Realgar is a generic and neutral typeface but with enough personality to be different, but not as much to be unfamiliar. The name refers to an ancient natural pigment, known for its vivid orange colour. It is a multipurpose typeface in an eclectic style that combines geometric and grotesque with some humanist touches. Some of its main features are the wide proportions, closed apertures and idiosyncratic numbers that make Realgar stand out. In addition, the rounded dots convey a friendly and contemporary look. A Variable Font version is included with the family or as a separate style.

Monospasz means mono-fun in English. It's spelled with 'sz' instead of 'ß' for all you english speaking folks out there who always mistake it with a 'B'. Monospaced fonts keep on drawing attention to them because their proportions stand out from the canon of common fonts. "Yuck. Look at the condensed little m. Isn't that ludicrous?" But Monospasz isn't copycatting traditional typewriters, the most popular of monospaced fonts. It's completely manually ink-written and hand crafted. Monospasz has been designed and first used for the third incarnation of our annual Weimar based typography symposium dubbed "TypograVieh lebt" in the summer 2006.

Is there such a thing as an easy answer, or is it just because you know the question? Anyway, as a kindergarten teacher I like to make these quizzes with the kids. The object of the game is not to answer right, but to get a feeling of knowing a lot. I thought of these questions as being logical and really easy, but I also found out that it is a great way for the kids to remember and recall their knowledge! This font is easy to read, even if you use some of the many choices of swashes!

Terpentijn is Dutch for Turpentine. If you say it out loud, it actually sounds quite similar! Here you thought you were just buying a font, but you get to learn some Dutch too! Terpentijn is a handmade typeface with a serious twist. It is very uneven, very unusual, and, if I may say so myself, very adorable. Terpentijn has that ‘eroded’ look, which will make your designs stand out. It comes in a regular and an inline version, plus a handy shapes pack, which will add that extra wow to your work. Besides Dutch, terpentijn speaks a lot of languages!

Biographer is a mild upright script drawn by Angel Koziupa, with Alejandro Paul art directing and producing. Elegant but quite reminiscent of roman forms and proportions, Biographer keeps the calligraphy mostly toned down, but its ascenders and descenders occasionally flare out in final swashy confidence. As usual with Sudtipos fonts, alternates are plenty and the personal touch is never amiss. Biographer is great for women's lit and poetry book covers, as well as tame packaging of products where conveying comfort and peace of mind is of importance. An extensive range of languages are covered (Western and Eastern European, Baltic, Turkish, Maltese and Celtic).

What's that, bub? Looking for a whole train full of whupass? A six pack of adamantium shred? Listen, are you talking to me or chewing a brick? Either way you're gonna get all your teeth broken. And if you think that's all just Tough Talk, make your move, bub. (Our new font, ToughTalk, put the words in Wolverine's mouth in the pages of Steve Skroce's WOLVERINE: BLOOD DEBT, but don't tell the short Canadian over there, he's likely to get upset at the mere suggestion that people put words in his --) What? No, I didn't, uh, say you were -- ulp -- short...

BetterKamp was originally constructed in 1995-6. It was not constructed to meet any specific purpose but out of curiosity, to see what the result would be if two quite different faces were blended. KampIngriana is the offspring of BetterTypeRight, which has characteristics of a typewriter face without the monospacing, and KampFriendship, which mimics a serifed face drawn by hand. The original blending had many oddities that I did not clean up until 2020 when I also added the semi-bold weights. BetterKamp lacks polish and elegance, but it is very readable at small point sizes.

A title is something strong. Something that leaves its mark through time, in the memories and in the hearts. A title tells things about the content, its purpose, its meaning, its point. For your needs in strong titlecase letters comes Anthracite. Looking almost like they were carved out of raw wood in the 1820s, the letters of Anthracite will not only imprint well but they will also impress. Its carving gives a feeling of relief, or shades, of textures that will be unique every time you use it. The perfect font if you want to stand out and be read.

This is a new version of our popular DIN Stencil family designed with a wider cut than the original. This overcomes the diminishing effect of the stencil at smaller sizes where the cuts tend to disappear, whereas it makes a bold statement at display sizes. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. DIN Stencil B manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. It consists of 7 diverse weights from Extra Thin to Black. This version supports Latin, Cyrillic, Eastern European, Turkish and Baltic. DIN Stencil B includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!

Letric is a high-energy capital typeface. With traits of a brush comic title, it has rough and cut edges, electric in nature but with smooth curves. The strokes are reminiscent of a tiger's skin, making for a great jungle or wildlife font. Used in the right context, with the right wording, it fits perfectly as a vintage thriller/splatter/horror movie header typography. This cartoon sans-serif is slanted/italic as default but also comes with a professional upright style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Galix is a technical sans designed to look futuristic without any of the retro appearance often found in this genre. It has a squarish, slightly condensed anatomy, and is characterized by thin joints and deep ink traps that add a sparkle to the otherwise monoline typeface. In the italic styles, these cuts are accentuated even more which creates a feeling of speed in the letterforms. Galix is optimized for display typography (the ascender height is the same as the cap height, and the spacing is somewhat tight) but the middle weights are very readable at smaller sizes, where I'd recommend adding a little tracking. OpenType features include ft and tt ligatures, stylistic sets/alternates, automatic fractions, tabular, superscript and subscript figures, case sensitive forms. Perfect for websites, apps, infographics, magazines and logotypes, Galix is technical but with a warmth and personality that is often missing from this genre.

Papillon Script is an eloquent pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, headline, brochure, model for a neon sign or any display use like that. Papillon Script is completely monolinear and it gives a clear but vivid impression of a hand writing style. Papillon Script is equipped with following OpenType features: • Standard Ligatures is automatically on and it adds variation and smoothness to typing. If a same letter repeats in the same word the latter will automatically change to an alternative version. • Contextual Alternates is an optional feature that cuts the connection between letters every once in awhile. • Titling Alternates changes the last character in every word into an ending Swash alternative. • From Stylistic Set 1 you’ll find a set of 34 ornaments, strokes and arrows. • Small Caps turns lowercase into a set of legible capital letters.

BigStripesMono is another typeface family from IngrimayneType that explores the possibilities of alternating letters sets. The family is monospaced with four fonts: a base or solid style, an outlined style, and two styles in which each character is cut diagonally and the halves are separated to form two characters. These split styles are not designed to be used alone but layered with the base style, outlined style, or both to form colorful lettering with an unusual striped appearance. The stripe is not apparent in single letters but only in words or lines of text. For best results use an application that supports the OpenType feature Contextual Alternatives (calt) to alternate the letters of the split styles. The four styles can be combined in several ways to create unusual lettering appropriate for titles, headlines, and similar uses. And if one wants a bold, monospaced, sans-serif face, BigStripesMono has that too.

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

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Fatface takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Fatface is a combination of its traditional upper- and lowercase forms, in an extra-bold style. Its inventive, hybrid forms are a bolder take on those of its 2010 sibling typeface, Ambicase Modern. Ambicase Fatface stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Fatface offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Fatface can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Fatface is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Modern takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Modern is a combination of its traditional upper- and lowercase forms, in a modern (didone) style. The inventive, hybrid forms that result are intriguing and handsome. Ambicase Modern stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Modern offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Modern can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Modern is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended. For an extra bold variant, see its sibling typeface, Ambicase Fatface.

From the realm of insigne, a new family has risen. By name, Mandrel. Courtly in character and elegant in appearance, the face finds great favor among those with whom it seeks audience. With confident air, Mandrel carries itself gracefully before each pair of eyes, never faltering or stumbling in its refined step. But while dressed with gentility, this elegant family is not faint of heart when challenged. Crafted well for high-impact resistance, Mandrel steps boldly and prominently into the arena of the reader’s eye, boasting its tall x-heights, high contrast, confident bends, and sharp serifs. Skillfully, it wields its sharp serif endings, cutting swiftly through opponents’ crude clutter, which fights for the reader’s attention. From Thin to Black, nine weights and their matching italics make up this noble family. Mandrel furthermore includes an abundant treasury of OpenType variables to adorn your text. Ligatures, old-style figures, and stylistic sets are available to accompany the family’s 500 glyphs and its support for more than 70 languages. Raise your cup to this new Mandrel! With strong serifs and high contrast, you’ll find this champion ready to take up your challenge in many a test ahead.

Type Toys JNL is another collection of letterpress dingbats, embellishments, stock cuts, cartoons and miscellany all re-drawn from vintage source material.

A hefty, powerful geometric sans with weight and presence. The unusual counters are defined by lines which cut into the letter shapes.

Calluna was born more or less by accident. When I needed a little break from designing Museo I was just fiddling around a bit to see if maybe a full slab serif would be something to have a look at. The first thing I did, of course, was to put slab serifs on the stems of Museo. When I did, something nice happened. Slab-serifs with a direction! I ended up using the idea for something I always wanted to do: making a rather serious text face. The goal was to make a text font, but one with enough interesting details. In the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Check out Calluna Sans™ which is a great pair for Calluna™.

Typographers — and clients alike — are often obsessed with novelty. Be it self-consciously peculiar details with made-you-look appeal — or just austere, detached minimalism, constant seek for novelty in typography often becomes an end in itself. A lot of times, an old trick is better than a bagful of new ones — all you might actually need would be a good, reliable font family with soul, providing that comforting, familiar feel. This is where Forrest comes in: a type family born out of a lifelong passion for digging into old archives of fonts, in search for that good ol’ type — simple, honest, made with love. But make no mistake, Forrest is as savvy as fonts come, packed with smart features. Handsome swashes, cute small capitals and old style figures all add a bit of flair and enable a highly sophisticated and contemporary approach to typography.

Black Goose is a display typeface with regular, cut, styled, rounded, and reversed font styles. It adds elegance, modernity, playfulness, approachability, and intrigue to your designs. Supporting 87 languages, it ensures effective communication across diverse audiences. If you're looking for a more edgy and contemporary vibe, the cut style of Black Goose will be perfect for you. With its sharp angles and distinct cuts, it adds a bold and modern twist to your designs, making them stand out from the crowd. For those seeking a touch of playfulness and uniqueness, the styled variant of Black Goose offers decorative elements that enhance the overall design. It brings a sense of whimsy and creativity to your projects, making them visually captivating and memorable. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Mock ups and backgrounds used are not included. Thank you! Enjoy!

A style of die-cut cardboard letters and numbers used for signs, displays and show cards was the basis for Haute Couture JNL, an Art-Deco flavored typeface from Jeff Levine. A direct cousin to Signboard JNL, this font shares some similar characteristics in letterforms. Both styles of die-cut lettering were manufactured by a number of companies, and were most popular from the 1940s through the mid-1960s.

Dellimun is a sweet, stylish, and delicate script font. Whatever the topic, this font will be a wonderful asset to your font library, as it has the potential to enhance any creation. What's Included : - Uppercase, Lowercase, Numerals & Punctuations - Ligature & Alternate - Works on PC & Mac - Simple installations - Multilingual support - (PUA Encoded) Compatible with Silhouette Studio, Cricut Design Space, Scan N Cut, Adobe Illustrator and other cutting and design programs.

The inspiration for Home Room JNL was a 1950s-era package of die cut cardboard letters and numbers manufactured for educators by the Mutual Aids Company of Los Angeles, California. Pre-cut lettering was popular with teachers who used them in their classrooms for posters, bulletin boards, displays and flash cards. These bold, blocky letters are great for headlines or for recreating the look of school days past.

The Dro family is an all uppercase handmade font that resembles cut-out construction paper; Both fonts have 6 glyphs for each letter & 2 per number which are accessed by uppercase, lowercase, small caps & Contextual Alternates. Each font has 550+ glyphs total. When using Opentype applications Dro and Dro Fill take the handmade look further by cycling through Contextual Alternates, Small Caps & Double Letter Ligatures for a unique and authentic look to your creative. When not using the Contextual Alternates feature, you can still alternate between uppercase and lowercase letters and using Stylistic Sets to switch up the flow. The Dro family has an extended character set for multilingual support.

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

PIGGY BANK is a casual handwriting font, smoothed and cleaned for cutting and crafting, but also sharp and crisp for print projects! It contains two uppercase sets of letters, so you can mix and match for a hand-written look. It's useful for everything from kids' designs to branding, from book covers to product packaging! The PIGGY BANK family contains two weights - regular and bold - so you have options that will be easy to read no matter how large or small your design will be. Plus, it has my usual 500+ glyphs, including tons of punctuation and over 300 accented characters for language support!

A visual reflection of progress and dynamism, Elevate your design projects to the next level with our cutting-edge bold techno display fonts. Suitable for a wide range of applications. Whether you’re designing sports event posters, tech product labels, or esports team branding, these fonts will make your content stand out. Features : Bold, Strong & Techno Display Typeface Versatile & Unique Design Alternates, Ligatures & Multilingual Support with PUA Encoded Capture attention, and make a bold impression with these fonts. Start creating the future today! Note : To be able to access ligatures and the alternate letters, please make sure the software you are using can support opentype features.

1970’s Techno-typography finds its rebirth in Berkmire AOE. From its beefy weight to its narrow and sometimes unusual counter cuts, Berkmire AOE started as a digitization of a film typeface called Belden by LetterGraphics. This bulky techno typeface was taken from its limited character set and fleshed out to include an expanded language glyph set. The Capital letterforms seem to push the edge of readability, while the lowercase falls more in line. The letterforms of Berkmire AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs.

I present my funny font with "Hocus Pocus"cutouts This is a playful font in the style of a cut-out "all capital letters". Lowercase letters are filled with letters (A, O, B, etc.), and uppercase keys have ordinary black letters. :) Great for sweet greeting cards and invitations, for playful branding and quotes, for unusual packaging and much more! This font is unique and simple:) Font Features • character set A-Z, A-Z; • 1 languages (English); • numbers It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love ♡ Thank you for stopping by, and I wish you a creative day!

Bold as love, Grok is a hand-drawn typeface, assertive but soft. Showy and friendly. It's an all caps font with 2 choices for each letter, accessible via keyboard upper and lower case slots. For that handcrafted look, you know. Turn on the contextual alternates feature to automatically alternate these. Grok originally comes in two cuts: bold and… less-bold :) Later the outline style was added as a gift, a free font. And finally, there's yet a nifty picture font with dozens of dingbats to beautify your words every now and then. Perfectly suited for display uses: packaging, signage, web titlings, editorial design, book covers – and not-only-covers. Grok it?

I don’t live in the mountains, so when we go on holiday and visit the mountains, we always like to hear the echo! A bit childish, I know, but that’s how it is. Background Echo is a very nice, handmade, all caps font. It’s not exactly a laser-cut design; glyphs are a bit uneven, wobbly in places and have their own idea of what they should look like. That, my dear potential customers, is the charm of a hand made font! Background Echo comes with a vast array of diacritics, regular and bold styles and a selection of interesting swashes for the upper case glyphs

Conceived as an exploration of geometrical type designs of the early twentieth century, Canaro was — in its first design stages — heavily rooted in that time period. During its development and the effort to give it a modern appearance, it turned into a contemporary font with a strong historical background, defined by legibility and functionality. In addition, the lack of spurs provide a unique but unobtrusive character and support the contemporary impression. Typographic features like alternative glyphs, ligatures, oldstyle numbers, arrows, fractions and other special characters, round up the family. Canaro is available in nine weights plus matching italics. Ranging from sharp and elegant thinner cuts to sporty and athletic heavy weights.