Harald Geisler wants to make you as brilliant as Albert Einstein. Or at least let you write like him. Or at least write in his handwriting. — The Wall Street Journal Imagine you could write like Albert Einstein. The Albert Einstein font enables you to do exactly that. In an joined effort, creators Harald Geisler and Elizabeth Waterhouse, spend over 7 years on finalising the project. It was made possible with the help of the Albert Einstein Archive, the Albert Einstein Estate, and funding by a successful Kickstarter Campaign of 2, 334 backers. The outcome was worth the effort: a font unprecedented in aesthetic technique and a benchmark for handwriting fonts. To create a result that is true to the original, Harald Geisler developed a method to analyse the movement of the famous writer. Letter by letter, every glyph was digitally re-written to create a seamlessly working font. It is the only font that holds 5 variations for each lowercase and uppercase-letter, number, and punctuation sign. Each based on meticulous detail to the original samples of Albert Einstein’s handwriting. The OpenType contextual alternates feature dynamically arranges the letters automatically as you type to ensure that no repeated letter forms are placed next to each other. Stylistic variants can also be accessed through stylistic sets. The font has 10 fine-tuned weights ranging from extra-light to fine and extra bold to heavy. The result is a vivid handwritten text true to the original. A PDF documentation, showing step by step how the font was made and comparing numerous original samples, is included with the font and can be downloaded here. The work has been recognised internationally, by press, Einstein fans, and designers. Some quotes used in images: “The font is beautiful“ — Washington Post “If you could write like Einstein, would it help you to think like Einstein?” — The Times (London) “Finally, if your colleagues aren’t taking you seriously, then perhaps you could start sending e-mails in a new font that mimics the handwriting of Albert Einstein.” — Physics World “Geisler and Waterhouse are really asking deeper questions about the diminishing (or evolving) role of our flawed, variable penmanship as a conduit of thought in today’s pixel-perfect landscape.” — QUARTZ “Your writing will look imaginative — which is exactly what Einstein would've wanted." — Huffington Post Arts & Culture "Forget Myriad Pro, Helvetica or Futura. The only font you’ll ever need" — Gizmodo “Capture a piece of Einstein's genius in your own writing." — Mashable

Once upon a time (a.ka. 1984), there was a Goth band who called themselves "Hemingway's Shotgun." As a symbol of his commitment to this band, the bass player acquired a tattoo of a shotgun on his forearm. Unfortunately, this tattoo wasn't very well drawn: the barrel was much too short, and was much thinner at one end than the other. The tattoo rather resembled a small, cordless, rechargeable hand-held vacuum cleaner. Thus, the band "Hemingway's Dustbuster" was born.

Raylig is a graceful serif but full of energy, Raylig is an experimental project full of selfishness in it, this project was designed by khaiuns in May 2021, he made it himself so it took about 4 months. Raylig is a desire to present the perfect font for your wide variety of projects so that this type of font can be selected for branding, especially in the UI / UX industry, also suitable for typographic layout for magazines, posters, books, etc. With hard work and spending a lot of time, comes the Raylig Serif font that has interesting things, such as: 10 styles: 5 Original, 5 Alternative 650 glyphs in each style Support for more than 190+ languages: Expanded Latin, and many other languages Each style has 33 really cool alternatives, and find something interesting Raylig also has classic characters, but it is also perfect for your modern design, you can see it on display, such as in thin body size (light), Raylig makes a neutral impression, but when the size is getting bigger (Bold), users are taken on a fun search to find interesting movements, graphic peculiarities, and unusual solutions. All letter patterns are perfectly adjusted. I hope you have a blast using Raylig. Thanks for use this font ~ Khaiuns X zelowtype

Wood Type Catalogs of the 19th century often offered tools and accessories alongside alphabets of wood type. Probably the most closely related was wood type borders and ornaments. Decorative Borders were often sold by the foot and accompanied by corner pieces that matched the designs. These borders could be assembled in almost any size dimensions as needed. The digital version uses the same principals of modular assembly to create the exact size border that is needed. Along with the borders, included in this font are a selection of "streamers". These banners would have been made to order with the font designs reversed out along a horizontal banner with decorative end caps. The digital version allows for a modular assembly by selecting choice of end caps and then typing the = as many times as needed to achieve the desired length. 10 styles of 9 piece borders can be created in any size variations as well as 8 styles of streamers in any desired length. Some of the designs can be mixed and matched for unusual contemporary design interpretations of these historic styles. It is recommended that the line height (leading) is set to the same size as the point size setting, this will visually lock all elements together.

Surfbars is a handmade multi-language Latin / Cyrillic font that was inspired by surfing, sand, and playful style. Comes in Regular, Italic, Underlines, and Splashes This font includes a full set of fun and unique uppercase and lowercase letters, numerals, and a large range of punctuation. Overall it contains more than 760 glyphs with 220 alternatives and +10 interesting ligatures, swashes, and underlines. With this font, you have complete freedom to use and combine various different letters, alternatives, and ligatures, by that you can be sure that your design or any kind of project will be a unique masterpiece. Also, the combination and usage of different letters and ligatures gives you the opportunity to have fun and at the same time create your own unique style. THE PRODUCT CONTAINS: • More than 760 glyphs, 220 alternatives, 60 ligatures which are unique and playful • This font includes Latin Plus diacritics. • Surfbars support Latin Plus languages (Latin Multilingual language support) • Surfbars support the Cyrillic alphabet. Ideal for loud messages. Made with flat marker adding realistic moves in it. Very interesting to use for logos, name tags, handwritten quotes, product packaging, merchandise, social media & greeting cards. Also, ideal to make t-shirts designs and other clothing products.

Brahma Rounded is a modern geometric rounded sans-serif font family with weights ranging from Thin (100) to Black (900). It is a sibling of the Brahma font family. Features: Available in 9 weights Over 550 glyphs supporting extended Latin Ideal for display texts: Titles, Logos and Headlines etc. Perfect for branding and rebranding Supports OpenTypes features like Ligatures and Stylistic Alternates Tabular Numerals included Symbols for 10 major currencies including Bitcoin provided in all weights Description: The name comes from Brahmā who is known as the god of creation. And manifesting the same spirit, the Brahma font family focuses on modern creativity. With its smooth and polished curves, Brahma Rounded provides friendly, casual vibes to all its characters. Every character effortlessly integrates with current design standards and interfaces. The fonts are professional yet have a hint of informal personality in them. This makes Brahma Rounded perfect for use in modern apps and websites. Brahma Rounded is built for the influencing, designing and marketing squads. It has a trendy geometric characteristic which is ideal for any branding and rebranding. Brahma has lot of OpenType features (like ligatures and tabular numerals) and the Extended Latin character set supports over a hundred languages. Start Creating!

Litza is a layered, condensed, all-caps cross stitch display type family. It is made up of 10 layers that show different stages of stitching and can be stacked, moved around, and coloured separately in order to create interesting effects. The ten layers come in 3 weights; Light, Medium, and Bold. The 3 weights can also be mixed with one another to create a vast range of combinations when stacking the layers. Litza has multilingual support and includes glyphs for a wide range of Latin and Cyrillic languages. The family also contains a set of ornamental borders and over 80 decorative symbols in the shape of various animals and objects. Combining the various Litza layers allows you to create eye-popping, intricate, experimental typographic compositions that are rich in detail - with ease. The condensed, geometrics sans-serif letterforms and playful nature of the Litza layering system give a contemporary feel - while at the same time retaining a nostalgic and tactile quality due to its reference to traditional needlework techniques and patterns. Ideal for use at larger point sizes where the unique, stylish effects can be best expressed - Litza will add a touch of intrigue and work best in headings and emphasised text for poster design, editorial design, packaging design, and motion design.

Rothorn™ is a modern, minimalist geometric sans with its own personality derived for subtle design details, such as cut diagonal corners, pointed t, very small contrast and closed aperture. The letterforms give the typeface a lot of charisma, keeping a very minimal, clear and well balanced look at the same time. Its powerful and sharp shapes together with the variety of weights from Hairline to Black make it a perfect choice for headlines and branding. Generous x-height, careful spacing and distribution of weights give it a color and legibility great for long paragraphs of text. Rothorn is a geometric member of a large type system including such families as Montreux Grotesk (Swiss-style grotesk), Lütschine (narrow headline family) and Conthey (narrow headline unicase family). The Rothorn family consists of 10 weights with corresponding italic styles, giving a total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. It includes a 2-axis variable font letting you adjust the weight and italic slant to your exact needs. The family has extended latin language support, as well as broad number of OpenType features, such as, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Condell Bio Poster is part of the bigger Condell family: a project that involves series of typographies that started to be conceived and developed since 2006. It also includes a bigger legibility version and a sans serif. Condell Bio is very versatile and can be used in the agroindustrial production. Thanks to its strongness and its charm, it can be used in different projects where a short and powerful message is required. For instance in a brand marketing campaign. The Condell project follows in terms of time the design of Comalle (a font also designed by Juan Pablo de Gregorio in 2006), but if we compare them, Condell seems to look for a major range of uses rather than a mere stylistic inspiration. And even if it keeps in its shape some organic forms, Condell seems to be much more similar to a sans serif traditional typography. Condell's fat and soft forms and its nice endings, inspired through spontaneous brush strokes, give it a very peculiar pleasant connotation. Its Italic (10 degrees inclination) have been produced singularly, not automatically calculated by the software. Condell Bio Poster is composed of 2 styles: the regular and the italic. Each one of them have 599 characters and is composed of 206 languages.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

Felice is an elegant serif font family. The humanistic touch gives a warm aspect to this complete text font. Those italics are perfect to give a refined look to text. Felice consists in a 10 styles family, from Light to Black with their italics. Each font includes Small Caps, OpenType Features such as Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Fractions and many ligatures. The ligatures are a good feature to make an original and creative layout. The range of styles provides flexibility for text and title. Felice family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Mesmerised by the sparkling greenish-yellow mineral called Olivine hidden within the black basalt of Lanzarote's lava fields, we named the gem of our library after this natural beauty. Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot Devanagari supports Devanagari and Latin and covers over 330 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot Devanagari comprises 20 static fonts, family package, and variable support. It is the gem you ought to have in your collection.

Phiz is a diverse suite of 28 decorative fonts based on Figgins Sans Extra Bold. Classic (10 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts). The Rough and Particles styles emerge as a unique niche—neither imitating distressed printing (e.g. the “rusty” look), nor casual, hand-drawn styles. These type designs are conceived and executed as complex algorithmically-generated graphic procedures, in which repetitive elements have been artfully applied to the Sans capitals, and manually nuanced. As such they also differ substantially from textured glyph shapes that have been cut out from larger pattern fields, for the constituent particles are disposed in relation to the specific shape of each character they define. The caps-with-small-caps format was chosen for two reasons. Firstly, titling display usage is predominantly capitals, and secondly, rather like optical scaling, having the same resolution of texture available in two different “sizes” (upper and lower case) should prove useful in the hierarchy of page layout—not primarily for setting upper and lower case text as caps-with-small-capitals, although this is of course an option. All figures and major symbols (punctuation and currency) are provided in both cap and small cap height.

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

Dolce Caffe was a handwritten font designed in the 2011 inspired in some berliner menu. Now we developed a 3D, 3D Rough and a Shadow version. They are very legible and high in style and carefully constructed all-uppercase letters.

Hola Delight serif font was a very unique retro style-obsessed in the past, but now we are giving this font a unique touch by providing 100+ alternative characters, which can be combined at your command for your best designs.

Manic is simply a fun font which plays around with line width, negative space and quirkiness, and is made up entirely of straight lines. The font has a playful feel to it and is particularly good for large displays/headlines.

If you look into the past to see what was expected of us in the future, Amoeba is where we wanted to be by now. Amoeba is a constrained but quirky future font, designed on a computer by a human.

Our notes say this was originated at the Barnhart Bros. & Spindler foundry in Chicago, and named Cable. Perhaps so, but we didn't find it in any of our BB&S catalogs. We made a few changes to improve the color.

My font is a playful, quirky handwritten font with child-like qualities. It is meant to be slightly imperfect in appearance and for even more fun, I have included a few mini icons, as an add-on to this font.

The packing information stenciled on an antique wooden crate included a slab serif type style with chamfered corners. This design has now been re-drawn as the digital typeface Stencil Chamfer JNL, which is available in both regular and oblique versions.

Like Phenix out of the ashes the former Schriftguss hot-metal font „Rautendelein“ has come to live again. Carina Pro was carefully extended for multilingual use, and contains a few alternates which can be activated via the swash OpenType feature.

The Maricava font was designed for a lady, who received her first computer on her 60th birthday. Maricava is loosely based on her own handwriting and now used intensely by herself in her short stories, writings, recipes and so on.

Charles Rennie Mackintosh's artwork has an art deco feel that has been reproduced on fabrics, jewellery and all sorts of household items. Now, with this font, you can add Mackintosh icons and letter tiles with just the touch of a key.

On page 34 of the 1930 Samuel Welo publication “Lettering - Practical and Foreign” is a simple, basic Art Deco monoline design. This hand lettered type style is now digitally available as Basic Monoline JNL in both regular and oblique versions.

Hand lettering found in the September, 1936 issue of the French film publication “La Cinématographie Française” is rendered in a lovely Art Nouveau serif type style. This is now available digitally as French Film JNL, in both regular and oblique versions.

Lecture Hall JNL is a reworking of Dance Hall JNL. By removing the Art Deco flairs and realigning the horizontal strokes in order to create a more traditional design, the font now takes on the look of a classic headline face.

The idea of creating this font is based on Koch’s Schmale Deutsche Anzeigenschrift which was released in 1923 by Klingspor in Offenbach, Germany. This font was entirely redrawn and completed with the help of a few basic letters and the numerals.

Hello! Introdusing a Jamish font that has a lot of characters including West European languages support and few ligatures. Also it has a useful additional font files for inner fill and outer base contour, that makes easier to recolor this elements.

A softer, streamlined and more elegant development of the ideas originally explored in Jude. Incised letterforms are now rounder and more intuitive, less geometric. Union is a modern classic‚ typeface, avoiding quirky idiosyncrasies to produce a useable and highly contemporary type.

Designed for the seminal comics magazine of the same name, Revolver was one of Rian Hughes’ first typeface designs. Originally published as part of the FontFont range, it has now been remastered and includes full European glyph support and Opentype features.

The 1965 film “Mirage” had its titles and credits hand lettered in a simple, thin sans serif with rounded corners and an overall square design. This is now available digitally as Office Work JNL, in both regular and oblique versions.

An image of a vintage metal stencil for the French wine region Côteaux du Tricastin [now Grignan-Les Adhemar] served as the inspiration for Wine Vat Stencil JNL. This condensed sans serif design is available in both regular and oblique versions.

Based on sketches of an alphabet from examples of South Western cattle brand marks. I always liked the idea of these brands for a font. A few years later a basic font - just the capitals - was used for some logo designs.

This contemporary typeface is inspired by the neo-humanist and geometric industrial tones presented in late 2000s typefaces. The font family is also composed of the normal width and display width in order to support different applications in delicate designs.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

Like many of Jim Parkinson's alphabets, Pueblo began as poster lettering. It shows a range of influences: turn-of-the-century sign painting, old Speedball lettering books, and a touch of art nouveau. While developing Pueblo, Parkinson debated whether to make the ends of the serifs rounded or square. Rounded looked more like the work of a Speedball lettering pen, but squared stroke endings made the letters more legible at small sizes. The finished design sports serifs that are just slightly rounded. According to Parkinson, the design feature is “enough to be noticed at large sizes, while going virtually unnoticed at smaller point sizes,” adding to the versatility of this distinctive typeface.

Fox Admire is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Based on the type style used for the Superior Sign and Chart Printer No. 929, this simple and clean sans serif font was perfectly suited for use by teachers in the classroom and for businesses and organizations that needed to make signs, price cards, charts and notices. Digitally redrawn as Schoolroom JNL, it is available in both regular and oblique versions. The Superior Marking Equipment Company [formerly of Chicago] was not only a major supplier of materials for the rubber stamp industry, but for most of its existence manufactured date and numbering stamps, sign and chart printers (such as the one used for this font), and a line of children’s printing toys (amongst other items).