Proudly Presenting, Onigashima a Japanese Brush Font. Onigashima come along with ton Stylistic Set and Multi-Lingual Support which will give you much choices to play around. We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Onigashima is perfect for any tittle, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email.

CA Edwald, the superbly crafted alphabet design now available in 5 weights, combining the familiar, the unusual, the practical and the aesthetic. Plan ahead and make use of the assorted logo letters that add distinction to your headline. CA Edwald is a welcome addition to our ever-growing collection of alphabet designs. It is prepared to meet your graphic requirements. Now there is one trusty Musketeer for today’s advertising. The illegitimate child of Oswald Bruce Cooper and Ed Benguiat, a mixture or even the “best of”: CA EDWALD.

It is reasonable to assume that a majority of people interested in typography will attempt some variation on the blackletter theme at some time or another. However, there seems to be a paucity of open-faced designs in this style and, having played around with a few thoughts, eventually I came up with RM Whiteletter. Light in appearance but classical in design, this clean looking open-face font provides a good counterpoint to more traditional blackletter designs. This font includes both the full Latin-1 Supplement & Latin Extended-A sets.

The Hanscum font family is a playful geometry and nature-inspired display family sporting plenty of distressed and letterpress style textures. With an authentic vintage look and a variety of styles, Hanscum comes with many playful faces and is packed with ligatures. Also included in this family is a sister subtitle small caps font that compliments the rest of the heavier display styles, also packed with opentype features. And last but not least, Hanscum comes with extras to play with including stylized catchwords, symbols, and swashes to accompany your layouts.

This family was created -- inspired from the engraved typeface (Two styles : Normal & Italic) used in the pack of 52 playing cards who was describing the 52 counties forming a small Atlas of England and Wales and depicting English roads for the first time, published by Sir Robert Morden in 1676. Our OTF and TTF versions are covering Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, containing historical and standard ligatures plus specific Old English abbreviations. The MacTT Classic version is containing the basic standard 256 glyphs including some extra ligatures.

A circa-1951 toy set called “Kusan Kavalcade of Letters” was comprised of molded plastic letters and numbers a child could play with, trace and arrange to learn their alphabet and numerals. Typographically, the design was all over the place – from sans serif characters to those with some spurred serifs and even some stenciled characters because of the nature of manufacture. As odd as this combination seems, it was novel enough to be turned into a digital typeface called Stencil Playthings JNL, which is available in both regular and oblique versions.

Bocahe, a delightful and whimsical doodle kids font, captures the essence of youthful imagination and playful charm. Each letter in Bocahe is carefully crafted with endearing doodles, resembling the spontaneous drawings of children at play. The font exudes a carefree spirit, making it perfect for projects geared toward a younger audience. Bocahe’s adorable characters bring a sense of innocence to any design, from playful invitations to colorful educational materials. The font’s hand-drawn aesthetic and vibrant personality make it an enchanting choice for conveying joy, creativity, and the boundless wonder of childhood in typographic form.

The six typefaces of the Kyhota group all have an “Old West” look to them. KyhotaOne has very thick slab serifs compared to KyhotaTwo. KyhotaBarbed is more condensed than either and has little barbs on the verticals, something that was a feature of a number of nineteenth century typefaces in this style. KyhotaFezdaz is condensed, without barbs, and with the slab serifs replaced with a flare serif. KyhotaBigBottom and KyhotaBigTop play with the weighting of the serifs, with one (either top or bottom) very thin and the other very thick.

Introducing Wiloka is a quirky and fun sans, perfect for branding, headlines, posters, books, magazines and packaging projects! Mainly characterized by a modern look with a straight shape, it goes well with vintage style This font has ligatures which add a unique style to the characters. Additionally, it is a unicase typeface, so you can also play with uppercase and lowercase initials. Features Regular Version Uppercase & Lowercase Number & Symbol Ligatures Multilingual and PUA Encoded If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Inspired by her Swedish and Norwegian heritage, Andrea Leksen created this modern geometric sans serif reminiscent of Scandinavian design and typography. With its tall x-height, Nordique will be best showcased at large sizes, in headlines and other display uses. The Light, Regular, Semibold and Bold versions each contain over 50 ornaments, swashes, alternates and borders to play with—a modern take on the traditional rosemåling and kurbits painting styles. See some of the creative and beautiful ways Nordique Pro can be used in this YouTube clip! Check out Nordique's cousin Nordeco!

Lovelyn Font is an elegant serif font that offers a wide range of possibilities, especially for a lot of alternative. Lovelyn Font offers an attractive tool for producing elegant decorative lettering, for example, for book covers or for posters and packaging. You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding font, pop vintage design, retro design or any purpose to make your art / design project look Elegant and Classy? Feel free to play with this font!

Four interchangeable all-caps typefaces, made specifically for designers to layer and play with. Here’s more at the designer’s site. It combines hard and soft, geometry and pattern. Layer and mix styles within a single word, retaining coherent visual tone. Havelock Solid operates as a background layer, Multiline sits nicely atop it, Inline frames Multiline’s center strokes, and Stencil lets details peek through. If you’re working with translucent color, the blending can be gorgeous. Please note, if you're also looking at Havelock Titling: both collections are included in Havelock Complete for a lower price.

Le Brond is a sporty, strong and elegant typeface, in a college style. Inspired by design styles that are currently popular, and this is the answer to every need for ideas that you will pour in this modern era, with a thick and sturdy style in each letter as if this font has a soul in it. It excels in posters, social media, headlines, headlines, large format print - and anywhere else you want to get noticed. What are you waiting for get Le Brond soon. Let's play basketball!

Goldana is a display layered font inspired by art deco. The base layer is regular; add an extrude and extrude shadow to create a dimensional look. Several of the styles can be mixed and matched together to create different style details. There are several fonts with a stand-alone style and script. The Script fonts are also equipped with OpenType features. (The shadow, drop shadow, drop stripe and stencil styles are not meant to be layered.) Play with the extras collection to create badges with a vintage feel and an art deco style.

Gron this is an amazing decorative display serif font. Charming, elegant and attractive, Gron can also be even more expressive thanks to the alternatives that are included in this font. You can play with them and get a beautiful and harmonious result. Gron is perfect for logos, templates, invitations, greetings, book and magazine covers, business cards, branding for your business and much more. Also included in this font are several illustrations that can set the idea for your project. Gron is easy to use and has OpenType features.

I have had the name "Fruitcake Fanatics" in my mind for quite some time now...but I needed a font that suited the name...then one day...actually last Wednesday, I was playing around with some letters (which eventually would turn out to be this font!) and suddenly it struck me: I got the letters for my Fruitcake Fanatics font! Another story could be - what does the name mean?! Well, to tell you the truth, I don't know - but what I do know is that the font is playful and unpredictable and loads of fun!

Swingers is a curly, fun, cartoonish display font. I wanted it to look light, but loud, so it can yodel from Posters and Headlines. It has over 300 glyphs, several variations on the standard alphabet and all those extra pesky foreign features. OpenType coded, It has various letter pairings that interlock automatically to create a more randomized, bespoke feel to your copy. It also has tons of extra characters and other combinations available directly through your glyphs palette. Play around with it, break it, like it, buy it.

Inspired from the letterpress achieve and printed media from the 19th century. We talk about headlines, labels, playing cards, postcards, book covers, signs, and many more. That's where the DECKPRESS has risen. An old vibes all-caps fonts, armored with the robust yet decorative ornamental slab-serif style. Double up the majestic, it comes with the layered style to give an amplification back to the vintage era. It is an inevitable partner for your classical heritage touch of visuals such as signage, logotype, sign painting, label, header, ornamental typographic design, you name it, old sports.

Architype Konstrukt is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals have helped to shape the design philosophies of the modernist movement in Europe. Due to their experimental nature character sets may be limited. Architype Schwitters was developed from the phonetic experiments made by Kurt Schwitters with his 1927 universal alphabet, where he attempted to link sound and shape. He ‘played with’ using heavier, wider, rounded forms to convey the vowels, creating a unique visual speech texture.

Introduce you a new one - La Truffe. A super stylish Didone font. Comes with two styles - Regular and Italic. High contrast strokes gives a refinement into your project. Access your OpenType features to access the large selection of alternate letters and some ligatures. Calligraphic Italic can play with Regular in pair or can be used as independent mainline typeface. More than 480 glyphs total. La Truffe is a versatile font, which can be used in you branding ads, magazine headlines, posters, wedding invitations, product packaging, business cards etc.

Our Rum Raisin Pro was inspired by the lettering from a vintage Kellogg's Raisin Bran cereal box, yet is has expanded from what was originally a unicase design to include a lowercase character set. For those seeking to use the original unicase A, you can find it in the Delta character slot. Fun and festive, this font plays the comic clown to perfection. The SmallCaps and extensive figure sets offer a change up to a slightly more serious tone or alternate personality for a wider range of use.

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

Babylon was a civilisation that stretched from Bagdad to the Persian Gulf. There is an Old and new Babylonia, the era of Babylon civilization and the biblical Babylon. The oldest scriptures to be found since the rise of civilisation are Babylonic. The Christian, the Jewish and the Arabic culture find its origin in the Middle East. And share more or less the same history, the same roots and DNA. One people, but in reality a melting pot of close related cultures whom could not be more far apart, hostile and suspicious towards each other. An eye for an eye, tooth for a tooth. One could say this disagreement is still alive today and has deeply infected all of our systems. Beyond Babylon is sculpted after Hebrew, Arabic character style elements in a European writing. It questions what happened after the great Babylonic confusion. Did the words finally come across? Did they realize the distant and gap was maybe smaller than expected. This typeface is related to my former character Eurabia. As an artist I like to play with contradictions. Use opposite elements and mould them in to one understandable piece and in addition a thought to chew on. Otherwise the experimental ore shape lovin' typeface user could be very happy with an addition feature to the existing characters. One option more to express your selves in writing. Also this typeface is really suitable for theme writing or advertising. ----------- Babylon war eine Zivilisation die sich von Bagdad bis zum Persischen Golf erstreckte. Es gibt das alte und das neue Babylon, die Ära der Babylon Zivilisation und das biblische Babylon. Die ältesten Schriften, welche seit dem Aufstieg der Zivilisation gefunden wurden, sind babylonisch. Die Christen, die Juden und die arabische Kultur finden ihren Ursprung im Mittleren Osten. Sie teilen mehr oder weniger die gleiche Geschichte, die gleichen Wurzeln und DNA: Ein Volk. Aber in Wirklichkeit waren sie ein Schmelztiegel aus eng verwandten Kulturen, welche sich nicht ferner sein könnten: feindselig und misstrauisch zueinander. Auge um Auge, Zahn um Zahn. Man könnte behaupten, diese Unstimmigkeit bestehe noch heute und hätte all unsere Systeme stark infiziert. Beyond Babylon ist eine europäische Schrift, geformt nach hebräischen und arabischen Stilelementen der Zeichen. Sie hinterfragt die Geschehnisse nach der der Babylonischen Sprachverwirrung. Kamen die Worte endlich an? Haben sie realisiert, dass die Weite des Spalts zwischen ihnen vielleicht geringer war als erwartet. Diese Schrift ist verwandt mit meinen vorigen Zeichen der Eurabia. Als Künstlerin mag ich es mit Widersprüchen zu spielen, gegensätzliche Elemente zu einem vernehmbaren Ganzen zu verschmelzen und einen kniffligen Gedanken zu erzeugen. Andererseits könnte der experimentelle oder formenverliebte Nutzer sehr glücklich über eine zusätzliche Funktion der bestehenden Zeichen sein. Eine weite Möglichkeit sich im Schreiben auszudrücken. Diese Schrift ist auch für Werbung sehr geeignet.

A set of vintage wood type printing blocks yielded the alphabet which was to become Chamfer Serif JNL. With its heavy vertical serifs and interesting character shapes, the design is unique when compared to the more familiar wood type offerings of the past.

Fun frames and borders in a variety of styles. Note that the pennants can be typed in 2 lengths-- typing abab gives you a continuous pennant border. This works for all of the pennant and bunting styles-- abab, cdcd, efef, ghgh, ijij, etc... :)

AdvertiserÆs Gothic Light, from a volume of headline fonts, was designed by Robert Wiebking in 1917. Wiebking was a skilled type engraver from Chicago who created his own pantographic machine, used to cut punches drawn by other successful type designers, including Frederic Goudy.

It's a wood type! It's a stencil font! It's BOTH! Clarenwood Stencil JNL was originally designed as a solid alphabet (Clarenwood JNL) modeled from vintage wood type. The stencil treatment was applied to add a fresh look to a classic lettering design.

The perfect companion to Twelve Oaks JNL is this condensed sans serif font created by Jeff Levine from scans of actual wooden type blocks. Ingomar JNL [named after a town in Montana] continues the charm and nostalgia associated with this type of lettering.

Segmenta, a sans serif typeface developed from the gridbased type of the Hamburg S-Bahn (metro). The type is originally used for diplaying informations about the trains. The typeface contains all accents and special letters for extended latin and the baltic languages.

George Bruce's New York foundry had a remarkable number of decorative types, most of which were lost or destroyed when the firm was taken over by the American Type Founders Co. and closed down in 1906. Bruce catalogs are prized among collectors.

JT Energy is a new in 2020 interpreted geometric type with optically consistent line thickness and an interesting look and feel. This type is inspired by designs from Paul Renner and Arno Drescher and was long developed until it was something own.

FDI Triumph revives Albert Auspurg’s “Triumph” typeface originally released in 1929 by the type foundry Ludwig Wagner in Leipzig. The forgotten design was carefully digitized from the original wood type font and extended to cover the Western codepages Win 1252 and Mac Roman.

HT Orologiaio is made by sharp and thin lines with a retro mood. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Coen Hofmann revives an original design by Germany type foundry Schriftguss from 1940: His digital Admira is expanded with an extensive open type character set and even provides full Cyrillic. The face is set to best use at point sizes above 24.