. It is made in the style of ink writing techniques. Smooth and rounded shapes of the font gives it an unusual and unique look. This font is multilingual and supports all Latin and Cyrillic languages, contains an extended Latin alphabet, as well as the Greek alphabet! Therefore, the font is suitable for use in almost every country. The font will give any work a unique look and is suitable for use on print and on the Internet.

Franko Luin, Carniola's designer, on this typeface: Carniola is a pastiche of different type designs from the beginning of the 20th century, mostly American. I am not very fond of it, but was convinced to release it by someone who needed a typeface with a time typical feeling. On the other hand: why not use the original typefaces from that period? Carniola has its name from the Latin name of Kranjska/Krain, a principality in the former Habsburg monarchy (Austria-Hungary), now part of modern Slovenia.

Arx by Superfried is an elegant and intricate display typeface designed for use at large scale. Its Latin name - meaning citadel - connects with the classical features, whilst the phonetic pronunciation nods to the arcs which characterise each glyph. This caps typeface is available in two formats: fade and solid, each featuring two distinct character styles switched via the shift key. Fade features delicate incisions to add depth and the illusion of 3D shading to the arcs. Solid, as its name suggests, is a cleaner, flat alternative.

Rasane font has a distinct personality where the curved geometric shapes give a friendly face to various uses. At the same time, the pointed end of the stem gives a dynamic feel. This font comes with over 400 characters, making it possible to use fonts in many different languages. The family consists of 14 fonts of 7 weights plus matching italics. Rasane font works well on display and small sizes. Rasane is the perfect choice for headlines, packaging, posters, logotypes, signs, websites, brands and more!

agasthiya rococo is a script type font with 552 glyphs, supports western & eastern europe, turkish, cyrillic languages. equipped with alternates lowercase, ligatures, and swash. inspired by the art of rococo architecture, which is an ornamental architectural style that emerged in the 18th with its characteristic intricate and layered details. The rococo style is a further development of Baroque, where the forms used have not changed. The Rococo style first appeared in the 18th century in Paris. makes this font has a distinctive character style similar to victorian

Brandon Text is the companion of the famous Brandon Grotesque type family. It has a higher x-height than the Grotesque version and is optimized for long texts, small sizes and screens. This special Office version of Brandon Text is especially for all Microsoft Office applications (Word, Excel, Powerpoint …). It contains just the 4 basic styles which are style-linked and can be easily accessed by the “I” or “B” button in Office. The fonts are manually hinted so their appearance is also optimized for these applications.

The P22 Platten font family has been revisited and expanded by designer Colin Kahn. Platten is based on lettering found in German fountain pen practice books from the 1920s (you may have seen the similar Speedball books in the US). This round tip pen lettering is comparable to the basic forms used in grammar school teaching alphabets, but with a few original characteristics. The Italic version has even more of these unusual features. Geometric and simple yet casual and timeless. Perfect for many uses.

Around the turn of the 20th Century, the Inland Type Foundry produced a display face named Studley. It was a variation on a design by another foundry called Florentine. A condensed face with a bold, clean look, the design resembled the warmth and feel of a classic wood type. Best applied to headlines and titles, the font reads amazingly well at even 18 point renderings. Jeff Levine had added his own personal touch to his digital version of this old favorite and renamed it Bayview JNL.

Julio Cortázar (1914-1984) was a unique and unclassifiable writer inside the universal narrative. His creative trajectory was full of hits which couldn't find echoes in later works. SL Cortázar portraits that singular work through the brilliant creation of Facundo Nicolás Velilla. With particular sensibility, SL Cortázar describes the universe of obsessions in the author: music, women, politics, reading, revealing the edges of intense daily in this legendary rebel. SL Cortazar takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

The main idea behind creating Monly typeface was to combine playfulness with a strong letter construction backbone, so all the letters would stand tall and firm, but not to lose the playfulness. Like people, who grow up but try to save their inner child. By doing so and combining all this, the typeface achieves a great readability and appealing look. Monly font suits best for logos, headlines and small text blocks, but can also be used for big text blocks if the style suits the purpose.

The aim of this typeface is to merge two historical moments in the form and style of writing, on the one hand calligraphy uncial, and on the other Roman serif was established as a universal standard for type fonts continuous text at the time. Is intended in terms of their functionality as a font for titles. The family includes some extended range glyphs as several Caps swashes and stylish alternatives for upper and lower case, standard and discretional ligatures, old numerals and other OpenType features.

Butan was originally designed as a typographic project for the Specialization in Typography Design at the University of Buenos Aires, during the years 2013 and 2014. The project was conceived as a “wayfinding” font, that would be functional for bilingual signage systems. The main guideline for its design was to create a font that could be readable from great distances and it could be potentially used in signage systems. Therefore the neutral aesthetics and clean shapes were very relevant in order to create this particular font.

While designing ITC Spirit, Patty King was influenced by classic typeface styles. The letter forms are clearly based on those of the Unziale, which, like ITC Spirit, is also composed of only capital letters. Hints of the Asian brush script style also show in this font. The irregular outer contours are best highlighted in larger point sizes and give the font the look of handwriting. ITC Spirit with its calligraphic style is best used for headlines and short texts in point sizes of 12 and larger.

Mr Palker Dadson — has appeared in a natural evolution of the Palker-Palkerson family. Its closest relative - burly slab serif Mr Palker Dad. This generation is more stout than the previous one. One may even be brave enough to use them for composing small texts. Notably Mr Parker Dad has become one of the frequently sold typefaces on the «Peterburg. The city speaks» map as it is highly readable while remaining extremely tight. Mr Parker Dadson has all the features of P&P’s family.

The typeface which inspired Promotional Copy JNL can be found on hundreds of 45 rpm records from the 50s through the 80s, as well as in headlines from articles found in one of the music industry’s leading publications throughout their older issues – it was a favorite and a workhorse. Now’s your chance to create a facsimile of the record label you always wanted to have with your garage band… or at the very least, utilize this font for some clean and crisp text or headline projects.

The name "Sticky Love" is taken from a song by Kate Bush. Perhaps not one of Kate Bush' most famous songs, but nevertheless, the song is about love (Which I think is what Kate Bush sings a lot about!) The Sticky Love font is also about love - that kind of love you just can't control. In this case, the love is about wacky letters! :) Sticky Love is handmade and just a tiny bit cleaned up. Not much though. The font has kept the handmade love!

An isolated typeface design with a calligraphic flavor. The Nastarkib font family employs visual features from the Urdu Persian Nastaliq Calligraphy. Visual connectivity is accomplished by overlapping glyphs with downward slopes. This font family has four members including normal and bold weights with two styles each, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Nastarkib employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Nastarkib includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

End Crawl - A Halloween Brush Font Introducing a new creeping terror this Halloween, End Crawl is a hand-drawn brush font inspired by the gore-soaked horror movies and comic books of the 1970s and 80s. This textured all-caps design evokes a nervous energy that will leave your readers frozen in suspense! With a bold painted look surrounded by an anxious outline, it offers the tools to leave your readers stomach in knots! The End Crawl font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. Also included are a complete set of alternative characters and additional paint marks, drips and splashes. Wingsart Studio Design Tip! The uppercase and lowercase characters work great when mixed in an alternating fashion, with shapes that combine to create a dynamic, trembling look that's perfect for the Halloween season. Add the alternatives and paint marks into the mix and you'll have yourself a title or header design that looks truly custom-made. I've even included the base font and outlines separately, allowing to overlay your own colour combinations!

Corporative Soft is the slightly rounded-edged version of Corporative. This font has a marked personality and distinctive traits, which makes it suitable to be used at large text sizes. At the same time, the smooth transition from straight to curved lines gives the font a more friendly feel. This display typeface is the perfect choice for logos, posters, signs, branding, packaging and so on! Corporative Soft comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Soft provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 64 fonts: a basic family that includes 8 weights plus italics, an alternative family of 8 weights with matching italics and 2 condensed families, one regular and one alternative, both with italics. Corporative Soft was created by LatinotypeTeam and developed by Javier Quintana, Eli Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

"Indulge in the Delectable Delight of 'Dal Baati' Brushy Typeface - A Feast for the Eyes! Discover the artistry of 'Dal Baati,' an exquisite brushy typeface that serves up a delightful blend of elegance and rustic charm. Inspired by the flavors of Rajasthan, this typeface brings a touch of authenticity to your designs, evoking the rich cultural heritage of the region. With every stroke, 'Dal Baati' exudes a handcrafted allure, making it perfect for logos, branding, posters, packaging, and so much more. Its unique character and versatile nature add a pinch of spice to your projects, leaving a lasting impression on your audience. Captivate your viewers' senses with the flavorful aesthetics of 'Dal Baati.' Whether you're designing for a restaurant, food-related business, or any creative endeavor, this typeface elevates your work to new culinary heights. Embrace the distinct personality and mouthwatering appeal of 'Dal Baati' in your designs. Enhance your visual storytelling and give your projects the delectable touch they deserve. Take your creations on a flavourful journey today with 'Dal Baati' brushy typeface!"

Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominantly vertical axis, and a generous x-height, it can be classified as a transitional typeface. This package of advanced OpenType fonts consists of the style-linked quartet of Regular and Bold weights accompanied by corresponding Italics, each of which include small caps and full support for Extended Latin character sets - now including Central European diacritics. Old style and lining figures are provided in both proportional and tabular spacing, and an extensive set of ligatures, ornaments, dingbats, and alternate ampersands are available across the family. The Italics possess a fluidity that contrasts with the staid posture of the Roman styles. The degree of inclination for the uppercase and lowercase characters are slightly different, offering an enhanced visual rhythm in the text settings.

Hatchet Job - A Halloween Brush Font Unleashed onto an unsuspecting public this Halloween, Hatchet Job is a brush font inspired by the slasher and cabin-in-the-woods horror movies and comics typical of the 1970s and 80s. This textured all-caps design takes its visual style from old cabins, ghost ships and axe-splintered wood that can only spell danger! With a bold brush strokes and frayed edges, it offers the tools to leave your readers nerves in tatters! The Hatchet Job font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. Also included are a complete set of alternative characters and additional paint marks, drips and splashes. Wingsart Studio Design Tip! The uppercase and lowercase characters work great when mixed in an alternating fashion, with shapes that combine to create a dynamic, un-hinged look that's perfect for the Halloween season. Add the alternatives and paint marks into the mix and you'll have yourself a title or header design that looks truly custom-made.

Hey guys! Meet our new font "Luxe Atelier" which is inspired by a bit quirky but still lovely handwriting. When we launched our font "Lolita" in 2019 many liked the way we replaced some uppercase letters with lowercase ones. The response was overwhelmingly positive. The feedback we received inspired us to refine the idea of the lowercase signature style and we created "Luxe Atelier" with a lot more lowercase letters that give an uppercase look. However, some uppercase letters simply cannot be written as lowercase due to their nature: they would just lose their primary sound. For example, when we tried writing lowercase 'e' in the uppercase style it more resembled lowercase 'l' and affected the legibility of the font. Therefore some letters in this font remained as is. When it comes to other letters, we tried maximally to keep the lowercase style. This playful, non-standard signature font with slightly rough edges includes 37 ligatures which will definitely add realistic handwritten character to your designs. It is perfect for branding, signatures, weddings and so much more.

Eurotypo BKL is a family of fonts inspired in on one of the most beautiful British Typography ever done. This version of Baskerville tries to reflect the taste of his fine style, compatible with the bluntness of the digital present. As many other designers and foundries, our intention has been to represent the atmosphere of Baskerville's style, than simply relive the shapes of its letters. Actually, capitals fits almost to a square proportions, lowercases are more open, ascenders and descenders are shorter, offering more space for enlarge the "x" high. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning. John Baskerville (1706-1775) was born 1706 in Wolverley, England. He was a great typographer and printer who published a remarkable edition of Virgil in 1757. His typefaces were greatly admired by Benjamin Franklin; He also has improved and developed many innovations in printing, paper and ink production. Baskerville’s typefaces are regarded as transitional types that represents the link between Old Roman Style and Modern Roman typography.

Bushing is a quick serif experiment going for open light display type. For years I have always stopped and really liked what I saw with fonts like the original Cushing from the turn of the 20th century. This time the desire for a font was stirred by Felici's article in CreativePro on fonts from the beginning of the 20th century, especially his captures of Cushing No. 2 and the version commissioned for Norwood press from ATF. I'm not interested in historically accurate reconstructions. My desire is for the general feel I get when I see a font. As a result, Bushing has little to do with Cushing (other than the last six letters). But it is a Serif font with small serifs and a huge x-height with a very open feel. I like it. I hope you do also. I made it into a limited display version of OpenType Pro. I added small caps and oldstyle figures, as I can hardly work without them. But ligatures seemed silly for this one.

Carlino is named after the cutest dog on earth. Why? Because it’s the cutest font ever made. Especially intended for stationery use, it’s loaded with lots of alternates and ligatures, not only in the lowercase but in the uppercase. All of them are Open-Type programmed, so the possibilities of having something unique are endless. Following nowadays trend, Carlino is a multi-layered font: shades, holes and dots were made to work alone or all together with fantastic results! The way it works is so easy that It’s impossible not to enjoy it: Just type a word; then the same one set in another style and voilà! The font has also a lot of sweet ornaments to embellish your projects. Find inside: hearts, fleurons, party icons, flags, and the funniest animals. To accompany Carlino, there’s nothing better than Carlino Capitals. Its cute flavor makes everything more lovely. Have fun with Carlino and oh! don't forget to feed this little pug or it will bark all day long! Special thanks to Maximiliano Sproviero, whose advice helped me make this dream come true.

Introducing “Towienk Font” – Your Passport to Summer Creativity. Embrace the sun-soaked vibes of summer with Towienk Font, your perfect companion for creating designs that radiate the essence of the season. This delightful display font captures the spirit of summer in every character, making it an ideal choice for all your warm-weather projects. Towienk Font’s playful and breezy style adds an instant touch of summer to your designs. Whether you’re working on beachside invitations, tropical-themed posters, or anything in between, this font will infuse your work with the carefree spirit of the season. With meticulous attention to detail, Towienk Font ensures that your text pops with the vibrancy of summer. It’s a versatile typeface that adapts effortlessly to various design applications, from travel brochures to poolside party banners. Dive into the world of Towienk Font and let your designs sizzle with the warmth and energy of summer. Elevate your creativity and make every project a sun-drenched masterpiece. – PUA Encoded Characters – Fully accessible without additional design software.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

This design incorporates different styles into a consistent look. A pinch of script, a little of geometric and some humanistic shapes as well create a very distinguishable sans-serif. It has an overall good feeling specially on the heavier weights that have intended contrast irregularities to create a 'cartoonish' look. On the intermediate weights the design will preform well on small font sizes because of its large counters, low contrast and large x-height, but as you go to the extremes you will see shapes full of personality that will pop out in large font sizes. The font is loaded with opentype features such as small caps, ligatures, alternates, old style figures, and much more. The italic version is deeply rooted in the calligraphic heritage of the Italics. This way the brush inspired strokes are emphasized as well as an overall calligraphic look. Far from being a mere slant, Mangerica Italic had every lowercase glyph redesigned as well as some uppercase, besides that, every glyph was optically adjusted to ensure not only aesthetics but functionality too.

Berlin Sans is based on a brilliant alphabet from the late ’20s, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights, all complete with expert character sets, plus a dingbat font. Imaginative & little-known, it promises enticing opportunities to the adventurous typographer; FB 1994

A serif font with shadow - done with a steady, but yet shaky hand. Make some catchy headlines with Tied To A Stick. Throw in some different colors for the stroke, the letters and the shadow and make it really look like something homemade! I would use this font for for my next handmade craft project - and I advice you to do the same! :) Comes with ligatures which substitutes double letters!

The quest for an identity in the 1980s world of personal computers is the best way to describe Technerd JNL, a retro-style monoline font with clinically mechanical letter structure and a personality only a dot matrix could love. Picture if you will columned reports, interoffice memos and other paper ephemera of the day with this perfect form-and-function typeface, simply reeking of early 80s know-how!

P22 Cigno is a new digitization of the 1950s Italian typeface by Aldo Novarese for the Nebiolo foundry. This semi-formal script has a definite mid-century European flavor suitable for menus, invitations and poster work. Along with the accurate rendition of the regular weight, designer Colin Kahn has added a lighter companion font for another variation on Cigno. Both fonts feature a full Western European character set.

Didot LP is a very elegant rendition of the 18th-century French typeface -- Didot. This design took the earlier Italian neo-classical model (Bodoni) to a new level of refinement, with fully rationalized shapes and delicate hairlines. Didot LP accentuates these qualities, providing a classical text face with a clear and modern voice. The companion face -- Didot LP Display -- optimizes the proportions, spacing and hairlines for use at very large sizes.

RHESON is the ideal font for any project that requires a small amount of gothic flair. Its various lovely and harmonious shapes let you select the perfect word for your project. The best part is that this font is of a high caliber, so you can be sure that your logo, label, badge, the newest music or movie videos, old-fashioned posters, and other items will all look their best.

Frederic Goudy designed this blackletter face based on Gutenberg's 42-line Bible. The Lombardic Caps were designed as an accompaniment to Goudy Text and are offered paired with the lower case as an alternate option. The Goudy Text Shaded is an inline variant that was added later by Lanston Monotype. Both varieties of capitals, as well as an expanded Central European character set, are offered in the Opentype set versions.

Introducing Gango, the ultimate Variable Font that combines sleek modernity with a playful pop style. This versatile typeface is designed to meet all your creative needs with its ten unique weights, ranging from the delicate Thin and Extra Light to the bold and heavy Extra Bold Heavy. Gango offers you complete control over your typography, allowing you to adjust the font's weight and width seamlessly, all in one font file.

Bebas Neue SemiRounded is the Bebas Neue with rounded corners. As you know, Bebas Neue is the most widely used free font recently. This semi-rounded version is the new style for more widely use. The basic theory and proportion are same as Bebas Neue but rounded shape gives a warm, soft and natural impression. A bit more rigid than Bebas Neue Rounded. Available at an affordable price.