This handmade looking brush font is inspired by the titles of the 1959 movie, Imitation of Life, by prolific film titles artist, Wayne Fitzgerald. The 'pastiche' of the font's name derives from the 'imitation' of the film's title, and from the imitation of the brush. OpenType enabled software can make Pastiche Brush feel even more handmade. There are alternates for every letter and number, and most punctation marks and symbols. Every letter has at least one alternate glyph, and more commonly used (in English at least) letters have up to three, so when contextual alternates are enabled, the font automatically cycles through glyphs in a pseudo-random manner. This means no double letter combination will ever contain two identical glyphs. Not only this, but it's highly likely the same word will look different elsewhere in the sentence. The contextual alternates feature also takes care of start and end forms of letters, for an even more handmade feel. This is a great font for headlines in fashion glossies, food packaging where an organic look is desirable, posters, perfume bottles, wine bottles... the list goes on. And with extensive language support, it's going to be a very usable addition to your display font repertoire.

Reminiscing the old era of historical books (seriously, that old), circa 19th century. We crafted the letters by connecting the dots from the past with research for every flow, ornaments, look, and feel, to precisely aim for that perfect shape. Ephemera Blackbooks are born with a dark and robust personality. Feel the European historical mood right away, even with just typing it with your keyboard. You don't even realize when the design is done cause we make it so easy as a one-click-time-machine to your works using Ephemera Blackbooks font. It will be a perfect armory for a vintage headline, old book cover concept, sign, posters, playing cards deck design, vintage labels, beer labels, bar decoration, apparel, merchandising, you name it. OTF Features : Stylistic Set 01 to 07 and Ligature Glyph Count : 355 glyphs Language support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, VunjoZulu

Introducing KICKBOX Fonts - Unleash the Power of Nostalgia and Captivate Pop Culture, Lifestyle, and Music and Film Branding Looking to infuse your brand with a burst of retro charm and a dash of pop culture? Say hello to our KICKBOX Fonts! Designed with 3 styles: Narrow, Regular, Wide to make your brand stand out in the realms of pop culture, lifestyle, music, and film branding. These fonts are an absolute game-changer. KICKBOX transports you to the golden era of the past, evoking a sense of nostalgia that resonates with pop culture enthusiasts. Seamlessly blending boldness and authenticity, they captivate the hearts of your audience, adding a unique and irresistible touch to your brand identity. KICKBOX has 3 widths on each type: Narrow - Regular - Wide so can be perfect for any retro project like logotype, branding, title, packaging, and many more Features: Kickbox Main File Has 3 Variable: Narrow - Regular - Wide Instructions (Access special characters, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. Embrace the captivating allure of our KICKBOX today and unleash a world of endless possibilities! Enjoy Designing! Dharmas Studio

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

FF Signa is a typically Danish typeface, rooted in architectural lettering rather than book typography. Originally designed for signage—hence the name—FF Signa is now a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-into-typeface” conversion, FF Signa received a Danish Design Prize in 2002. FF Signa is radically different from most sans serif text typefaces that were published during the 1990s. It neither belongs in the “humanist sans” category, nor is it on the list of typefaces based on 19th-century grotesques. Its concise letterforms and a minimum of detail produce clear and harmonious word images. Yet its proportions are classical, and the underlying geometry has been subtly adjusted in order to create letterforms which are at once interesting, harmonious, and contemporary. These features make FF Signa pleasant for reading, even at very small sizes. The typeface has developed into a versatile family, with Condensed, Extended, and Correspondence versions. Later on Signa Serif, Stencil variants and a Signa Slab family added even more versatility. The resulting FF Signa type system may be used for corporate identities, brochures, magazines, communication, books, and on-screen publications.

Improved kerning of the Updated Version of 2020 - New Features: • Cyrillic language support • Bulgarian Localization • Completely New Nexa Text subfamily • New ExtraLight weight with a corresponding italics • Stylistic Set suitable for Display purposes - ss02 • Tabular Figures Even the most recognizable typefaces of our time, such as Nexa, should be updated sometimes. We proudly present you with the latest upgraded version of the notorious geometric sans serif. The completely refined family design comes with an addition of one more weight—Extra Light—and its matching italic, alongside an entirely new subfamily—Nexa Text, optimized for longer text, and even a futurist stylistic set of Nexa for an alternative display look. The outcome is altogether 9 weights and 36 fonts! The glyph case now covers not only an improved Extended Latin but a new set of Cyrillic with adequate language localization. The fluent functionality of Nexa is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. The unique appearance of Nexa combined with rich variety places it beyond the scope of regular geometric typefaces for all kinds of scales and purposes and designs that speak for themselves.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

CA Saygon Text is the logic consequence of CA Saygon. It is much calmer and therefore also suitable for reading texts and everyday’s editorial tasks. Basic shapes and proportions were adopted from Saygon and continued in such a way that a font family from Thin to Extrabold resulted. A fundamental inspiration were early static grotesque typefaces such as Akzidenz Grotesk. Nevertheless, the typeface was by no means intended to have a historical look. Thus, a relatively high x-height was chosen, which makes the typeface quite economical in type-setting, since the letters appear visually larger. A relatively small line spacing with good legibility can be achieved due to the small ascenders and the low cap height. Letters like f and t, which otherwise tend to end in curves, were given right angles, which on the one hand meets certain design elements of the original Saygon, but on the other hand also refers to contemporary trends in typeface design. A special feature are the five styles in which CA Saygon Text can be used. The default setting is the Helvetica style, with two-storey a and g. The Futura style has a single-storey a and a two-storey g accordingly. The third style with two-storey a and three-storey g is called the Franklin style. But the real highlight is the Cape style with single-storey a and three-storey g – a real rarity up to now. Let yourself be inspired by this unusual typeface. If you like it even more progressive, you should try the flat style, which continues the right angles in a, g, and y as well. Thanks to the Cyrillic and Latin Extended character sets, a huge linguistic area is covered that even extends to Vietnam! Even the exotic German capital-double-s is available and appears automatically when typed between other capital letters. Numerous OpenType features make life easier for the professional typographer: there are fractions, superscript and subscript numbers, as well as proportional and tabular capitals.

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

The Wild West meets Russia and India in this heavy duty display face. Although it's uppercase only, most of the characters vary between the uppercase and lowercase alphabets, so it's easy to give your text a hand-made feel by mixing up your cases. OpenType savvy applications can really exploit the extra features of this font. Engage contextual alternates, and G, C, L and alternate form of E will change when placed before a letter with a crossbar to create some cool effects (see the CK and LE combinations in the poster). There are standard ligatures for ff and FF combinations, and discretionary ligatures for 'and', 'the', 'No', 'Mc' and 'Co'. Engage stylistic alternates for a reversed 3 version of E, and the obligatory backwards R for that faux-Russian effect. Also included in the font is a host of ornaments. This font is perfect for wanted posters, heavy metal band logos, Communist propaganda leaflets and no doubt a load of other things too.

A handwritten decorative font with brush characteristics This attractive decorative script is found in a pamphlet of script samples from around 1900 which was issued by Otto Maier publishing house in Ravensburg/Germany. The forms and flow of Maier’s Nr. 42 are obviously influenced by Art Nouveau. In the original sample, only the Latin alphabet appears. All other characters, especially the Greek and Cyrillic letters, were modeled on elements of the original. A typeface can first reveal a true "handmade" character when the letter forms do not continually repeat themselves – a completely normal occurrence with handwriting. Thanks to OpenType, some key letters of Maier’s Nr. 42 appear in various alternative forms depending on the combination of letters. For example, the difference is obvious between an e followed by i and an e followed by l. Using this principle, a number of letter combinations are presented with alternative character forms so that overall a very lively impression is created.

Time-tested elegance is what you’ll get with Geographica Script, a handwritten typeface steeped in 18th century sophistication. Source materials include the maps of Emanuel Bowen (circa 1694–1767), Geographer to King George II, as well as English and American trade cards from the middle 1700s, including the work of artist and printmaker William Hogarth (1697–1764). A kindred font to our Geographica serif family, Geographica Script is a painstaking replication of the elegant roundhand cursive seen in engravings of the period. Geographica Script has more than 1,100 glyphs, including scores of standard and contextual ligatures, three full uppercase alphabets, historical forms, decorative flourishes, and full Latin support. It’s also got fifty evocative ornaments inspired by map and trade card illustrations, e.g., lion rampant, unicorn rampant, crowns, anchors, sailing ships, whale, dolphin, sun, moon, and many others. Note: To prevent Microsoft Word from cutting off Geographica Script’s extra-long descenders, set line spacing (Format —> Paragraph —> Spacing) to 1.5 lines.

Saracen is the Latin (wedge serif) member of The Proteus Project, a collection of four interchangeable type families designed in different nineteenth century styles. The Saracen typeface was designed by Jonathan Hoefler in 1992. Saracen is a design in the ‘latin’ style, characterized by wedge-shaped serifs, a genus of type that emerged in the mid-nineteenth century. A part of The Proteus Project, the typographic theme-and-variations based on related Regency styles, Saracen was created for Rolling Stone, in whose pages the typeface first appeared in 1993 . From the desk of the designer: Though the wedge serif printing type is a nineteenth century innovation, Saracen does not resemble any font from this era. It’s mysterious that typefounders of the Victorian age who sought the extreme and fanciful in their work — exploring all manner of serif treatments, and creating extra-condensed and super-expanded designs — never made a latin font of this straightforward proportion. <

Ligatures FS Rufus is an outgoing, likable sort of font with an eccentric streak. Wide letterforms and curious ink-traps make for an engaging personality, and a set of discretionary ligatures make FS Rufus irresistible to designers wanting to play. Not a small set, either: there are some 80 different options available. Wide The decision was made early on to make the letterforms of FS Rufus luxuriously wide. This generates a distinctive visual texture when the font is used for text. With other weights available for headlines, FS Rufus brings a curiously engaging look to editorial, magazine covers and advertising. Just look at my ink traps Ink traps are normally the preserve of fonts intended for printing at small sizes, in newspapers or directories – extra notches necessary to prevent ink from pooling. FS Rufus turns the ink trap into a beautiful eccentricity, flaunting it in both its lowercase and capitals. Take a look at the “h”, “a” and “k”, and the “B” and “N”. Attention-seeking? Moi?

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

Slab serif with a 70’s aesthetic A version of AW Conqueror Sans, AW Conqueror Slab draws inspiration from geometrical slab serifs of the 1930s, of which Rockwell is a perfect example. Lubalin Graph, a reworking of the genre, came out in the wake of the Avant Garde wave of the early 70s. In recent years, ‘slabs’ have made a comeback in the graphic design world. AW Conqueror Slab advances the cause quite happily. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Canadian designer Patrick Griffin made P22 Counter as an exercise in exploring the limits of counter-space and interchangeability between extremely geometric and standard calligraphic forms. Within a field of solid stems and horizontal strokes, parallel lines and curves play the role of counterparts to define square and round shapes, making what’s revealed just as interesting as what’s withheld. Each of the three basic Counter fonts stakes its own aesthetic territory, from clean basic minimalism, through the nostalgia of exuberantly pixel-based design, and on to calligraphic-cum-typographic, all within clear and precise geometric parameters. Counter Pro comes with that entire range included in a single font, giving its user the ability to move freely in a visual space and counter-space that can be defined by more than 1450 glyphs. While all the fonts come with extended Latin language support, P22 Counter Pro includes all three fonts in one font, many alternates, swashes and ending forms that are not available in the basic fonts.

The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, "Cien Años de Soledad". Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates. Macondo, as original typographic proposal was selected at Tipos Latinos 2012 Biennial, now the complete set of extended range for this typeface is prepared and improved to be commercialized. The new Macondo Pro can be available with extended capabilities of OpenType, as old style numbers, Swash Caps, slashed zero, some end-position lowercase, fractions, super and sub numbers, some stylish lowercase and discretional and/or contextual ligatures. The font also supports cyrillic, Greek and some East Europe languages.

Hasler Circus packs amusement park, Old West, folk art, and tattoo shop all into one colorful font. Characteristic of reverse-contrast faces, Hasler Circus swaps the weight of its stems and serifs creating an unexpected yet charming rhythm. The font also features an added bonus: split stroke endings to crank up the flavor. Inject a dose of novelty into toy packaging, candy wrappers, cook books, vintage signs, or festival marketing. Drawn in the 1950s for Photo-Lettering, Inc. by influential British designer and typographer Charles Hasler, Circus was digitized by Erik van Blokland in 2011, with a helping hand from Ken Barber. HASLER CIRCUS CREDITS: Typeface Design: Charles Hasler Typeface Digitization: Erik van Blokland, Ken Barber Typeface Production: Ben Kiel Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Frigga is a typeface that settles its roots in the Baroque Dutch tradition of text typefaces and northern european type forms. Carefully crafted for an optimum balance between its solid historic structure and a refreshing repertoire of organic forms, where blossoms its contemporary spirit and natural beauty. In the page, spread on long text settings a feeling of comfort and closeness, while in headlines and display use, it reveals itself more exuberant and plentiful of details. Is beautiful, timeless, lush, elegant and smooth like nordic mead. Fully equipped to realize your wildest editorial dreams, Frigga came in 20 styles, with more than a 1000 glyphs per style, alternates, ornaments and borders, old style and tabular figures, small caps and plenty of OpenType features to fulfill any type of editorial need. Named after the nordic goddess Frigga (also called Frejya), taking as a reference the romantic mythos of its cultural representation, the solemn presence and her warm, gentle embrace.

There's nothing really disastrous (impending or not) going on in my life right now, but I have always liked the expression. I thought about it when I watched a news item about the recent storm we had in Europe. The news showed footage of a person narrowly escaping a huge falling tree. Impending Disaster font is certainly no disaster. I created it using my fantastic Chinese ink and a broken tapas skewer (I seemed to have run out of my regular satay skewers). The result is a slightly rough, comic book kinda font. It comes with two sets of alternates for the lower case letters (which cycle as you type), one set of stylistic alternates for the 'O' glyph (and all accented O's), an alternate ampersand, asterisk, question mark and exclamation mark and a set of alternate numerals. Impending Disaster comes with extensive language support, including Vietnamese, Greek and Sami - so don't come running and say you didn't have any options! ;-)

Exuberantly delicious and lusciously sweet! VLNL Bon Bon embodies the perfect after dinner treat. Chocolate is a known aphrodisiac and bonbons are its most romantic carrier. Bonbon is not for nothing the French word for ‘good’ twice! You could definitely consider VLNL Bonbon the typographic equivalent of these exquisite chocolate sweets. Inspired by lettering on an Amsterdam church facade and a ladies clothing store window, Donald DBXL Beekman started drawing the first incarnation of Bon Bon already in 2004. The original idea was an alphabet design with slanted oval inner shapes and extremely long and striking serifs. This proved to be a quite demanding design job, so It took Bon Bon some time to get finished. But now it’s here in all its extravagant glory. Most recently a number of lowercase characters were added to make Bon Bon more versatile. Totally insane and over-top-the-top it has been called. But hey, we all love Bon Bon. Don't we?

M Lady is a design inspired by Agfa Waddy’s rather elegant design comes with narrow proportion. M Lady is a rare condensed design in world of Chinese typefaces. Entry and finial points of strokes are squarish, with a sharp but small symmetric serif. It has a medium contrast to improve character recognition. Its thin stems (豎) make it suitable for fine print with minimal conglutination. Dots (點) are straight, reversely curved or round. Downstrokes (撇、捺), ticks (剔) and hooks (勾) are highly regular and consistent. Dots (點), downstrokes (撇、捺) and ticks (剔) are long, smooth, monolinear and curved with small symmetric serif and sometimes angled entry and finial points of strokes to create subtle sharpness in the midst of its softness and elegance, which is better for larger text print. Its features and construction create subtle sharpness in the midst of softness and slim elegance. It is best suited for casual subheading or display, set upright (non-slanted), non-condensed (naturally condensed).

The infield dirt is raked, the outfield grass is mowed and the baselines chalked. So grab a beer, smother a stadium dog with mustard and relish, take a seat on the bleachers and get ready -- that handsome devil SPILLS is back on the mound and ready for a comeback! It’s true, Manager [the person who coaches a baseball team is a ‘manager’ not a coach] John JG Roshell has coaxed the wily veteran out of retirement, and he’s returned to the field with the wisdom of extra years and the addition of five new pitches (fonts): Stadium, Dugout, Outfield, Infield, Pennant and Base. The stadium is packed to capacity and we're pretty sure the first time he’s at the plate, it’s gonna be strike-out city! [to continue the logic of the baseball pitching ace as font metaphor, the pitcher would hopefully prevent a home run not facilitate one.] See the families related to Spills: SpillProof .

Right on the heels of the tremendous popularity wave that made Hollandse Mediaeval the most used Dutch typeface during the Great War years, Sjoerd H. de Roos was asked to design a 15 point type for De Zilverdistel, Jean François van Royen’s publishing company. So between 1914 and 1916, de Roos and van Royen collaborated on the typeface eventually known as Zilvertype, and which both parties viewed as an improved version of Hollandse Mediaeveal. Like Hollandse Mediaeval, Zilvertype was based on the Jenson model, but it is simpler, with more traditional metrics, lighter and more classic in color. This Pro digital version of Zilvertype comes expanded in all directions. It contains a roman, a bold and an italic. Each font contains over 685 glyphs, including small caps, eight different sets of figures, plenty of ligatures, some Dutch ornaments, and extended language support covering most Latin languages. Zilvertype Initials is also there to round out this distinctively Dutch text family and make it ideal for immersive text design.

The award-winning Scala family (1990-1993) is a worldwide bestseller and has established itself as a ‘classic’ among digital fonts. It was one of the first serious digital text fonts to support small caps, ligatures and different set of numbers. In fact Scala and Scala Sans (1990-1993) are two different typefaces sharing a common form principle: the skeletons of both Scala and Scala Sans are identical. Scala’s dark colour and low contrast works to prevent the thin parts from breaking up. The generous length of Scala italic’s serifs gives it a strong rhythm. The bold weight has the same character widths as the normal weight, so changing a text from normal into bold does not affect the set width. Another part of Scala is very popular among its users: Scala Hands, containing more than one hundred decorative hands and pointers, is a free bonus. Scala Jewels is a set of four highly decorative typefaces, based on the bold capitals of Scala.

Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? If you are looking for an elegant font with flair. Something that can makes your project or design being so special. You better not going to want to miss this one! Cagier-A Display Font Cagier is a display font in a luxurious, classy, and timeless style. Inspired from classic and vintage flair combine with recently trend style making this font the best choice to whatever your design is. Cagier is mainly intent for logo, headings, branding, magazine, cover album, book cover, movie, apparel design, quotes, invitations, flyer, poster, greeting cards, product packaging, printed quotes, etc. Hope it helps to capture the soul of any design. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Alternates Ligatures Stylistic Set Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Here's what I said about the original Ginza: Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of fonts that encompass a very simple skeleton with a lot of visual appeal. And now with Ginza Narrow: Once Ginza was released, I immediately wanted to commit the time to create a narrower version—if for nothing else but to add additional versatility to the skeleton, but my schedule just would not allow it until a client recently asked me to. There was no need to ask twice as I had already started and then shelved the initial builds. I also had the opportunity to expand the localization of the fonts by adding Cyrillic.

Manicuore is a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni (a.k.a. Sandro Simeoni). Being a talented and skilled painter, portraitist and illustrator, Symeoni enjoyed a long and fruitful career and was remarkably productive during the sixties and seventies. He counts over 3,000 works to his credit, which truly fed the imagination of several generations. This all-caps font brings different lettershapes on upper and lower case slots, which work as alternates, providing handy options to spice up your compositions. When using it in OpenType savvy applications just turn on contextual alternates feature to instantly cycle lettershapes – a one click way for adding spontaneity while also preventing neighbor double letters from using the same glyph. To put the icing on the cake, Manicuore brings a cool set of graphic elements that match the typeface look and feel. An inspiring toolbox for creative lettering designs. Now... Lights! Camera! Action!

The flower children of Canada Type are at it again. This time we went above and beyond the call of duty and right into the land of reconstruction in order to make this font. When we saw a few letters from an early 1970s film type called Jefferson Aeroplane, we had the sudden urge to bring their beauty to digital life. But since further research revealed no more letters or information, we just had to "wing" the rest of this Aeroplane. Now this Genie is out of the lava lamp, and it's nothing short of groovy. A few symbols and alternates come within the font, so make sure to check out the very full character set. We love this font so much that we couldn't help but play with it for a week. Some of the Wes Wilson-inspired results are in this page's gallery, so check them out for a flashback. Keep on trucking!

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding. Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter. The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825). What he found absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry. Each of the three fonts holds around 400 glyphs, covering the languages of Northern, Western, Central, and Southern Europe. Opentype features include case-sensitive forms and a couple of alternates for the Blackletter style.

Are you looking for a serif font? Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? If you are looking for a modern but still elegant, something that can makes your project or design being so special. You better not going to want to miss this one! Ogilen-A Serif Font Ogilen is a serif font in a luxurious, classy, and timeless style. A font that is inspired from recently trend style making this font the best choice to whatever your design is. Ogilen is mainly intent for logo, headings, branding, magazine, cover album, book cover, movie, apparel design, quotes, invitations, flyer, poster, greeting cards, product packaging, printed quotes, etc. Hope it helps to capture the soul of any design. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

The P22 Mystic font knows all. Aside from allowing for type design in a faux eastern script, this font peers into the world of the spirits for guidance and enlightenment. Sure it has small caps and ligatures as OpenType features, but it also has a special “oracle” feature which will answer your most mystifying questions. The design itself was based on an actual Ouija board. Somehow the spirits became embedded into the font itself and now when a question is typed, an answer is revealed—provided the Contextual Alternates feature is enabled. It is not known how the otherworldly harbinger was able to integrate into OpenType scripting, but who are we mere mortals to question this power? Ask and ye shall be amazed! Only the Opentype Pro version will offer the “Magic Eight-Ball” feature. It also contains the small caps and old style figures as found in both TT and PS versions of the fonts.

The typeface Star Player was created with a powerful and bold idea in mind. Your project will become instantly unique, gorgeous, elegant, and strong as a result of adopting this typeface. Because of its elegant and flexible shape, this font is perfect for use as a title or sentence text; everything will seem lovely and neat, and it will, of course, remain clear and strong. So, what exactly are you waiting for? This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Joyful Turkey - Display Thanksgiving Font is a charming and playful typeface designed to embrace the spirit of Thanksgiving. Its quirky and rounded characters add an element of fun and warmth to your designs, making it the perfect choice for projects that celebrate this special holiday. This font includes seven delightful decorative variations with Thanksgiving-themed elements such as turkey, pumpkin, pie, leaves, and more. Ideal for Thanksgiving-themed designs, including invitation cards, birthday invites with a Thanksgiving theme, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Joyful Turkey brings a delightful and heartwarming touch to your creative projects. With its whimsical and cheerful style, this font captures the essence of gratitude and celebration, making it an ideal choice for designs that reflect the Thanksgiving spirit.

With Gemsea Fonts, you open the door to a world of limitless creativity. A display theme that celebrates the power of the ocean, bringing a strong, bold, and fun touch to any of your projects. Gemsea is the perfect solution for projects that require a unique theme. From epic films to stunning games and unforgettable streaming events, this font offers durability and appeal in various languages. Stunning Features: Five different family styles: Regular, Blur, Engrave, Outline, and 3D. This gives you the flexibility to create a variety of nuances in your designs. It supports multilingual so that you can connect with a global audience without restrictions. Gemsea creates not just projects, but unforgettable works of art. Get the Gemsea Font now and bring the magic of the ocean into your designs!