Borsga is a mono fraction linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures, fractions provided in opentype .otf and .woff format.

Agobb is a frolicsome piquant sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

A bold retro-future font ~ cosmic, weighty & groovy. Each letterform began with a rounded edge box as the base and ovals as a way to create negative space. In instances where the oval was not enough, a series of simple additional arced or straight cuts were made. What resulted is a unique and original font with a lot of personality. Stylistically, the font has a space-age vibe while possessing sleek, futuristic characteristics that ultimately make it feel fresh. It is not meant to be a go-to font for articles with a lot of text, but meant to expand ones library and in the right moment it will bring a lot of energy and major impact. Please note that this family has a limited character set and does not contain €, $, ¢, £, ¥ and other punctuation marks. Please check the glyphs tab to ensure this font will work for you!

Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It's something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and Capitals) was inspired by a line of lettering seen on a late 19th Century enamel advertisement made by Chromo of Wolverhampton (hence the family name). The family grew, topsy-like, from a recreation of these initial fifteen capital letterforms to the three complete typefaces offered here. The three typefaces are ideal for advertising and poster work with a Victorian, Edwardian, or 'Steam-punk' theme. They would also be eminently suitable for signage inspired by the same eras or (as we've seen a number of our other typeface families prove very popular) for book covers of period related novels and historical works. Finally, these slender elegant display faces are just plain fun!

LTC Athena brings a somewhat “lost” hot-metal typeface back from obscurity into digital Opentype format. In fall 2012, printing historian Rich Hopkins contacted P22 type foundry regarding some inked type drawings he had just uncovered from his acquisition of the Baltimore-based “Baltotype” company some 20 years ago. It is a rare face whose original matrices were destroyed and thought fully lost. The drawings included a full upper and lower case set, numerals, basic punctuation, and alternate forms of some letters. The design is a narrow deco-flavored design from the 1950s with a curious avoidance of straight lines in the stems and main strokes. The face has been expanded to over 340 characters by Miranda Roth and includes ligatures as well as a full Pan-European character set. It is released through the Lanston division of P22 in consideration of its earlier incarnation as a metal typeface.

Here’s what happens when your trusty felt tip marker takes a trip to cartoonland. Each of Valentina’s plump characters has a rough and splotchy texture. Some letters even bounce up and down like a 3-year old. As cartoon faces go, Valentina is a bit on the imperfect side. But that’s normal for a funny face. Use it in a variety of comical situations. Make convincing captions under your own artwork or design greeting cards with it. You can even blow it up to huge sizes to create a wild and crazy look. Valentina Medium is now available in the OpenType Std format. Some new characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Brioso Pro is a new typeface family designed in the calligraphic tradition of the Latin alphabet. Brioso displays the look of a finely-penned roman and italic script, retaining the immediacy of hand lettering while having the scope and functionality of a contemporary composition family. Brioso blends the humanity of written forms with the clarity of digital design, allowing designers to set pages of refined elegance. Designed by Robert Slimbach, this energetic type family is modeled on his formal roman and italic script. In the modern calligrapher?s repertoire of lettering styles, roman script is the hand that most closely mirrors the oldstyle types that we commonly use today; it is also among the most challenging styles to master. Named after the Italian word for ?lively,? Brioso moves rhythmically across the page with an energy that is tempered by an ordered structure and lucidity of form.

Quota is an investigation into the modularity of the Cyrillic alphabet. Unlike Latin and Greek, the Cyrillic alphabet owes much of its form to its development in early industrious printing and movable type. This lead the Cyrillic alphabet to be dominated by hard edge and straight lines, giving it a much more modular overall construction. The forms within the Cyrillic alphabet therefor allow for all the characters themselves to have somewhat unified side bearings without compromising ease of reading. Within Quota the default character set has only unified side bearing, giving a more relaxed mono-spaced appearance. While the first stylistic set unifies the entire character set with the same character width, creating a true mono-spaced typeface. Quota was initially designed in Cyrillic, catering to all languages using the alphabet. While the Latin was designed after, and is loosely based of the forms present within the Cyrillic alphabet.

Heimat Display is the high contrast sans serif typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Display is a typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Display’s character set provides different alphabets, the regular one plus alternate designs that comes across as less suspenseful. Heimat Display [873 glyphs] comes in 72 styles and contains extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

Heimat Didone is the high contrast serif typeface family within the Heimat Collection, also containing Heimat Display, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Didone is a neo-classical typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Didone’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Didone [872 glyphs] comes in 72 styles and contains 6 optical weights, extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

A Bold Display Family in Three Personalities: ego, id, and alter. Dez Boulder works like a character actor, presenting the author’s lines but not with the deadpan delivery of a news reporter. Boulder develops the role, adding meaning through facial expression, gesture, and body language. The Dez Boulder family of display faces acts in a supporting role to give meaning to message and context to content. It is a very bold face, not understated. Each of its three personalities (and their sub-personalities) have a different timbre to speak the nuance of your message in a bold voice. Dez Boulder averages more than 800 glyphs per style with uppercase, lowercase, small caps, proportional lining figures, small cap figures, superiors, inferiors, fractions, stylistic sets, alternates, ordinals, case specific punctuation, and more. It has a full range of diacritics and covers all European languages using the Latin script.

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™.

The upper-case letters of Lentzers fit into the shape of a convex lens and the lower-case letters fit into the shape of a concave lens. The typeface was designed to have concave shapes alternate with convex shapes so the letters snuggle together. The OpenType contextual alternatives (calt) feature will automatically make this happen if your word processor supports it. (To get only concave or convex shapes, one must turn off the contextual alternatives feature. With only concave shapes the spaces between letters form thin convex lenses and with only convex shapes the spaces between letters form thin concave lenses. The name of the family was inspired by these lens shapes and also by the name of distant ancestors.) Lentzers is caps only. It comes in three weights: light, regular, and bold. It is eye-catching for posters and titles and poorly suited for text.

As the first multi-font family designed for the CounterPoint font library, Plectrum offers designers and font lovers an alternative to the usual display style fonts of CounterPoint with a low key yet elegant sans serif family that can serve a variety of functions. Designed as a humanist style sans serif, the letters have variation in stroke weight. The italic faces have some variation in the letter design making them more of a true italic rather than simple oblique faces. The complete family consist of four weights: Regular, Italic, Bold and Bold Italic which can be purchased separately or as a complete package. The typeface has some unique features which add warmth to the design such as a slanted cross bar on the lowercase e and a large x-height. This is a solid, versatile family. Available in OpenType and contains support for Latin based and Eastern European languages.

EXCLUSIVE! Read all about it! The latest scoop from Comicraft is sure to be in all the newspapers today! The Times are a changin' -- comic book letterers everywhere can say a font farewell to typesetting the front pages of Planets and Bugles in Helvetica, Verdana or Gill Sans! Superhero's Pal, Johnny "Roshell" Olsen, was up all night writing copy for the late-night edition, making sure that your newspaper headlines and copy have a warm, pen lettered look... some might say a Rosen-glow! Put a little Extra Extra in your bylines and maybe there's a Pulitzer and an Eisner in your future! Not ready to purchase? Get ExtraExtra Engraved free with any purchase, or by subscribing to our newsletter at the bottom of this page. Features Seven fonts (Regular, Italic, Bold, Bold Italic, Heavy, Heavy Italic & Engraved) with upper and lower case alphabets.

Steam combines the spirit of the old-fashioned wood type with modern flavours. Its distinctive reversed high contrast and extremely bold serifs make it impossible to stay unnoticed. It’s a fun and bold unconventional typeface that we’ve designed with great passion and curiosity! The type family consists of 13 weights that are divided into several packs. Each font in the pack can be layered on top of each other to make a funkier look. Steam is multilingual! It speaks more than 130 languages and supports extended Latin, Cyrillic, punctuation, default and small numbers, symbols and signs. It is also familiar with the OpenType features like standard and discretionary ligatures, stylistic sets, localized forms, small numbers and fractions and more. Steam looks best on logos, posters, headlines, and T-shirts and is perfect anytime you need some bold letters with specific flavour and touch. Have fun creating!

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

Nearly a hundred human heads, in three dingbat files. The whole series comes from the sketchbook: the original ink drawings were then digitized and refined to create vector outlines. Rather than perfectly smooth, geometrical shapes, the Entestats, like their close relatives in the Capsbats series, the Entestats retain a handmade look and feel. The Entestats are ready-made illustrations, though of course they will appreciate being enriched with colours, textures, an imaginative layout... and use them for a variety of projects. Use them small, as spot illustrations or as big as a whole page or page spread. The Entestats and their kin, the Capsbats, are a terrific resource for presentations, packaging, logos, brochures and advertisements, to name a few applications. The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

This "Leaf" font has been swirling in my head for years - I remember my sister and I making letter formations like these when I was young. It was exciting to see the lettering look even better on paper than it did in my mind! "Leaf" surprised me by having two distinct looks: in size 24 or smaller, the look is delicate, because your eye doesn't see any space in the letters. In size 28 or larger, the eye can discern spaces, which gives a different facet to its personality. As much as I like this font when viewed on a monitor screen, it really shines when printed. The "Leaf" font is a perfect blend of quaint hand-written style mixed with crisp letter formations. This font has a very "happy" quality to it. May using it bring a little more happiness to your day!

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Designed with help and inspiration from legendary tattoo artist Dustin Horan. This beautiful time saver was designed specifically for skin application. Short words and initials can instantly be turned into seamless tribal style tattoos. Each glyph links with the next allowing letters to flow endlessly around limbs and in circles. Respecting the rhythm and geometry principles laid forth by American pioneering tribal artist Leo Zulueta, Scribal makes flowing text shapes that disguise themselves as design. When mirrored back to back and rotated vertically, Scribal becomes well-crafted tribal pattern. Typeface wise, Scribal breaks the mold. While a script font, Scribal was designed to be written in all capitals. Each capital is a mono-spaced glyph, providing even spacing. The shape influences are also vast, ranging from scripts, to blackletters, to romans. Making Scribal a very "Americanized" font, reflective of this "Americanized" style of Tribal Tattooing.

Marintas is a sleek upright italic that offers you a modern look and feel. This elegant sans serif comes across as lively, yet comfortable. Some semi slab characteristics of the font give it a face-forward momentum. These semi slabs, even with their geometric construction, are fluid shapes with a soft hint of brushstroke. The soft curves of Marintas paired with its playful but geometric semi slabs or ending strokes give the face its spirited--though friendly--eye-catching appearance. The Marintas family is comprised of 8 variants, ranging from Thin to Ultra. Its incredible versatility ranges from the delicate hairline to the extreme ultra weight. The heavier weights show some similarity to Antique Olive, and the face has an exuberant South American or Latin feel. This type of family is well-suited for advertising, retail, food and beverage products as well as for use in magazines, logotypes, and books. The fonts lend themselves to display settings, but are still very usable for longer copy. Because of its large x-height, the typeface is legible at very small sizes and as a webfont. Marintas has support for extended Latin character set. A wide range of Western languages are also supported, including Central, Eastern and Western European languages. In all, Marintas supports over 40 languages that use the extended Latin script, making Marintas a great choice for multi-lingual publications and packaging. All insigne fonts are fully loaded with OpenType features. Marintas is also equipped for complex professional typography and includes ligatures, alternate characters and fractions. The face includes a number of numeral sets, including old-style and lining figures with superiors and inferiors. OpenType-savvy applications such as Quark or the Adobe Creative Suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Check out the informative .pdf brochure to see these features in action.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Hugio is a simple and casual serif font with an undeniably clean feel. With its neat and beautiful arrangement of letters, this typeface will look outstanding in both formal and non-formal designs. PUA encoded = Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software.

Cliona Bold Script. Perfect for all your design needs such as branding designs, logos, and more. This font is PUA encoded which means you can access all the amazing glyphs and ligatures easily Features: Uppercase & lowercase Numbers and punctuation Multilingual Ligatures PUA Encoding Full Character Set !"#$%&'()*+,-./0123456789:;?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~¡¢£¤¥§¨©ª«®¯°±²³´¹º»¿ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖ×ØÙÛÜÝÞßàáâãäåæçèéêëìíîïñòóôõö÷øùúûüýþÿ•†‹›‒–ˆˇ˜€“‘ŸœŒš˚”’ıžŠ„‚

"Merry Deer" is a unique display typeface with a deer horn embellishment added to the font. This will add a unique and funny feel to any writing or work you make. "Merry Deer" is PUA coded which means you can access all the glyphs and sweeps easily! FEATURES: Uppercase Lowercase Swash Numbers & Punctuation Multilingual Support PUA coding open type

Wadgres is a Script Brush font. Its elegant and cool look makes it the perfect choice for logos, branding, invitations, stationery, wedding designs, social media posts, and so much more. Wadgres Font is PUA encoded which means you can access all of the glyphs. Features : – Uppercase & Lowercase – Alternate Characters – Numbers and Punctuation – Multilingual Support – PUA Encoded Thank You

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.

The Confetti is a typeface created about 1930 by the defunct José Iranzo foundry in Barcelona, and imitates the forms and gestures of handwriting created with a round nib as “Speedball”Series B. The original typefaces were a pair, called “Escritura Energica ” and “Escritura maravilla”. The typography has a dynamic air, caused partially by irregular alignment of the characters respect to the baseline and aesthetics takes us to the proposed commercial lettering or advertising of years 20-30. Confetti was one of the fonts selected by the website Typographica.org in its prestigious list of “Our Favorite Typefaces” in 2006.

In the early days of PostScript fonts, I designed a font of leaves called XLeafMeAlone. In 2006 I decided to revisit this topic and the result was two sets of new leaf fonts: MapleOaks and MoreLeaves. MapleOaks contains almost 100 images of maple, oak, and sycamore leaves, and MoreLeaves has almost 100 images of leaves of various other species. There are four MapleOak fonts. They have identical images; only the orientation of the images is different. In MapleOaksUR the tips of the leaves point to the upper right, in MapleOaksDR the tips point down to the right, etc.

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.

Oprath is a smooth deconstruct linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Wsago is a solid eclectic linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Borge is a lithesome sanctimoniuos tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Prattt is a stringent curvilineal tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Tokga is an articulate rounded linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.

Broft is a pointed substantial linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions provided in opentype .otf and .woff format.