Trendy, bold & modern style serif font for your fancy projects. Elegant, fashion and classic style on Bigroki font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, elegant, artistic, luxury, retro & modern style serif font for your fancy projects. Elegant, fashion and playful style on Bogimber font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) -Multilingual support -Lot of alternate characters -Lot of ligatures -Great for modern branding projects!

Trendy, elegant, artistic & modern style serif font for your fancy projects. Elegant, fashion and crazy style on Lagmaq font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, classy & modern style serif font for your fancy projects. Elegant, fashion and classic style on Wimberley font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, bold, retro, rounded & modern style serif font for your fancy projects. Elegant, fashion and classic style on Moramit font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, classy & modern style serif font for your fancy projects. Elegant, fashion and classic style on Bagtha Mendoneh font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, bold & modern style serif font for your fancy projects. Elegant, fashion and classic style on Esprit Chanson font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web fonts Great for modern branding projects!

Trendy, bold & modern style serif font for your fancy projects. Elegant, fashion and classic style on Bellingham font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Trendy, bold, elegant, artistic & modern style serif font for your fancy projects. Elegant, fashion and decorative style on Markwen font will be great for any branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Multilingual support Lot of alternate characters Lot of ligatures Web font Great for modern branding projects!

Meet Maengame Font Display, Bring Fun and Power to Your Designs! Maengame is not just a font; it's a gateway to a world of joy and power in your designs. With eye-catching display themes and a strong game style, Maengame brings a unique touch to your projects. Inject a fun twist into each character with a bubble-filled design, adding a fun element to each letter. Maengame also brings a sense of courage and resilience, making your projects stand out with passion. Maengame is the perfect solution for projects that require a unique touch. Whether you're working on a bold display, a lively game, or an entertaining event, this font ensures that every design carries unforgettable charm. Do not miss this opportunity! Get Maengame Display Font now and turn every design into an unforgettable game!

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

The Monotype Janson font family is based on types originally cut by the Hungarian punch-cutter, Nicolas Kis circa 1690. Named after Anton Janson, a Dutch printer. The original matrices came into the hands of the Stempel foundry in Germany in 1919. New type was cast and proofs made; these were used as the source for Monotype's version of Janson. The original hand cut Janson types have a number of small design irregularities which give the typeface its unique charm. These have been carefully incorporated into the new version. The overall effect is of even color and an easy readability that makes Monotype Janson most at home in book and publishing work.

Here’s a typeface that’s both primitive and playful. It could aptly be described as having a modest bounce, unusual web feet, and a slightly grotesque croak. Joking aside, this amphibious creature-font is ideally suited for funny headlines as well as other goofy stuff. Great for party announcements, cartoon lettering, or just about anything involving kids. Or even fun-crazed adults! Little Brown Frog is also available in the OpenType Std format. Some new alternate characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

Regina-Cursiv is a warm, bold, casual typeface. Its friendly, rounded curves remind me of the line from a gospel song by the Canton Spirituals, about "smoothin' up the roughway." Jointly released by the Bauer and Berthold foundries of Germany during the fin-de-siecle period, this typeface has some cultural flexibility. There are alternate versions of the uppercase ‘H’ and ‘I’ that can be chosen to reflect a humanist or blackletter tradition, whichever you prefer. Other alternates offer various stylistic choices. Regina Cursiv is a friendly, comfortable font. You will enjoy using it. Alternative letters: D, E, G, I, K, S, T, d, h, k, m, n and z. The numerals are old-style figures.

Esgard, our newest graffiti-themed font, is now available. We created this distinctive font just for those of you who are unique because we built it with quality and benefit in mind, so you can easily use it and instantly produce amazing, intriguing, and original projects! Really unique. We also provide two thicknesses, thick and thin, to suit your preferences. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

The Bitstream version of Caslon Bold of the American Type Founders, 1905. Based on William Caslon I’s first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence). We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s. Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF “Pro” version.)

From the depths of an antique civilization is born "Nahual" inspired by my ancestral Prehispanic Culture, with traits that allows it to mimetize itself, hours of painstaking dirty work with the only goal to show all it knows we want to see, to finally give the Jaguar "Serifclaw" attack. This is a display fontface, it comes in two types, "Claw" basically the text font, and "Copete" that are the construction pieces for every single glyph of the entire font, this last also has the negative spaces of some glyphs (a, e, o, A, B, O, for example) I include them but I prefer the font without them. Comments are welcome! rodrigonabo@gmail.com

Mancunium is a sans serif family with a contemporary monolinear character, though designed with the iconic proportions of Roman capitals in mind. In addition to reliable romans, the typeface includes proper, optically corrected italics. Also, uniquely, a set of ‘vertalics’ that contain the more script-like glyphs of the italics with angled stem terminals, but which are unslanted and upright in aspect, and without the slight narrowing of the italics. Each font includes a full complement of Latin Extended-A characters and additional oldstyle numerals. Mancunium is sold in two collections – a Regular/Bold package and a Light/Medium package. Each package contains six fonts - two romans, two italics, and two vertalics.

SPIDER-MAN! THE HULK! THE FANTASTIC FOUR! BATMAN! SUPERMAN! Superstar artist Mike Wieringo has worked with the most well-known characters in comic books, and just a few short years ago Comicraft teamed up with Mike and writer Todd DeZago in the pages of their creator-owned comic book fantasy adventure series, TELLOS! At Mike's request, we created a special Wieringo font which incorporated Mike's distinctive, slick-and-easy, backward-sloping letters, as well as a slightly heavier font -- carrying just a little more ink -- for the Shadow Jumper characters featured in the first TELLOS story arc. Now the Mike Wieringo font can be yours as it joins our ever growing library of Masters of Comic Book Art fonts.

A 1930s WPA (Works Projects Administration) poster advertising a play entitled “Abraham Lincoln, The Great Commoner” had the play’s name done in a hand-lettered Art Deco sans. This is the basis for Art Project JNL. According to Wikipedia, “the Works Progress Administration (renamed in 1939 as the Work Projects Administration; WPA) was the largest and most ambitious American New Deal agency, employing millions of unemployed people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads. In a much smaller but more famous project, Federal Project Number One, the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects.”

Lewis Hamilton is a stylish signature font that embodies elegance and sophistication. Inspired by the signature of the renowned Formula One driver, Lewis Hamilton, this typeface exudes a sense of confidence and refinement. Each letter carries a graceful flow, reminiscent of a personalized signature, adding a touch of exclusivity to any design. With its sleek lines and carefully crafted curves, Lewis Hamilton captures the essence of a stylish and modern aesthetic. Whether used for branding, luxury products, or high-end invitations, this font brings a sense of prestige and class. Lewis Hamilton is the perfect choice for those seeking a signature font that exudes timeless style and a touch of celebrity allure.

Patricia Pothin-Roesch's Tendria typeface bases its letterforms on the logo for the French “Tendriade” mark. Clearly inspired by writing and hand lettering, Patricia Pothin-Roesch began her work on Tendria in Adobe Illustrator. After a few letters, she went back to designing the old-fashioned way: drawing by hand on layers of tracing paper. Tendria is a sturdy upright script face with a warm, childlike feeling. Its letters are like the typefaces often used in primary schools; the counterforms are large and open. The name Tendria is reminiscent of the French word for tender, “tendre.” Designers who set Tendria lovingly will reap rewards; this is an excellent addition to a display heading toolkit.

ITC New Baskerville is one of many contemporary type families based on the work of John Baskerville (1706-1775), a writing master and printer from Birmingham, England, whose types were cut by the punchcutter John Handy. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth-century rationalism and neoclassicism. ITC New Baskerville is a late 20th-century interpretation of Baskerville’s style, designed by John Quaranda. It makes an excellent and very readable text face; its sharp, high-contrast forms make it suitable for elegant advertising settings as well. ITC New Baskerville® font field guide including best practices, font pairings and alternatives.

Fancy legwork does it all!

Brillig is a loose and informal handwriting font. It comes in four flavors, each of which has a very different feel. Brillig Gimble: more formal in that the characters are interconnected as in cursive script. To further enhance this effect, the characters have been created with a slightly "blobby" pen which provides a suggestion of precision. Brillig Earth: is bold and strong. It is more "down-to-earth" than the other styles, however, the boldness is tempered with quite wispy ends (terminuses) to the characters. It conveys a suggestion of speed and strength. Brillig Aire: is the most delicate and ethereal of the styles. Think of fairies, dandelions and dragonflies and you have an idea of what Brillig Aire conveys. Not only are the characters very light in weight, but they terminate in a wispy, delicate end. In spite of all this, Brillig Aire is very readable and can be used in a variety of contexts. Brillig Brave: is quite like Gimble in its feel with one important difference -- the characters are not connected as in cursive script. Each character stands alone. Brillig Line: is a clean, lightweight style using a mono width line for an informal, handwritten feel. There is a collection of the above four styles that is attractively priced and gives you the ability to use these four fonts in a variety of ways within the same document. The font is particularly useable for the promotion of products aimed at designers of: wedding invitations, party invitations, young clothing ranges, magazines, cosmetic packaging. It has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Lil’Baby Script Font is a romantic, modern calligraphy typeface, which supports Extended Latin and Greek characters. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Lil’Baby Script is a high-quality calligraphy font that can infuse any project with romantic vibes. Lil’ Baby Script is the perfect wedding font if you want to achieve a dreamy style on your wedding invitation. For a soft, elegant style, you can pair the font with a pastel color palette and creamy papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a classic chic, yet modern style.

Marilia Pro is an elegant modern calligraphy typeface, which supports Extended Latin and Greek character set. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures and two sets of alternates. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Marilia Pro is a high-quality calligraphy font that can infuse any project with glamorous vibes. Marilia Pro is the perfect wedding font if you want to achieve a fairy-tale style on your wedding invitation. For a whimsical style you can pair the font with a strong color palette and metallic papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a glamorous chic, yet modern style.