If you're getting tired of using Broadway, here’s an exciting alternative in regular and bold weights. Douglas C. McMurtrie, Aaron Borad, and Leslie Sprunger began designing this high-contrast novelty face for the Ludlow Foundry in 1928. It retains the classic style of the Jazz Age with a bit more individuality and spirit than Broadway. This extreme thick and thin design also sports normal descenders instead of the clipped ones found on Broadway. Ultramodern Classic is also available in the OpenType Std format. Some new 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.

Mira is a playful, decorative Art Nouveau font, released by Roos & Jung Foundry in Offenbach AM, Germany about 1902. The exaggerated serifs and the sharp contrast between the thick and thin strokes gives the page a whimsical “salt and pepper” look that is very distinctive. Mira uses our new encoding. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, MIRA has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, Western European accented letters, lower case “o” and “u” with Hungarian umlaut and our usual Hand-in-Hand symbol. In addition, black-letter-style upper case “H” and “T” characters are included. Download the PDF Type Specimen for locations.

Boxed, the best seller of the Tipo Pèpel foundry has been expanded with variable font technology to multiply its creative possibilities, from now on and with a single file, it is possible to control its appearance thanks to three axes with which to modify the weight, the rounding and the the width of the characters. Offering more options to customize the appearance of the text and personalize the headlines. Boxed typography is brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. It offers an extensive set of Latin characters, even the Cyrillic.

Ganache is a smart, intricate, fun, and deceptively simple font. This distinctive hybrid is a unique blend of script, Roman, and italic. My fascination with letter-fitting makes this an intriguing exercise in negative space. The uppercase letters are boldly stylish, and here some of the counters display unexpected shapes. Between some letters, the negative space is transformed into a type of swash itself. Customize your design with Ganache’s 185 swashes and alternates and 10 ornaments. *NOTE* Basic versions DO NOT include swashes, alternates or ornaments See what’s included! http://bit.ly/2bUfPmt These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Introducing Heather Flourish font Heather Flourish is a signature font created to impress an elegant and luxurious look Heather Flourish is perfect font for branding & logo projects, such a photography studio, clothing/fashion studio, also suitable for Product Packaging, Title on your article or book cover, Stationary, and many more. this font has a ligature and swash which you can access by typing the letters a-g You can try it first by typing the name you want below, I hope you can create amazing custom personal signature or logo with this font you can buy this font at https://www.myfonts.com/foundry/krntype-studio/ Enjoy the font, feel free to comment or feedback, send me PM or email at krntype@gmail.com. Thank you!

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art déco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, Bauer Grotesk stands out for not being so dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. Watch the FF Bauer Grotesk introduction video on Vimeo

This “very elegant and British alphabet” was originally released in the 1920s as "Richmond Oldstyle" by the Blackfriars Type Foundry of London. Touted as highly artistic and graceful, it is exceptionally “at home” wherever style and charm are called for. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Like the graceful movement of a ribbon, Quiverleaf® CF glides effortlessly from letter to letter. Five weights – from a delicate, yearning thin to a hearty extra bold – combine with striking italics and wide language support for a well-rounded and expressive typeface. Quiverleaf's versatile design allows for both beautiful text and airy headlines. Quiverleaf® CF pairs well with itself at contrasting sizes and weights; it can also be used effectively alongside both sans typefaces like Greycliff® CF, and simple humanist designs like Artifex Hand CF. Quiverleaf is also available in an Arabic version, Quiverleaf Arabic CF, which pairs perfectly with the original Quiverleaf for multi-script visual design. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Papercute Inline is a cute layered hand-drawn font designed by Fanny Coulez & Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, and easy to play with 8 different styles, including 3D, outline, full or dotted line, that you can use alone or together. To do so, you can simply superimpose them with a compatible software like Photoshop, then choose a color for each, making your works charming and unique. This font, finely designed for cards, book titles, headlines or any artworks is the Inline version of Papercute . Just click on our foundry name to see it! You could follow us on our Instagram: instagram.com/sc.type We hope you will enjoy our work. Merci beaucoup!

The Fontwax font is inspired by sign painters in sixties advertisings with a touch of Arts & Crafts. This style of type is instantly associated with advertising and design for high-end products. Fontwax is meticulously drawn for quality and readability. Fontwax is great for display, logos, branding, packaging, advertising, food, sports, titles, film, tv, and much more. Fontwax comes in 4 styles which perfectly match together. Fontwax is a great display family with roots in the advertising and sign painting industry of the 20th century. It is smoothly polished with all the features a good designer needs. For the best price, I recommend you grab the whole pack! Fontwax is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry.

In 1952, Charles Peignot made a bold and fortuitous move: he invited a young Swiss designer to Paris to be the art director of the Deberny & Peignot type foundry. This started the professional type design career of Adrian Frutiger; and since then he has designed an astonishing range of masterful typefaces. One of the earliest for Deberny & Peignot was Président, a sharp-seriffed Latin titling face. Latin" is a typographic designation for roman typefaces with wedge or triangular-shaped serifs, a stylistic form that Frutiger would return to later with his beautiful typeface Méridien. Président™ has wide, solid shapes; very little contrast between thick and thin strokes; and an air of assurance. Use this titling font for business cards, announcements, or artistic signage."

Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany. It is a shaded wide roman using a very modest amount of white highlighting. Serifs are extremely delicate, almost ornamental. This elegant old typeface gives a feeling of importance and authority and is highly effective when used in large display sizes. Narcissus Solid lacks all highlighting and becomes more useful in smaller sizes. Narcissus Open and Solid are also available in the OpenType Std format. Some new 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.

Fox is a completely new typeface based on my previously designed Fox family font, which has been in distribution by T26 type foundry since 2001. Old Fox typeface design decisions were reconsidered in a way to improve legibility without sacrificing its originality. This new Fox family consists two subfamilies: Fox TRF and Fox Sans TRF. Fox TRF is upright italic typeface with light, regular and bold weight styles. The most distinguished Fox characteristic is the lowercase letters. Their curly, playful and vivid letter forms were derived from handwritten lettering then carefully shaped and adapted onto sans serif category. Fox typeface is recommended for use as a display font, and has been generated in a single OpenType format with Western CP1252 character set.

Naïve is a serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. The three weights of this subtle Parisian hand-drawn font can be enhanced with two alternates fancy glyphs for each letter, the “Fantaisies”, to improve your designs and bring a more poetic and unusual feeling. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup! Note: This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all!

Luke is a contemporary adaptation of historic English Blackletter, inspired by the creativity of leading English type-creator: Caslon Foundry. Their highly unique 19th century Blackletter typeface provided the core elements of Luke, with the name paying tribute to the Caslon family tomb in the churchyard of St Luke Old Street in London. This modern and versatile type family offers a wide range of styles — from thin to thick contours, and with half-filling to complete — allowing it to work best for headlines, short text and branding. Details include twelve styles and 641 glyphs. Opentype features include superscript, denominators, numerators, scientific inferiors, ordinals, stylistic alternatives, case-sensitive forms, fractions, contextual alternates and discretionary ligatures. Luke supports 37 languages, covering South, East and Western Europe.

The inspiration source for Distinto Borders are the Black & White and Running Borders from the 1906 Abridged Keystone Type Foundry Specimen Book. Nine Black & White Borders and Thirteen Running Borders are compiled within this font, all of which can be formatted in various manners to allow maximum versatility. While we've adjusted the metrics in this font, your program of choice may override and use their own settings. Make certain that the point size and the leading size are the same so that the borders connect properly. For instance, the font set at 12 points, should also be set to have 12 points of leading. It's that easy! Download and view the Distinto Borders Guidebook if you would like to learn a little more.

Ekeras V2 Inline is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Ekeras is a futuristic, techno-looking and dynamic typeface with an appearance of machined-like parts with sharp and rounded edges. The large Pro font character set supports most Central European and many Eastern European languages.

Warren Chappell was the original designer of this handsome pen-formed roman typeface introduced by the Stempel Foundry in 1939. It was cast in Germany as Trajanus and named after the Roman emperor whose accomplishments are preserved on the Trajan Column in Rome. This version, Tribunus, retains the same rugged but handsome quality of the oldstyle original. A set of italic oldstyle figures are included with the italic roman. Tribunus is also available in the OpenType Std format. Some new 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.

Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to fat, each with true italics style, for a full range of editorial and advertising uses. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display sizes. Four additional stencil weights provide options for fancy titling and logo creation. Anaphora features an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, four sets of figures, fractions, superior & inferior figures, alternate forms and discretionary ligatures.

The typeface One United Font is designed from 2020 for the font foundry Typo Graphic Design by mäd • madeleine maros × Manuel Viergutz as a political statement #leavenoonebehind The display font is inspired in the past and present. 3 font-styles (Bubble, Bubble Behind, Outline) + 1 icon-style with 390 glyphs (Adobe Latin 1) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE!

The German poet, painter, calligrapher and type designer Emil Rudolf Weiß originally created this eponymous typeface for the Bauer Foundry of Frankfurt. Long known and loved by metal type enthusiasts under the name "Weiss Antiqua," this design was inspired by typefaces from the Italian Renaissance while still distinctly reflecting the artistic and poetic personality of its twentieth-century designer. Weiss has tall ascenders, sharp apex points, and a low-slung midsection on the caps. The italic moves like a classical ballerina. Weiss is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The Weiss family works well for warmly legible text typography; and it's also an original choice for refined headline and display graphics."

Emperatriz—with deep roots in the Roman tradition—is an elegant font and, above all, firmly situated in the present, featuring monumental forms and a classical design yet with a contemporary twist. It is a refreshing, clean, modern display font, perfect for the editorial design of magazines and catalogs, for the creation of titles and short texts, on book covers and large format publications, or as part of a corporate identity, logos, packaging and labels. Every variant in the family has generous counter forms, with ligatures and alternative capitals (Q, R, P, O), as well as oldstyle and Roman numerals, manicules, and monetary and mathematical symbols, providing a complete set with language support for more than 200 Latin script languages.

Steelplate Gothic Pro is a sans serif font family with traditional and drop shadow weights. It shares letterform similarities to conventional Copperplate Gothic families, but has no spur serif endings. Most of the original designs came from the Western Type Foundry when BB&S acquired it in 1918; all were cut by Robert Wiebking. It was recast in 1954 by American Type Founders (ATF). Steve Jackaman (ITF) designed and produced a digital version of the original single weight in 1997. In 2017, Jackaman completely redrew and expanded the family, adding entirely new condensed variants and true small caps. Steelplate Gothic Pro has a masculine, industrial feel, and works effortlessly at display and subhead sizes. It shares letterforms with its sans serif sister family, Barnsley Gothic.

A comprehensive and faithful rendition of Rudolf Koch’s first release, usually referred to as “Fette Deutsche Schrift” or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift von Rudolf Koch). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch’s “Deutsche Schrift” type family. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Deutsche Schrift” Font Page.

Introducing "Cyberend" – a font that seamlessly marries the raw, edgy aesthetic of cyberpunk with the precision of square pixels and the sleek modernity of italic serifs. As the digital world converges with futuristic design, Cyberend emerges as the quintessential typeface for those seeking a cyberpunk-inspired typographic experience. Dystopian Elegance: Cyberend encapsulates the essence of cyberpunk, embodying a dystopian elegance that effortlessly blends chaos and sophistication. The font's italic serifs add a touch of rebellion and forward momentum to every character. Pixelated Precision: Immerse yourself in the pixelated precision of Cyberend, where each character is meticulously designed with square pixels. The result is a sharp, high-tech appearance that resonates with the digital landscapes of cyberpunk aesthetics. Versatile Impact: From gaming interfaces to film titles, Cyberend makes a bold statement in any digital or print medium. Its versatility allows you to infuse cyberpunk vibes into logos, posters, websites, and more, giving your projects a distinctive and immersive feel. Futuristic Legibility: Despite its cyberpunk flair, Cyberend prioritizes legibility. Each character is crafted to ensure readability, maintaining a perfect balance between avant-garde design and practical functionality. Unleash the power of Cyberend to transport your audience into a cyberpunk-inspired future. Whether you're designing for tech enthusiasts, gamers, or cyberpunk aficionados, this font is your gateway to a digital realm where style meets rebellion. Upgrade your typographic game with Cyberend and let your creations transcend the boundaries of conventional design.

Besture Regular is a captivating handwriting font that effortlessly blends modern simplicity with a touch of artistic flair. Crafted with meticulous attention to detail, each letter in Besture Regular reflects the natural flow and spontaneity of authentic handwriting. Its smooth and well-balanced strokes create a seamless rhythm, making it not only visually appealing but also exceptionally legible. Key Features: Elegance in Simplicity: Besture Regular embodies an understated elegance, making it suitable for a myriad of design applications, from invitations to branding projects. Authentic Handwritten Feel: With its organic strokes and fluid connections between letters, Besture Regular brings the charm of genuine handwriting to digital and print materials. Versatile Usage: Whether used for personal projects, business communications, or creative endeavors, Besture Regular adds a personalized touch, enhancing the overall aesthetic. Ligatures for Fluidity: Besture Regular includes thoughtfully designed ligatures, enhancing the natural flow of the script and ensuring a smooth and cohesive appearance. Readability: Despite its stylish cursive nature, Besture Regular prioritizes readability, ensuring that your message is communicated with clarity and grace. Besture Regular is the perfect choice for those seeking a handwritten font that strikes the ideal balance between elegance and readability. From wedding invitations to logo designs, and everything in between, this font adds a distinctive and personal touch to your creative projects. Discover the enchantment of Besture Regular by acquiring it today. Don't miss this opportunity to elevate your designs and make a statement with Besture Regular! Purchase Now

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.

Cotton Club remembers the fonts of the thirties of the last century and the Bodoni, but it does not present graces: it is a sans serif. It has 360 glyphs and is composed of two regular and italic styles. Cotton Club is characterized by a high contrast between thick and thin strokes. The emphasized signs give the font an essential, sharp and elegant look. The Italic style of the Cotton Club refers to handwriting and this is noticeable in the ligatures obtained with kerning. The name of the font, “Cotton Club,” refers to the famous Jazz Club in New York, in Harlem, active in the twenties and thirties, during and after Prohibition. At that time the Bodoni, in its many derivations, was widely used not only in lead composition, but also in neon signs, plaques, posters, as well as in many other applications. Redesigning a new font that brings back to those years wants to be, therefore, a tribute and a reinterpretation of the graphics of that period as well as, it is understood, to the glorious Bodoni. Supported Languages Bulgaro, Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Serbian, Swedish, Turkish. Vincenzo Crisafulli font designer Vincenzo Crisafulli graduated from the Faculty of Architecture in Palermo and works as a graphic designer. He has been designing fonts since 1996 and has published with T26 (Type-Foundry, digital foundry in Chicago-California USA): Crisafulli, Chocolat, LST, Luminaria, and Stitching; with MyFonts: Rétrospectif, Bella Copy, Jasmin and Noahs Ark.

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

Kickshaw is definately a hardcore tagfont. Its rough edges and hard lines makes it perfect for imitating writing on the walls! Switch between caps and lowercase to keep the original bad look!

Mantonico is a soft and friendly serif type family with low x-height. Its slightly wide proportions and prominent terminals create a peculiar texture suitable for long reading. The style range encompasses 8 weights with corresponding italics. The italics themselves are designed for a specifically soft, almost fluid feel. The typeface features rich language support including Cyrillic and a wide range of OpenType options such as small capitals, numerous sets of digits and over 300 swashed characters.

Good Pawoo is unique Paw Display font, This font perfect for fun, quirky animal design. Combine ligatures Character to make perfect design for yor projects. Good Pawoo perfect for related animal design, vet promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Good Pawoo Family Font - Ligatures - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

From the remnants of an old freeware font by Ray Larabie comes Cardholder Dispute SRF. Thoroughly rebuilt from the ground up by Jeff Levine, this post-80s techno lettering can also double as a pop culture font evoking 60s or 70s rock concerts and hippie colonies or (as the name implies) credit cards. The net profits from my font sales help defer medical expenses for mysiblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Hantu Tail is a delicate and incredibly distinct Halloween Script Font. Fall in love with its incredibly versatile style and use it to create spectacular designs! Hantu Tail perfect for halloween promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Hantu Tail Family Font - ligatures - Ending Swash - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

Tourist Spot JNL is the same lettering style as Old Tijuana JNL, but with the squiggly inside lines stripped away. The original design was modeled from the hand lettered title on the cover of the 1939 sheet music for "Class Will Tell" and is available in both regular and oblique versions. Casual and playful in nature, the font can be used by itself or combined with Old Tijuana JNL for any project that promotes festive occasions.