Galexica is a geometric, modernistic, sans-serif typeface. The original family had five members, but an upgrade in 2019 expanded that to ten, with five weights and italics for each of those weights. The eccentric letter forms have a techno or futuristic look. There is also a monospaced version of this design,

Is a typeface that carries powerfull message in a modern graphic style with ease. it uniquely combines simplicity and sophistication. BOLD GROOVE has everything you need to add creativity and personality to your design while being easy to read. Let Bold Groove impress your viewers and help deliver your message with strong impact.

This is a revival font of a sixteenth century typeface. I kept this font as close as possible to the original letters, including the imperfections and irregularities, to preserve the look of antiquity. Some of the letters of the original sample were missing and had to be created from the available letters.

Kathryn attracts a typeface that is smooth, clean, unique, elegant, modern, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels.

Pragma ND is a sans serif typeface with calligraphic features. Its vital rhythm facilitates the reading of long texts. It also has an “authentic” italic imitating the movement of handwriting. Its high legibility makes it an ideal typeface for long texts in analog and digital contexts. Pragma is a Trademark of BauerTypes SL

Londrina is formerly known as Folk. The Londrina family originally had four typefaces: Solid, Shadow, Outline and Sketches. The idea is to combine the main typeface Solid with the others, experiencing different outlines. Now Londrina has three new weights: Thin, Book and Black, growing the family to work with the Solid version.

No, I don’t have a fictional friend, nor an imaginary one. Never had! But that name popped up in my head and I used it for this font. Fictional Friend font is a handwritten ‘comic book’ font - sort of. It’s very legible, soft and rounded and comes with all the accents you want!

Many fonts have carried this name. Ours goes back to just before 1900 in France. This general style had considerable popularity among job printers all over Europe. We have even seen it used for name imprints on medical school diplomas, which seems a bit grotesk. Surely you can do something better with it.

Kanjur was inspired by a page from an 18th century Buddhist book. Used for block text at first glance it has a very striking resemblance to Asian lettering. It is an English reading caps only font with minimal characters ( A-Z 0-9 & £ $ ¢ ! ? , . ). It is not intended as a serious font, just enjoy.

An ongoing movie review column known as the "Critic's Forum" (such as was found in the May 23, 1936 issue of The Film Daily) had a simple Art Deco monoline hand lettering of the column's name. Redrawn digitally as Film Critic JNL, this typeface is now available in both regular and oblique versions.

Sprout is a low-contrast sans serif, slightly condensed for economy of space, and complete with 6 weights in Roman and Italic. It has open apertures and a generous x-height for clarity of reading. It also comes with a weight balanced italic, which can be used for differentiation or as a standalone typeface in itself. The defining feature of the family is the taut curve, where the inner counter pushes out toward the outer contour, creating a feeling of tension in the curve. In the italic this shape language is pushed further, with a playful looped g and cursive form of the f. Sprout also comes with Old Style figures. Its range of weights makes for a versatile family suitable for branding, on-screen publishing and long-form reading.

Utily Sans emerges from the question: "What would the world be like if Paul Renner had had greater inclination towards humanism rather than geometry?" Utily Sans glyph proportions and shapes make it suitable for long-form text. This typeface shows geometric simplicity with humanist shapes. It looks like Futura, but has a feel closer to Garamond. Utily Sans is composed of 6 weights with their matching italics, an alternate character set that brings it back to its geometric origin, uppercase discretionary ligatures for expressive titles, as well as small caps, lining figures and old style numbers. These features make the font well-suited for large and small sized compositions, for short or long text. Utily Sans is the first Latinotype font with Cyrillic support, additional to the usual support for over 200 Latin-based languages.

Document is an easy-to-read sans serif with large lower-case letters, but with one difference - it is slightly slanted to the right, but a lot less than a conventional italic angle. This is intended to give it a more informal and modern look than a perfectly upright font would be, and which also contributes extra dynamism while reading. It's a sort of in-between font, for situations where a boring old upright typeface is too formal and staid but where the italic version is too slanted and obvious. There are six weights, giving adequate representation for most jobs, from large bodies of text to headlines. The zip package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

AlphaBravo was born on a napkin. I was just doodling, playing around with letterforms when the ballpoint glided a little bit too far and suddenly I had my first letter with the dash sticking out on the left of the e’s horizontal line. I quickly checked on how many letters I could let a line stick out! Then I wrote a couple of words that way and letters joined in the most unusual places, creating new closed forms. I gave the font a try and quickly discovered, that I had stumbled onto an interesting new typeface. I didn't know how to call it, so I simply used the first two letters of the alphabet, Alpha and Bravo. Looking forward to Charlie and Delta, your very curious, Gert Wiescher.

Say Hello to Lovers Stars!! My new a set of two fabulous fonts - Lovers Stars!! Lovers Stars is a set of two amazing fonts!! This font is made from my original font - Lovers Clouds. This font is perfect for all your designs, lettering, drawings, signage, stickers, retro designs, shirts and more! Font Features: A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Bouba Round is more than it seems on first sight. It combines the best of two worlds, having an expressive character with its round and friendly shapes and performing great in every typographic aspect. The type family is a true workhorse, ready for serious typography. Creating a round typeface with a great reading experience has been our guiding principle throughout the design process — Bouba Round needed to work in small sizes and long text as well as in Headlines. To ensure a great reading experience in most languages, Bouba Round has a huge language support including nearly all latin based languages, Greek and Cyrillic. On top of an extensive language support, Bouba Round is loaded with a lot of icons, arrows and graphic elements for modern UI/UX design.

Hello! I'm happy to present you my new ethnic font family. I tried to create Latin letters font in Arabic style. Right now, you can type your text with Latin characters, and it can be read internationally. So, can you read this script? This font family consists of two font styles (regular and rough). Both of them will make an Arabic feel to every text you type using this font. I paid a lot of time for ligatures to provide flowing effect to every lettering. You can easily design Ramadan advertising, Islamic quotes posters, Arabic style greeting cards, Eastern brand logos, and others. You'll get: * Uppercase and lowercase * Mültîlíñgúãl Sùppört * Special Alternates and ligatures * Numbers * Symbols * Punctuation Please feel free to request to add characters you need: kaer.pro@gmail.com Best, Roman.

Introducing Bubble Brown, an exciting and playful bubble display font that will add a touch of whimsy to your designs. This font features a unique alternate ligature style that combines bubbles and letters, creating a fun and engaging visual experience. With its lively appearance, Bubble Brown is perfect for various design projects, especially those aimed at children, toys, games, or anything that requires a cheerful and vibrant aesthetic. This font is carefully crafted with 710 characters, ensuring versatility and multilingual support. Whether you're designing in English, French, Spanish, German, or any other language, Bubble Brown has got you covered. The font includes special characters, punctuation marks, numerals, and a wide range of glyphs, allowing you to express your creativity without limitations. One of the standout features of Bubble Brown is its support for PUA Unicode. This means that you can access the font's extensive character set through private use area codes, giving you even more freedom to customize and personalize your designs. Let your imagination run wild as you combine different characters and ligatures to create captivating typographic compositions. Bubble Brown will bring joy and excitement to any project it graces. Whether you're designing posters, logos, packaging, websites, or any other creative endeavor, this bubble display font is bound to make a lasting impression. Its alternate ligature style adds a touch of uniqueness and flair, setting your designs apart from the crowd. So why wait? Get your hands on Bubble Brown today and unlock a world of creativity, fun, and boundless possibilities. Let this font take your designs to new heights and bring smiles to the faces of your audience.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Fonts are Inhuman and Human Fonts are IN! Now, the Comicraft Cybernetics Corporation is proud to announce the first in a new line of fonts with GFP... Genuine Font Personalities. Paranoid Android is an outer alloy, inner void, solitary solenoid GFP prototype -- you can tell, can't you? Finally a font that knows its place as a digital servant to the human race. What will Comicraft think of next? No, don't bother to answer that, Comicraftsmen are fifty thousand times more intelligent than you and even they don't know the answer. Warning: Nothing left to be enjoyed, every diode rheumatoid*, terminally Paranoid Android is not so much a font, and more a kind of electronic sulking device. Share and Enjoy! *The moving parts on the left side of this font are in a solid state. It may sit in a corner and rust, or just fall apart where it's standing.

Curvi Technocrat is a rounded, geometric font that captures the essence of speed and forward movement. Inspired by the smooth curves of race cars and the energy of urban graffiti, this heavy, slanted font family adds a touch of dynamism and softness to your designs. The Curvi Technocrat font family offers five weights: Thin, Light, Regular, Bold, and Black, making it a versatile choice for a wide range of design projects that require a modern, geometric touch. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

DT PaperType has evolved and morphed over time from quite distant origins. I previously created DT Paperside. It was neither Papyrus nor SSI Countryside, but was inspired in some ways by the Papyrus form, although untextured and smoother, and had the more open dimensions and proportions, similar to that of Countryside SSi, with its larger easily readable lowercase body, and more consistent, shorter stems. DT Paperside had an open scripted feel which was pleasing to the eye and easy to read. DT PaperType has since been crafted from of the original Paperside font. The Organic flow and comfortable form of Paperside has been retained, but it has been shifted very much from the feel of a script font, into a quality, extremely readable, organic and friendly, serif font, retaining its clarity, while adding a great deal of pose and class. This font is primarily suited to body text, and as such is extremely readable. It does however also make an excellent Display font, and comes with a full set of over sized Caps that drop below the line to stand out on a headline when required. Paperside can also automatically enhance the first letter of most sentences, and changes other letters to suit their position within words, and the letters they appear beside. Now comes with an italic that curves and softens various letters. For best results, use this ‘smart font’ with Contextual Ligatures turned on. Mulitiple Stylistic Alternatives are included. Inspiration for this fonts predecessor (Paperside) came from two other fonts. Papyrus: designed by Chris Costello and created in 1982, it is a hand-drawn textured typeface, emulating texts written in biblical times. One of the most used (and misused) fonts of all times. Owned by Letraset, and currently published by the Internation Typeface Corporating (ITC). Countryside SSi: The serif font of an unknown designer, currently licensed by Southern Software Inc. Feel free to preview some other Dragon Tongue fonts that are yet to be released, at https://www.dragon-tongue.com/fonts

Steinweiss Script began its journey towards daylight when Michael Doret was asked by Taschen Publishing to do cover lettering for the huge commemorative edition they were putting together on the work of Alex Steinweiss—“The Inventor of the Modern Album Cover”. The lettering was to be created to appear similar to the famous “Steinweiss Scrawl” the calligraphy that Steinweiss had used on countless album covers. While designing this piece of lettering, Michael realized that there was great potential for a font that was designed in the spirit of that famous “scrawl”. Through his contacts at Taschen Publishing, he was fortunate enough to be able to contact the Steinweiss family, and get the official Steinweiss approval to proceed with his “Steinweiss Script” project. Michael decided that in addition to giving the font his name as an homage, that he would donate a portion of the proceeds from the sale of this font to the man himself: Alex Steinweiss. Read more about the background of Steinweiss Script in Steven Heller’s article in Imprint. Steinweiss Script is a family of fonts in three weights: Light, Medium, and Bold. Additionally, within each weight there are three variations: Simple, Fancy, and Titling. These variations relate to the size/ratio of the caps to the lowercase, the complexity of those caps, and the size of the ascenders/descenders on the lowercase characters. These variations add usefulness to the font, making it accessible not just for headlines, but for longer passages of text as well. For a better understanding of its unique features please download The Steinweiss Script Users Guide from the Gallery section. PLEASE NOTE: the three Steinweiss Script fonts are cross-platform fonts which depend to some extent on certain advanced OpenType features, therefore they can be used to their full potential only with programs that support those features. When setting Steinweiss Script one should almost ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Eckhardt Freehand JNL is the fourth font based on the lettering of sign painters and show card writers. Jeff Levine has chosen to name this “mini series” of fonts in honor of his friend Albert Eckhardt, Jr., a talented sign man who ran Allied Signs [in Miami, Florida] from 1959 until his passing in 2005.

Highbrow Cafetorium JNL is a very "minimalist" font in the sense that there's only the basic lower case characters and essential punctuation. The lettering is based on a neon-and-bulb wall sign for a long-closed cafeteria on Lincoln Road in Miami Beach, Florida. The 'b', 'd', 'k' and 'l' have unusually high verticals.

Ellis Greatter is an easy to read script that is designed with a vintage look making it bold, classic and fun. It includes OpenType features and alternative styles. It can be used for various purposes such as posters, t-shirts, signage, logos, news, badges and more. International support for most Western languages ​​is included.

Syaipul is font that looks like Arabic letter. The ornament of each letter make the font is unique but still easily to read. This font perfectly suit for calligraphy, Islamic book, headline title, poster, Arabic ornament and many more. We're honored and hope this font can be the part of your special works. Thank you.

Typeface was designed in 2021-2022 by Alexey Chekulaev. It has small serifs and original contours, it’s also well read in small sizes. Each style has 1400 characters of Latin, extended Cyrillic, Greek, including small caps, as well as alternate characters. Diafragma is a good choice for headings, logos, branding, packaging, publications and websites.

"Punk is not dead, grunge is not dread, skateboarding and grafitti is forever" - shouted by some (possibly drunk!) person one late night. I had these "wise" words in the back of my mind, while making this font. I wanted to capture the wildness of both punk/grunge/skateboarding and grafitti without overdoing any of them!

A faithful reproduction of the common French Ronde of the nineteenth century; the design originates at the Inland Typefoundry in St. Louis as French Script and was revised by Morris Fuller Benton in 1905 and made popular by ATF under the name Typo Upright. Stephenson Blake also had a version available as Parisian Ronde.

Hypherin is a gorgeous and bold handwritten font, crafted to give your headlines and logotype projects a stylish touch. This font reads as strong, confident, and dynamic and can add tons of nostalgic character to your designs. Hypherin is PUA encoded which means you can access all of the beautiful glyphs and swashes with ease!