Aure Zeritha emotes the unassuming charm of fairytale romance. The modestly adorned forms of this decorative serif font engage the reader with a subtext of innocence. Zeritha brings an ingenuous romance to text and titles and a guileless promise of adventure to astrological expressions and chartwheels. The breadth of typographic textures revealed in its bold and italic forms is given depth by the charm of its small-caps and the delight of its curly alternates. Zeritha is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets, available in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Zeritha stands its own as a text font, but for extended text, try pairing Zeritha with its distant cousin, Aure Declare. Use Zeritha where the fairytale romance is needed; use Declare for tight text and practical contrast. Give Aure Zeritha a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Supernova is a stylistic display font developed within a set grid. Perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, digital and more. Multi-language support.

Designed at Polygraphmash in 1958 by Elena Tsaregorodtseva; Latin characters and italic were added in 1987 by Emma Zakharova. An early sans serif ('Grotesque'), it was developed for primers and the first level school textbooks.

ITC Tremor is the work of British designer Alan Dempsey. You might think that it looks like the letters are in a seismically lively geological zone, but Dempsey had other kinds of motion in mind. Most of the faces I design come from trace 'work-outs' for advertising products. In the case of Tremor, it was to reflect a lively teenager," says Dempsey. The result is ITC Tremor, a cartoony slab serif typeface with irregular angles, straight-edged curves, and lines surrounding each character, making them look like they are jittery.

Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

The Teapot Dome scandal was a 1920s bribery scandal involving Secretary of the Interior Albert Bacon Fall. Fall leased Navy petroleum reserves at Teapot Dome in Wyoming [along with some California reserves] at low rates with no competitive bidding. The San Francisco Examiner for Feb. 20, 1924 ran the two line headline “U.S. Senator Named as Oil Stock Speculator; Whitney to Face Quiz Today on Slush Fund”. The headline was set in a condensed, slightly squared sans serif typeface. This is now available as Special Edition JNL in both regular and oblique versions.

"Qualta" was initially designed in 2017 as a submission for a type design assignment while at typography school, originally launched under Alt-A Foundry, "PGF Qualta" was developed specially for Publishing Agency under the supervision of Peggo Fonts Foundry, now with a complete Small Caps set, classic and old style numeric figures, lining and tabular forms, scientific and fractional notation set, arrows set, light parenthesis set. Set on producing a geometric sans, it started with the circular form drawn from a 50s television screen. The bloated shape gave an illusion of protrusion and so much open space to the rounded letters. A broken stem was then added to the lowercase to provide a notch that allowed the typeface legibility in smaller sizes. The typeface was then developed into eight cuts with their corresponding italics. The lower case g includes a variation with a transitional link derived from the upper case Q’s tangent tail. Qualta’s original concept was designed by Isabel Gatuslao and was developed by Pedro Gonzalez.

Rock Road is a racing theme font with sharp and consistent angles combined with a hard and strong style. So it looks very fast and powerful. So I made it a display font. Rock Road has an uppercase and lowercase version that doesn’t have a recing feel, so you can be more creative. In addition, Rock Road has a sans ligature feature that makes the great look. Rock Road would be perfect for Logo, title, logotype, cover, headline, apparel, comic, cover books, cards, posters, or anything that requires a horror or scarylook! Rock Road is also support multi language. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Mofid Mahdi is a distinctive, bold Arabic display face, suitable for heading and titling work in Arabic newspaper and magazine composition. In this typeface the rounded internal counters and dots contrast with the angular and more robust outlines of the letterforms to give a decorative, harlequin-like appearance. The design was originally developed for use in dry-transfer format, and was first produced as a digital font by Linotype-Hell Ltd. in the early 1980s. Initially a simplified face, with its inherent limited range of letterforms, Mofid Mahdi was enhanced during the late 1980s by the introduction of medial letterforms to improve character spacing and balance. The recent advent of OpenType has led to the release of Mofid Mahdi. This OpenType font includes Latin glyphs from Memphis Extra Bold, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Mofid Mahdi incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Doria was developed from my handwritten script Xan that has a definite Japanese touch. By making Doria really slick it became a font that is perfect to be used on labels and for many packaging jobs.

AZ Black was inspired from a need to develop an easily changable Black style font similar to the bold type on US currency. This font was designed for use as a display headline or sub headline.

NixonScript is a display typeface inspired by the typographic emancipation given voice by 1950s and '60s north American vernacular type. NixonScript's starting point was lettering found on a 1960s camera found in a Chicago junk shop, but its development saw it transformed from a punchy sans-serif to a more thoughtful serif, with a lowered x-height and a vibe of almost priestly piousness. Rather than a simple regular italic, a bold italic is offered. During its development, the regular version seemed almost placid but with the double emphasis of bold and italic, NixonScript gained an energetic, self-congratulatory form.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Gluon is a font that is perfect for headlines, logos, posters, and much more. This font combines the minimalism, the futurism and aesthetics. We wanted you to feel the cosmos and its beauty when you look at the font. Three weights will help you choose the perfect combination with your design. Initially, the font was developed for the company's logo, but later the idea was slightly revised. The idea of the font is to convey the spirit of the future, but leave the beauty that we are used to seeing. The design was developed by Eugene Bunin and Beginskaya Christine.

Belfast Grotesk™ 9 weights, 18 uprights and Oblique. Each typeface contains over 700+ glyphs with latin extensive Western, Central and Eastern European language support, Free updates and feature additions. Belfast Grotesk™ influenced by the grotesk typefaces developed in the early 20th century. Attempts to follow the best traditions of Grotesk typefaces. A good amount of contrast between the stroke thickness of each weight. Belfast Grotesk™ was developed with unique glyphs to offer best flexibility. a good legibility in short texts. OPENTYPE FEATURES Including tabular figures, alternate characters, ligatures, fractions, case-sensitive forms, superscripts, subscripts etc.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Brewmaster Modern is a very contemporary script that will work well for sign lettering and t-shirt designs, it also resembles the lettering used for Budweiser Racing.

Created as a Headline Face Alons Antique works amazingly well as a text face.

Yonkers a classic gothic face a very legible face. Very suitable for various applications.

This typeface was developed as a part of identity system for Turbota, center of social rehabilitation for disabled children in Ukraine. With soft ends, traditional structure and asymmetric serifs it works well in both playful and official contexts.

Japanese Brush Master was developed directly from the hand-written brushstrokes of experienced calligrapher, Shigeru Nomura. Feel the artistic brushstrokes. Japanese Brush Master is extended, containing West European diacritics & ligatures, making it also suitable for multilingual environments & publications.

Groom is a a casual brush script refined and developed from handwritten letters. It combines dramatic though readable caps with more readable, smoothly connecting and more formal lowercase to give a script that is both confident and legible.

The Pilatus font is a sans-serif standard technical font based on the ISO 3098 standard. The standard was developed for a good reading when reducing technical plans on films. The font follows clear rules and geometric proportions.

A set of square capitals developing from the interest in geometric forms stimulated by the Bauhaus, Bank Gothic was designed by Morris Fuller Benton for ATF in 1930, the same year that Georg Trump designed City for Berthold.

Economica Pro is a font specially developed for printing complex situations. It has been tested successfully in very small sizes without losing legibility. It's ink traps ensure its smooth operation even in low quality papers. Ideal for newspapers.

Totem Forms is based on a series of aluminum and rubber wall constructions currently showing in Europe and the United States. Mirek's work has been shown internationally for many years and this is his first foray into type development.

This font was originally designed for one lettering job with only one simple purpose—to be as much condensed as a font can be. Then it was developed as a font family of 4 weights with regulars and italics.

Initially created as a less quirky alternative to GillSans Schoolbook, Fiendstar has been developed into a family of widths, weights and styles. High legibility makes it suitable for signs and school books, especially for readers with poor reading ability.

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.

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

Here is another classic design by Robert Hunter Middleton for the Ludow Foundry in 1940. Samson Classic is a very heavy display face with a wonderful medley of thick-and-thins. Developed just before World War II, this sturdy, chunky style gained popularity in newspaper advertising work. It appears as though it was created using a broad pen and retains the angled stroke endings. Goes great on certificates and diplomas where just a hint of calligraphy is appropriate. Samson Classic is also available in the OpenType Std format. Some new characters including decorative ornaments for creating certificates 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.

The letters in the Linotype Aspect Family fonts seem to be experiments in the handcrafting of letters with just a few basic geometric forms. For instance, the bowls of the letters C, D, and G in Linotype Aspect Intro are all made up of narrow half circles. Features like this make Linotype Aspect Intro perfectly suited for headlines and short passages of text. Its quirkiness is sure to lend a smile to the faces of your readers. For shorter headlines with larger point sizes, try setting your text in Linotype Aspect Regular, the second member of the Linotype Aspect family. Linotype Aspect Regular uses the same basic letterforms as Linotype Aspect Intro, but reverses them out in white, and places them over bulbous black shapes. The Linotype Aspect family was developed by German designs Hans-Jürgen Ellenberger in 1999.

Cindie Mono is a multi-width display font. Six different widths – A (condensed) through F (super extended) – mathematically correspond with one-another creating a stackable type family. Each face contains all caps full West, Central and East European language support. All diacritics and marks are done in a hairline to add style and contrast. And Cindie Mono is ideal for posters, headlines and display lettering. The inspiration for Cindie Mono came from the lettering styles on optometrists sight-test posters. Then through several stages of development the overall concept for Cindie became of a half-broken Commodore64 and the computer from the 1985 movie 'Weird Science' hooked up to a dot-matrix printer spitting out reams of mechanical but distorted mono-lettering all the while an old modem you can't seem find keeps beeping and beeping and beeping...

Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

A lovingly handwritten, hand-traced and developed font family that you can use in all sort of design projects - branding, invitations, quotes design etc. The family contains 33 fonts in total. Script fonts all have initial and end swashes as well as ligatures and contextual alternates. Serif and Sans serif fonts are all capitals fonts and all of them have stylistic alternates and catchwords ligatures. The fonts are fully unicode mapped so you can use them basically in any software. If the software you are working in is not OpenType-aware one, you'll need an additional software to help you to find the glyphs you want - PopChar (MAC & Windows) or Ultra Character Map (MAC) will do the job. Take a look at the How-to PDF in the Gallery Section showing how to use OpenType features within the font.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Dimitrina was created with a simple premise: Can there exist a typeface which features a minimum of sharp angles? And a readable typeface, as well? With these strict rules in mind, the development started. At first the typeface looked more like a script, and some characters ( M G or R, to name a few) still hold traces of a handwritten style which spices the overall taste of Dimitrina. Since the first draft every character was redrawn, and edited several times, for the purpose of making the typeface readable, and distinct at the same time. Estimate for yourself if our goals are achieved, while you observe the three weights which are available exclusively in MyFonts. All of them feature a full set of characters plus cyrillic support. You can also try the regular weight which is offered free.

Designed at Polygraphmash in 1953 by Igor Zhikharev, based on his handwriting. The digital version was developed in 1989 by Gennady Baryshnikov, with the assistance of Vladimir Yefimov. An informal monoline script. For use in both text and display matter.

Mallorga is a serif typeface. It has an elegant and modern character by adjusting design developments. Mallorga is made to complete your best work. You can use this font to create wedding invitations, logos, advertisements, web, covers, clothing, banners and more.

The sibling of Childos, with with additional Arabic glyphs for more international fun. Handwritten rough sans serifs style, as well as the development of free and attractive ligature to fill the space between letters and make playful children feel designs.