The display typeface that is based on the shapes of traditional Chinese hieroglyphic characters. Designing the font for imitations in the Chinese style the author nevertheless demonstrates serious attitude and thoroughness using the table of keys of the regular Kaishu script. As a result the font looks stylistically authentic and genuine. The typeface was designed by Aleksandra Egorova, the young type designer from St. Petersburg, and released by ParaType in 2008 .

Martin Wilke designed the dynamic calligraphic typeface New Berolina in 1965. The light line of the strokes and the strong stroke contrast lets New Berolina dance across the page. Broad, generous capitals complement beautifully the narrower lower case characters with their low x-height. The capitals can also be used as initials. Used carefully and with generous line spacing, New Berolina will lend any text a fresh, lively look.

The Etalage-script has been drawn for the first time in the year 2000, based on a early 20th century lettering stencil with what farmer Boelema at Lalleweer stenciled his grainsacks. Eventually the script letter was developed as a typeface with a wink to the ‘lost’ displaytypes for the ‘display window’ of graphic designer Ariënne Boelens, who in exchange made the website www.lalleweer.nl. What originated the Ariënne should be evident now.

Vonnes was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauer’s Venus, 1907–1910. Berlow expanded the ideas behind the series to 56 fonts, the heart of the redesign. The Macromedia program was hailed as one of the most successful models of modern total design for innovative cutting edge companies; FB 2007

The Submarine family is based on a custom designed typeface for website navigation and headlining purposes, hence its geometric structure. In contrast to most other typefaces, where increase of boldness of the lighter weights expands externally in the width, the Submarine heavier weights expand internally, leaving the length of words and texts pretty much the same. The open structure of the lighter weights make it reasonable text face as well.

Qidung Swara is a heritage typeface. Inspired by Aksara Jawa, character that has its own uniqueness and privilege. Qidung Swara was created to support use in all designs, such as branding, magazines, advertising brochures, music album covers and other uses. Qidung Swara also support multilingual language. Available in 2 styles: Regular and Italic. Grab this exclusive and awesome font fast. Don't miss it. Any question? Jusk Ask. Free update Thank You

Neuville is a geometric and low-contrast sans serif for everyday use related to typography. The shapes of the characters are clear, simple and balanced to allow for legibility and help the typeface deliver the contents with a neutral and objective voice. The Neuville family includes three weights and has a wide range of OpenType features such as tabular figures, numerators and denominators, superscript and subscript numbers, and case-sensitive forms.

Fitzronald is a body text typeface with a strong personality combined with a good legibility in small sizes. It is an excellent book typeface, but it can be used in e.g. advertising and packaging as well. Due to its good legibility at low resolution, it is a superb website and e-book typeface. Fitzronald is based on Ronaldson, an American typeface originally cut by MacKellar, Smiths & Jordan in 1884.

I just love biscotti; they’re one of my favourite cookies! I thought they were all rock hard and half-moon shaped, but I found out that there’s a ‘soft’ variety as well, mainly aimed at young children who may have trouble munching on the hard cookies. Soft Biscotti is a handmade, all caps font. It comes with extensive language support and a set of alternates for the lower case letters.

Allamare is non connected handlettered brush script with number of alternatives, such as: Titling alternates, stylistic Variants, Initial and Final forms, some Ligatures and Underscored Titling letters with swashes of 3 different lenght. Allamare script is good for any type of advertising, package design, poster lettering and any kind of invitations and greeting cards. Allamare Script is multilingual, it covers almost all Latin-based languages and also contains Cyrillic.

Kathleen Sans is a geometric sans-serif display font and works best in text and display applications, such as posters, headline, magazine, logos, titles, product branding, corporate branding and publishing. The Kathleen Sans font family has three weights: Light, Regular, and Bold, each available in italic, making a total of six styles. Each style has a full upper and lower-case, accents, punctuation and a selection of monetary symbols.

Galangal, or Laos, is a root belonging to the ginger family, which is used in Indonesian cuisine. Since this font has the same design characteristics as Kurkuma, I thought naming it after a root was quite appropriate. Galangal is pretty unique, with thin and fat areas, bizarre glyphs and rough edges. Upper and lower case are fully interchangeable and the typeface comes with a full range of diacritics.

This bold, bodacious blackletter typeface is based on an offering from the 1832 Boston Type Foundry catalog. Although it generally appears to be a sober Old English font, there are a few quirky turns here and there, which make it a lot of fun. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Olive Wildheart is sophisticated script based on manual hand writing. This typeface comes with 2 style fonts which you can choose from. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Acosta is a serif typeface with high contrast and a refreshing look. From sheer to black with italics, Acosta offers many possibilities for application in many graphic or editorial projects. The lighter weight is suitable for short paragraphs, and the heavier weight is suitable for headlines, perfect for display purposes such as branding, book covers, and web titles. Acosta is also available latin character set which supports latin based languages.

Soldier Slab Stencil Dstrssd. is a grungy military stencil font. The bold slab characters provide a great base to present the distressed effect. The font has been developed from a war related computer game project. The font contains 26 letters of the English alphabet in capitals and alternative capitals are represented when typing in lowercase letters. Each font also contains numbers, punctuation and a range of Latin characters as displayed.

Benton Modern was first prepared as a text face by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton’s turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook. These display cuttings were prepared by Dyana Weissman and Richard Lipton; FB 2008

KADISOKA SCRIPT The main font of this product with total 680++ glyphs! including open type features like ligatures, stylistic alternate, and lots of Stylistic Set. This typeface is based on manual handwriting which is very suitable for any design needs you have especially for script logotype project. KADISOKA SANS Neat and nice complemetary typeface which is perfect to combined with the kadisoka script font, or used as main font.

Good for typography, good for close paragraphs, good for titles logo, markers, use with numbers, Capitals and Cases. use Special symbols as design elements. One can be used for others. Good for closed groups. Limbos, good to go with Serif, Sans serif or old english. use it with variety and any design light or heavy. the weight is black, so it wont matter. hope you enjoy the font and use it.

Graphen family is a hand drawn typeface with 5 different weights. This font contains script that replaces glyphs with their alternates. It is based on checking the same glyphs in close range - not on a random appearance. Every weight was designed with attention to detail, so it can be used in small sizes and even on big posters. Weights include different features, such as dingbats or old style figures.

Sincerely Yourz is another font in the Love Letters series from Outside the Line. It is a hand-printed font with extra letter spacing. All the letters have about the same height. All vowels are lower case whether they are caps or not. This font has a fresh contemporary hand-lettered look. While it can be used as a headline font it is really designed for body copy.

The concept for Cell Block 6 is based on the rigid structure and design of modern architecture. It is a structural display font created by Enrich Design. Four of six versions of Cell Block 6 are designed to be used as display fonts in order to uphold their detail. The Solid and Solid Outline versions offer additional versatility and can be used at smaller sizes in a wide range of applications.

Fair Sans Text is the natural follow-up to the popular Fair Sans - now a text family based on the calligraphic structure and casual construction of its predecessor. As the name implies, Fair Sans Text has proportions for longer text settings, strong headlines, and everything in between. Lively and casual, FST is four weights with true italics. Also included are small caps, old style and tabular numerals, and multi-language glyphs.

Fonts based on handwritten forms enjoyed a revival in popularity in the 1930s. Diskus was designed by Martin Wilke in 1938 and exhibits many traits of modern script and brush typefaces. The informal and energetic Diskus is a script and brush font for daily use and the capitals can be used as initials mixed with other fonts. Diskus is particularly good for titles or texts in middle to larger point sizes.

Astromonkey - here he is, all new, all excited to be alive! Astromonkey comes from outer space, where he has rubbed shoulders with the Star Trekkers, the aliens and Major Tom, who is still floating in his tin can. The font is a squarish all caps, with a different set of glyphs for upper and lower case (so they mingle quite well) and Astromonkey himself - disguised as the paragraph glyph. Enjoy.

I designed this font because it didn't exist - it’s based on hand rendered type created for black and white line marker scamps used in the advertising industry. I use it that way and it’s saved me a LOT of hand-rendering time over the years. Of course, Scamps works as an informal marker script in its own right too. I’ll be interested to see what you do with it.

The typeface was baptized as “Caldense" in order to honor the city of Caldas da Rainha, a small city in Portugal, the typography's birth place. It has three weights, Regular, Demi Bold and Bold and it is a stencil font, sans serif and grotesque. Each character was based on a grid and was built in modules, having round edges and straight finishes. The font is best used in titles.

Pacific Atoll JNL is a stylized slab serif type design based on the movie title lettering for the 1942 wartime film “Pacific Rendezvous”, and is available in both regular and oblique versions. According to Wikipedia, “…an atoll (sometimes known as a coral atoll), is a ring-shaped coral reef, including a coral rim that encircles a lagoon partially or completely. There may be coral islands or cays on the rim.”

Mager is a A Modern Display serif font for Vintage, classic, and retro branding needs. Based on our experience as a graphic designer who works for a lot of companies. This is perfect for BRANDING and LOGO DESIGN. You will get vintage, classic, and certainly unique logos with this font. Mager is also included full set of: uppercase letters multilingual symbols numerals punctuation Wish you enjoy our font. :)

Ahhh, who doesn't want to sleep late? That’s excactly what a “sovetryne” wants ... even though he/she often sleeps way to much! But that’s not the case with this font. It’s legible, even though it’s slightly worn. Change between upper- and lowercase letters to variate the typing - and turn on ligatures, in order to use the substitution of double letters such as aa, bb, cc and many more!

Omorphia is a decorative serif font inspired by Sephardic square type - the only Hebrew style with one vertical serif for each letter. Omorphia contains three script systems, including European extended Latin, Cyrillic, Greek, Hebrew and Arabic. The font has OpenType features as alternates and local substitution for Romanian and Serbian. Alternates themselves are based on cursive, script forms. Omorphia is an excellent choice for branding, packaging, fashion and titles.

As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

Finador Slab is a soft slab-serif family. It has a strong character and can be used for a lot of cases, especially for editorial, branding, packaging and logos. The Slab version is based on the Finador Sans version. It matches perfectly and can be used easily together. The Finador Slab family includes 8 weights, from thin to heavy + their matching italics. With 900+ glyphs per style it supports over 200+ latin based languages, includes an extended currency symbol set and a lot of Open Type Features like small caps, ligatures, fractions, alternates and many more. The lightest and boldest weights are good for display usage, while the middle weights can be also used for body text. Finador Slab supports almost every of your needs. It meets all the requirements to become your next favorite workhorse family. So just give it a try. The Medium weight is for free.

Woven is a geometrical typeface based on a simple tessellation or tiling pattern. The template for the letters has both vertical and horizontal symmetry and the tiling pattern has four-fold rotational symmetry. Variations of this pattern are popular with quilters and most have a woven look to them. To fit the letters into the template results in some distorted letters but it is the pattern that matters, not the individual elements of that pattern. With proper spacing, a block of text will fit together both horizontally and vertically. Woven is intended to be used with alternating letter sets and the OpenType feature of contextual alternatives does this automatically in applications that support it. The upper-case could be used alone but it unlikely that the lower-case characters could be used by themselves. The typeface is hard to read and would make a challenging font for word-search puzzles.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Twigglee was inspired by the hand lettering on the plates in a 19th century book on ornaments by Owen Jones. It has no lower-case letters; the upper-case letters are simply repeated on the lower-case keys.

HS Albasim A is an Arabic display typeface. It is useful for headlines, books covers and other graphic projects. It is a collaborative effort, as "HS Albasim A" first letters were designed and drawn by Basim Salem Al Mahdi from Iraq and then developed and digitalized as a typeface by Hasan AbuAfash from Palestine. The font is based on the simple lines of Fatmic Kufi but was it distinguished by two main ideas: First, it contains a nice serf in the vertical strokes of its letters. The second, some of storks in its letter differ in the thickness instead of being similar, as it is in the Fatmic Kufi style. The font contains only two weights: regular and bold. Both of them support the OpenType features of Arabic, Persian and Urdu.

Underground Pro expands on the historical design by Edward Johnston, licensed exclusively to P22 from the London Transport Museum. The overall design of Underground Pro is kept as intended by Johnston and remains within his system of proportions. Additional OpenType features, such as Small Caps and Petite Caps, are included in all 6 weights. A Titling option that mimics London Transport signage is offered in the medium weight. The addition of many Unicode ranges for unprecedented language support makes this the most expansive P22 font family ever. Each Pro font weight collectively contains over 5000 glyphs, covering most Latin based languages, with separate Greek (polytonic) and Cyrillic versions. The outlines of the original Regular and Bold have been subtly redrawn and expanded, they are now available as Medium and Heavy respectively.

Telder HT Pro is a humanist sans serif family with 10 weights, conceived as a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. It is ideal for paragraph text on websites as blogs and news sites and works great for printed text. Its extreme weights are suitable for display sizes. This PRO version contains 10 weights and 2 styles. All the fonts contain small caps, alternate glyphs in stylistic sets (such as B, P, R, a, f, g, w, x, y & z), four number sets (lining and old style, proportional and tabular), ordinals, superiors, inferiors, fractions, disctretionary ligatures, arrows and more. Each font contains +1000 glyphs.

The name ‘Linkus’ makes reference to the internet and its power to unite humanity, as well as to Linkus’ distinctive design, where the whole character is unified by a single, unbroken line – without sacrificing its elegance and readability. Linkus is based on the aesthetic decision of having a single, unsplit line forming every character, with a smooth transition of the different line directions, in order to strenghten the unity of form and create a singular fluxus throughout the glyph. Different from most other futuristic fonts (e.g. Slazer), who have an aggressive look, Linkus has a more sensible, refined aura. This display futuristic typeface is meant to be used whenever the subject is technology, cellphones, electronics, internet, computers or science in general, as Linkus creates a feeling of modernity, cleanness, efficiency and high-tech sophistication.