A great new display face. The slight serif gives extra character to this solid looking design, whilst the outline version has an open, clean look.

The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

The long-awaited extension of the freeware font "Action Is", this Sixties-inspired typeface has an added lower case and additional glyphs including accented characters.

This font was made in collaboration with Nikki at Melonheadz Illustrating. The quirky look and feel of the lettering is perfect for illustrations for children.

This font was designed as an experiment in simplfying the Blackletter. We never showed it in the Solotype catalog, so it didn't get much use.

A hundred-year-old offering from Bauer & Company, named simply "Manuscript," provided the inspiration for this elegant script face. The name translates as Bavaria Handwriting.

Contains the 20 Days of the Mexican Calendar Stone in outline and silhouette mode NOTE: this font comes with an interpretation guide in pdf format.

Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

Font family Opticum is not just a set of fonts, it’s a maze construction kit that hides letters inside. Each inscription is a little brain-twister with variable difficulty, where the level is defined by the style. The third one is the most difficult. When you type with these fonts you fill the space entirely without spaces because characters in the fonts don’t have side bearings and the leadings are set to zero. This converts you into an artist who produces geometric abstractions containing verbal messages. Texts set with this font not only catch an eye, but keep it for a long time. The duration of attention period can be adjusted by selection of the font style. The third one keeps longer. Opticum was designed by Erken Kagarov and released by ParaType in 2009.

Du is a self hommage to Uncertain Felttip. Uncertain, made in 2008, is a typeface which reproduced faithfully the style in which I am writing on copy paper, usually using the felt-tip pen. This time, I wrote the new family by the same method but using the tablet PC and the touch pen. Although, as for some characters, Uncertain differs in a form, it is the result of reflecting my hand writing. I wrote all the characters. If it is original, all the characters diverted and composed, for example, characters, such as Aacute and Agrave, are written. Different specification from Uncertain is family composition. Although Uncertain had only 3 weight, 7 weight were designed for Du. This way a user can choose his favorite weight because the variation of weights increased.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

What does a 1932 movie about a love affair between a circus' trapeze artist and a sideshow "little person" have to do with the 1960s counter-culture? They both share some commonalities. The title card for Tod Browning's "Freaks" inspired the lettering design for Hippie Freak JNL. It's in a retro style that was embraced by the youth movement that had its epicenter in the Haight-Ashbury district of San Francisco. Circus performers with birth defect abnormalities were displayed in what was referred to as "freak shows"; while young men with long hair and beards who sought peace, love and an end to the war in Vietnam were commonly referred to as "hippie freaks". As the saying goes "the more things change, the more they stay the same".

Organic versus geometric are two different universes that converges on nature systems and has its reflection on this new sans serif typeface. Frambuesa is a half humanist-half geometric sans that merges decorative curves with straight lines looking for a balance. The result: a solid but somewhat romantic, nostalgic type program that go ahead harmoniously, dancing to the rhythm of a naturally imperfect melody. Frambuesa can’t hide its family genetics. Structure and proportions come from Elisetta, her older sister they so both have a really good text performance. Regular variables and italics feel comfortable in a lot of contexts and are useful for little words or big title compositions. All seven weights are carefully adjusted to achieve soft transitions between one and the other resulting in high readability levels on program combinations and complex uses. This new font family name is a tribute to Lucia’s childhood, a very happy one. Frambuesa honors this sweet intense red fruit that her grandpa’s Coco gave to his grandchildren every Sunday in the summer.

Dorothy Clark Script is a stylish script comes with 3 styles, regular script, signature script and ink script. This typeface has unique opentype feature as you can see the explanation at 2nd preview image. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. This font comes with 3 style, Regular script that gives you the weight of calligraphy feel, Signature that gives you a consistent stroke with the same weight, and ink to add handfcrafted inky feel. All of them just in one font! Features : uppercase & lowercase numbers and punctuation multilingual ligatures alternates swashes PUA encoded contextual alternate We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Email us to letterhend@gmail.com if you need something! Happy Designing!

This font was reworked by request. It is another lovely handwritten font made by Kimberly Geswein - with its long e and c it gets a semi-connected look. Perfect for text with a personal touch. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Ribbonetter is an experimental font playing with the calt or contextual alternatives feature of OpenType. This feature alternates letters in ovals with letters in hourglass shapes to create a banner. The letters in the ovals will be determined by the start of the line, whether it starts by typing an upper-case or lower-case letter. Using layers, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters). The font may also be useful with the contextual alternatives turned off. Different amounts of character spacing may give interesting results. With default character spacing, ovals with will overlap. If you are typing numbers and want the start to be an oval, switch on OpenType style set 2. In at least one word processor (Pages 5 for Macintosh) the carriage return adds the shape assigned to the space character. If you encounter this, try adding a nonbreaking space (option-space on the Macintosh) before the carriage return.

Actium is a contemporary multilingual sans serif typeface developed to help perfect typography automatically. Type Mafia has focussed on words with odd combinations of capital letters and numbers, such as product names and postal codes such as WD40 and H1N5, jump out of the text. They sit awkwardly together as the numerals have been designed to work with the lowercase, not the uppercase letters – affecting readability.To fix this Type Mafia invented Smart Capo™. Smart Capo™ Smart Capo is a feature that automatically activates once you type an uppercase letter together with a number. When a capital letter is sat next to a numeral, Smart Capo converts the letter to a mid-cap — a contemporary alternative to small caps — and the default old-style numeral to a lining numeral. Actium’s mid-caps and lining numerals have been designed with the same height (between cap and x-height) so they sit comfortably next to each other and fit more harmoniously into text. Smart Capo applies equal attention to capitalised words without any numbers, such as NAVO and USA, and are also automatically set into mid-capitals. Working on its own, Smart Capo saves time and money for the typographer — taking the pain out of text formatting — and makes it a more pleasurable experience for the reader. This feature is made possible by the use of ‘contextual alternates’, an OpenType feature used in modern font software, working with a set of characters specially designed at mid-cap height. By default these changes automatically take place so it doesn't need to be switched on, it will just work. Actium Actium’s design has an unusual diagonal contrast — much more common in a serifed face than in a sans serif — giving it more bite. The typeface looks elegant when set in large sizes and remains very legible when shown in small sizes. The family consists of six weights in two styles, making a dozen fonts. Weights range from light to black in roman and true italic. All fonts are fully loaded with functional elements. Actium boasts an extended Latin character set and with Greek. This means a wide range of Western languages are supported: perfect for use in bilingual publications and packaging. For numerals, each font includes old-style and lining figures in both proportional and tabular widths, with superiors and inferiors. These allow you to select the right set of numbers for the right task.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

The 1892 MacKellar, Smiths & Jordan specimen book featured this jaunty little face, designed by profilic in-house designer Herman Ihlenburg. Happy, hoppy fun. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Another Vincent Pacella oeuvre named Pioneer provided the pattern for this rootin' tootin' typeface. Perfect for Western or patriotic themes. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

This font has wide letterforms and bends which echo the continuous roads traveled on when reaching distant holiday destinations. The typography aims to be clear and legible, as do helpful road signs. This font can function as headings, subheadings and body text.

This bold blackletter is rather wide, which enhances its readability. In Victorian job printing it was not unusual to find one line of blackletter in a card or handbill, just for contrast. This one came on the scene sometime in the 1880s.

The perfect companion to Twelve Oaks JNL is this condensed sans serif font created by Jeff Levine from scans of actual wooden type blocks. Ingomar JNL [named after a town in Montana] continues the charm and nostalgia associated with this type of lettering.

This font was inspired on graffiti texts, sentences of street walls. The intention it's to give an style of old school words spreaded on some walls around the world. This can be cool for an design of a poster, headlines and so on.

Sometimes you need a slim, elegant good old fashioned serif font. And, voila! Here you are - Valuable Time fits all those needs. I didn't spend much time cleaning up the letters, so they stand out just the way they are: organic and handmade!

The 1895 specimen book from Barnhart Brothers and Spindler featured this whimsical typeface, originally called Anglo. An unusual combination of elegance and quirky charm. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

?Razlom is a spectacular, brutal and at the same time intriguing font. Tej wide letters are filled with small cracks resembling faults. They crack, but they don't break. The font will convey confidence and strength to each project and highlight it from all

Iza and Paulo W (Intellecta Design) are proud to announce Bradstone-Parker script Script. A free interpretation of the golden age writing style from American classical penmanship. Inspired in Zaner and his contemporaries Bradstone-Parker has evocative (sometimes exaggerated) ligature forms and voluptuous forms. This enhanced OpenType version is a complete solution for producing documents and artworks with a evocative and voluptuous style of calligraphic script: - many stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - ornaments and tails (“rasgos”) in the typical style from the XIX to the first decades of the XX century writing style, all accessed with the glyph palette using the Ornaments feature; - an extensive set of ligatures (100s of contextual alternates ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 4600 kerning paris soft adjusted handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (almost 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can get an idea of the power of this font looking at the “Bradstone-Parker Script Guide”, a pdf brochure in the Gallery section. Take a special look at the Bradstone-Parker Words (ready words). Bradstone-Parker Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Golden Blast is a Bold Signature Font script with a natural & stylish flow. This collection of scripts is perfect for personal branding. It was made with the intention to be used for your personal branding. But, this works well for many applications. Everything from personal branding, photography signature, product packaging, advertising could benefit from this collection of this bold signature fonts. These typefaces work well for many different aesthetics. They work well with something like ‘cosmetics’ for example but would also work well with Liquor Labels, Signage, & any type of signature-styled logo.

Myhtring is a spine-chilling display font that will cast a spell of fear on your designs. Designed in uppercase and with a bold weight, this typeface demands attention and exudes an aura of darkness and mystery. Each letter is meticulously crafted with details resembling menacing plant roots with sharp edges, adding an eerie and sinister touch to the font. With its bold weight and uppercase design, this font creates a powerful and impactful presence. The root-like details in each letter of Myhtring give the font an organic and unsettling appearance, as if the letters are entangled with malevolent and ancient roots. These haunting details add a sense of otherworldly energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of dark and sinister forces lurking in the shadows. The letters seem to possess an aura of malevolence, making it an ideal choice for projects that delve into the horror and the supernatural. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Mythring fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

ITC Luna is the work of Japanese designer Akira Kobayashi. He turned to the designs of the 1930s for his inspiration for both ITC Luna and ITC Silvermoon. Luna is designed to fill the gap between a pure Art Deco display face and an ordinary text face," says Kobayashi. "It has an Art Deco style but is still fairly easy to read. It can be used in short passages of text. As for individual characters, I especially liked the distinctive O, shaded only on one side. Lowercase a and g are also unusual, but they are somehow legible enough in text matter." And for a finishing touch on his Luna, Kobayashi added the charming moon face as an extra character.

Allegroost is a handwritten font that uses a large brush in a horizontal position, so that the brush strokes vertically make the size large, opposite the horizontal strokes the size becomes small. To add to the natural impression, we complete many ligatures that adjust handwriting such as: ob, oc, od, og, oh, oi, oj, ok, ol, om, on, oo, op, oq, or, os, ot, ou , ov, ow, ox, oy, oz, bo, bd, bg, bi, br, bu, by, ee, ii, ll, tt, th, tl, lt, it, ti, iti, ld, ts, st , mm, nn This unique handwriting is perfect for logos, quotes, posters, fun letters, for clothing, or any design project. Equipped with 28 language support makes your brand can appear in various parts of the world

Aila is a surprising slab serif built on the structure of a realistic Roman, but with unique organic features that make this typeface an exercise in tension between structure and rhythm. This expressive tension is displayed in heavier styles (Aila Bold and Aila Black), and is strongly evident in the italic forms. Aila's italics offer an interesting re-interpretation of the cursive ductus of classic italic forms, to offer rhythmic and swift variants, which are the ideal counterpoint to the regular set in body text. Each style of the Aila family offers an extended character set specially designed for editorial design projects.

Inspired by both turn of the century neoclassical forms and Dutch Fleischmann Type, Garvis is designed to bring the character of those typefaces into more modern times by increasing the sturdiness of the forms without losing their character. At display sizes, this typeface displays the subtle inconsistencies commonly found in traditional metal type printing. This detail is designed to virtually disappear at text size so as not to become distracting while still giving the text a warm, human quality. Garvis includes support for all contemporary (and many historic) Latin orthographies as well as complete IPA support.

This is Avris, an exceptional and feminine stencil font. The base was designed in 2015. The word ‘avris’ derives from the latin rara avis, which means “rare bird”. Stencil fonts were initially designed for mass production and transportation companies. Unlike this one, Avris’ curvy and minimalistic design feels and looks like the wings of birds, flying above the quiet ocean. It also has a roman, calligraphic and cryptographic touch to it. It can be used for editorial (fashion) magazines and poster designs. Looks great in headlines! Also the numerals are a must see when you put it in use.

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. This version of the family is part of the Reading Edge series of fonts specifically designed for small text onscreen, having been adjusted to provide more generous proportions and roomier spacing, and having been hinted in TrueType for optimal rendering in low resolution environments.