FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Sassoon fonts package for handwriting starters The three upright "infant" fonts developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Letters have extended ascenders and descenders ideal on screen and print. They facilitate word recognition. The exit strokes link words together visually, also crucially, they space the letters for improved legibility. The "joined" font puts the skills gained into practice producing joined-up handwriting. Together these typefaces provide a valuable resource for Teachers to create consistent material across the curriculum. Sassoon Infant Tracker B font: This font with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow font can be dropped and the Dotted font used. Sassoon Infant Dotted B font: Writing over the dots of this font refines motor skills. The aim here is to give confidence by reinforcing starting points, exits and to now encourage fluidity. Sassoon Infant font: With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and exit strokes to write freely along the baseline - still unjoined. Once learned, this leads to spontaneous joins along the baseline leading logically to a joined-up hand. Sassoon Joined font: Having learned to write letters with correct starts and exits, this is when the joined font for teaching handwriting can be used. With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and simply extend their exit strokes to make joined-up writing. The default joins the font provides are recommended, however there are alternative letterforms that are so important for some Teachers which can be accessed. Create ‘pen lifts’ anytime too! NOTE: Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your text editing application such as Word or TextEdit, read more for instructions… Free to download PDF resources: Stylistic Sets and how to access the alternative letters feature in these OpenType fonts. Using the separate letter fonts Using the joined font Teachers copybooks using these fonts: How to teach pre-cursive Copybook How to teach cursive handwriting Copybook

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

Namex is a handwritten font with serifs. It tends to be a slab serif style while maintaining the hand-drawn shape, making it look original and non-standard. We recommend you use this font for retro and warm decoration designs.

Compendium is a sequel to my Burgues font from 2007. Actually it is more like a prequel to Burgues. Before Louis Madarasz awed the American Southeast with his disciplined corners and wild hairlines, Platt Rogers Spencer, up in Ohio, had laid down a style all his own, a style that would eventually become the groundwork for the veering calligraphic method that was later defined and developed by Madarasz. After I wrote the above paragraph, I was so surprised by it, particularly by the first two sentences, that I stopped and had to think about it for a week. Why a sequel/prequel? Am I subconsciously joining the ranks of typeface-as-brand designers? Are the tools I build finally taking control of me? Am I having to resort to “milking it” now? Not exactly. Even though the current trend of extending older popular typefaces can play tricks with a type designer’s mind, and maybe even send him into strange directions of planning, my purpose is not the extension of something popular. My purpose is presenting a more comprehensive picture as I keep coming to terms with my obsession with 19th century American penmanship. Those who already know my work probably have an idea about how obsessive I can be about presenting a complete and detailed image of the past through today’s eyes. So it is not hard to understand my need to expand on the Burgues concept in order to reach a fuller picture of how American calligraphy evolved in the 19th century. Burgues was really all about Madarasz, so much so that it bypasses the genius of those who came before him. Compendium seeks to put Madarasz’s work in a better chronological perspective, to show the rounds that led to the sharps, so to speak. And it is nearly criminal to ignore Spencer’s work, simply because it had a much wider influence on the scope of calligraphy in general. While Madarasz’s work managed to survive only through a handful of his students, Spencer’s work was disseminated throughout America by his children after he died in 1867. The Spencer sons were taught by their father and were great calligraphers themselves. They would pass the elegant Spencerian method on to thousands of American penmen and sign painters. Though Compendium has a naturally more normalized, Spencerian flow, its elegance, expressiveness, movement and precision are no less adventurous than Burgues. Nearing 700 glyphs, its character set contains plenty of variation in each letter, and many ornaments for letter beginnings, endings, and some that can even serve to envelope entire words with swashy calligraphic wonder. Those who love to explore typefaces in detail will be rewarded, thanks to OpenType. I am so in love with the technology now that it’s becoming harder for me to let go of a typeface and call it finished. You probably have noticed by now that my fascination with old calligraphy has not excluded my being influenced by modern design trends. This booklet is an example of this fusion of influences. I am living 150 years after the Spencers, so different contextualization and usage perspectives are inevitable. Here the photography of Gonzalo Aguilar join the digital branchings of Compendium to form visuals that dance and wave like the arms of humanity have been doing since time eternal. I hope you like Compendium and find it useful. I'm all Spencered out for now, but at one point, for history’s sake, I will make this a trilogy. When the hairline-and-swash bug visits me again, you will be the first to know. The PDF specimen was designed with the wonderful photography of Gonzalo Aguilar from Mexico. Please download it here http://new.myfonts.com/artwork?id=47049&subdir=original

Thinking Modern Bold Sans Font Typeface inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : + Standard glyphs + International Accent + Works on PC & Mac + Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Plastilin type family of two weights obtained its name due to the soft, curved, stroke terminals of characters (J, K, L, R and others) and the little pointed serifs, as if extruded from stroke plastic mass. The character set has a lot of additional Latin and Cyrillic ligatures, as well as several alternate letter forms. Plastilin was designed for ParaType by Oleg Karpinsky in 2005. It is for use both in display setting and short text passages. In 2008 the author added two weights (Light and Black) and improved letterforms of some characters.

Balinese Culture Condensed Sans Font Typeface inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : Standard glyphs International Accent Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

The Bitstream version of Melior, a twentieth century modern face commissioned by Stempel and designed by Hermann Zapf in 1952. It is based on Zapf’s thoughts about the squared-off circle known as a super-ellipse. The type was originally intended as a newspaper text face by Linotype. Hermann Zapf’s Melior exhibits a robust character through classic and objective forms. Versatile and extremely legible, it can be used for a variety of texts and point sizes. Cyrillic version was developed by Natalya Vasilyeva and licensed by ParaType in 2002.

Husein Script is natural handwritten Ramadan themed script font, which support OpenType features and includes, numeral, punctuation ligatures, and it also supports multi-languages. This typeface is very catchy and natural because it was made using brush pen. This font also include additional extruded style. This font is perfect for branding projects, wedding designs, advertisements, product packaging, product designs, label, photography, invitation, quotes, religious design, ramadan design etc. Husein Script features: A full set of upper & lowercase characters Numbers & punctuations Multilingual language support PUA Encoded Characters Ligatures Layered Style

The Atoxina family is designed especially for the burgeoning market of starships and other space cruisers. The fonts are ideal for internal and external use (including zero-g and occasional bursts of cosmic rays), and with their simplified forms are expected to survive well in non-linear galaxies. With their unusual diagonal half-pixels the fonts are striking as abstract designs at astronomical sizes, where small text may be placed within the black holes formed inside the letters. The typeface is available in two different styles: Atoxina (regular) and Btoxina (italic).

Berliana Monoline is typeface was inspired by handwriting using markers. While the name is a word other than Diamonds, namely jewelry worn by many women in the world. Diamond jewelry is so expensive and full of luxury. As regards with diamonds, this font was created to present the luxury of very beautiful diamonds. This font is suitable for wedding invitations, design, logo or branding, or as the font for the typography. Many features in this font such as ligatures, stylistic alternate, fina, swashes, etc with a total more than 370++ Glyphs.

The Dear Sans Collection is comprised of four widths ranging from Condensed, Regular, Expanded, and Wide; each of which are comprised of a three font family of weights: Book, Regular & Bold. Cleanly readable, with just a slight hint of silliness, the Dear Sans Collection brings adds the perfect level of lightheartedness to your designs. The Dear Sans Collection comes with: - Approx. 367 Character Glyph Set per font - including standard & punctuation, international language support, and basic “fi fl” ligatures per font. - 3 Weights per family including: Book, Regular, and Bold. - Loads of Personality for your designs.

Altair is a sans serif type family derived from Zetafonts's Digitalino typeface. The original bold design by Francesco Canovaro has been expanded in a seven weights family, suitable for a wide range of design uses, from body copy to display text and ranging from a thin weight to the ultra one. Altair's main originality lies in the calligraphic roots of its design, that gives it a friendly, confident look that is perfect for corporate voices, new technology startups, news blogs and any other case where a solid design must be given an emotional context.

No Dr. was inspired by an old movieposter lettering for the 1962 movie "James Bond: Dr. No". Just like the original Dr. No, No Dr. has a diabolical charm. It was developed into a font family that combines distinctiveness with versatility. It has a good readibility as a textfont but also looks great as a Headline. The two widths and the two weights give you a big choice. Intended to become an interesting alternative to the much used DIN Schrift, it has now developed into a highly functional family of it's own.

I was listening to the radio and a song caught my attention. It was ‘Demagogue’ by a band called the Urban Dance Squad. That song brought back memories from when I was a student, so I decided to name this font after it. Demagogue was made using a Sharpie pen and a piece of expensive paper. The result is a very legible, very neat and very bold font. Demagogue is ideal for when you want to get your message across, but hopefully not in a demagogue-ish way! ;-)

Radar is a revival of the sans serif typeface “Grotesca Radio”, from the Spanish foundry Richard Gans, which existed from 1888 to 1975. His authorship is attributed to the German type designer and master punchcutter Carl Winkow. Although the new version of this font has always tried to keep accurate similarities with the original typeface, Radar is not intended as a strict revival, but as a contemporary interpretation. In this new version the user can find some alternate characters that give the typeface a more art-déco or neutral flair.

Retrofunk was inspired by the retro typography design in 70's. Script and Serif form a great combination for creating a logos, signboards or a simple word mark. Hundreds of Alternates with PUA Unicode are packed inside Retrofunk Script. Those alternate characters will help you to create a bold, strong, artistic and variate graphic design for flyers, posters, banner Ads, T-Shirts, book covers, titles or any retro or vintage typography. Tutorial: Watch how to access the alternate characters and pairing the basic script font with the extrude style here.

"The Enchanted Garden" is a dark, vintage-style font designed with simplicity and readability in mind, ensuring effortless legibility for all your creative ventures. From wedding stationery and Instagram quotes to contemporary logos, packaging, and websites, this versatile font complements a wide range of projects. "The Enchanted Garden" font is a valuable asset for those who cherish the art of handwritten expression. Its meticulously hand-drawn characters exude a timeless charm, infusing your headlines and titles with vibrant life. Moreover, it offers three alternative lowercase glyphs, expanding the horizons of your design possibilities.

Stroma is a serif display faces with moderate contrast and quirky cuts. Intended to use it on headlines in the editorial design environment or big type style graphics, The function of this typeface allows it to use on larger and compact text for any graphical elements that need special treatment. The details interpreted from the straight axis pointed into flourish calligraphic serif, the shape of the letter contains straight details and cuts, this gives them a rich and fine looks. The Stroma family includes four weights, ranging from Light to Bold with italic uprights.

VASARELY has famous roots, its name is related to optical arts own Victor Vasarely. Dropping the field of Op-Art, you already know where we have been aiming at. The REGULAR and LIGHT cuts of VASARELY are quite ordinary, rectangular, but legible typefaces, but with the BOLD and EXTRABOLD versions you will be able to build diverse illusive type illustrations and layouts. Being build on a strict grid with same dimensions, the eye-affecting black-and-white contrast should trigger different optical effects. As an extra we build an EXTRUDED version as well. Have fun!

The Bratsy Script is a layered bold script with the outline and extrude, inspired by a Retro aesthetic. Made in combination with hand lettering, it comes with dramatic movement and it’s great for any next creative project that needs a retro vibe or modern touch. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Features: Basic Latin A-Z and a-z Numbers Symbols Stylistic Alternate Stylistic Set (ss01-ss08) Swash PUA Encode Multilanguage Support If you have any question, don't hesitate to contact me by email figuree.id@gmail.com :)

This time, I would like to introduce a bold typeface called "Madame Karoline", which has an attractive retro atmosphere. This font looks interesting too, as I've added some alternatives that you can use. Don't forget to add an extruded style to make your design look more appealing. This font is suitable for those who want a design that shows an old-school side but still relates to a modern look that is attractive . No problem if you have experience using this font in your designs. Make this font one of your computer's font collection.

Working Condensed Sans Font Typeface inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : Standard glyphs International Accent Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Egyptian ephemera is a typeface inspired from basic block lettering, widely used in art and craft of sign writing. 5 styles available from light to bold. and for the first time it is also available as variable fonts. One of the uniqueness of this font is the small spur on each stem, and the terminal, which intends to simulate an entry and end brush stroke. OpenType features support such as Smallcaps, Tabular Figure, Superscript, and 2 alternate of ampersands. This typeface was created for Display needs, such as headlines, signage, logotype, badges design, packaging, etc.

Phoenica Std Mono expands the already large family of my very successful Phoenica. The motivation to develop a new mono-Phoenica family was that I was not satisfied with monospaced fonts in programming code, or simply in e-mail correspondence. The Mono Phoenica solves the problem of a typical monospaced font, a rigid, fixed width. The design gradations from Condensed monospaced to monospaced from 390em to 600em-square incurred a total of 21 fonts. Packages contain the fonts in CFF-OpenType and TrueType format, so you can use these beautiful fonts on all operating systems.

Wonderful Wostered Display Sans Font Typeface inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : + Standard glyphs + International Accent + Works on PC & Mac + Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Charmini is an exquisite font with a soft and at the same time confident serifs, modern and with a touch of retro. Font lines are strict with smooth, perfect transitions. Charmini family includes 2 types of uppercase letters and has 9 font thickness options - from the lightest weights, suitable for large amounts of text to the heaviest weights, intended for headlines. Tech Specs: 36 fonts in family UPPERCASE and 2 versions of lowercase letters ligature fi ff fl Numbers & basic Punctuation Serif Typeface 9 variants of width + italic OTF font format ld.luxfont@gmail.com

The Dough Is An Luxury Stylish Serif Font Inspired By Expensive Serif Typeface. SOFTWARE REQUIREMENTS : Fonts and alternate : No special software required they may be used in any basic program /website apps that allows standard fonts That's it folks! You can go ahead and get cracking :) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Burgs - Multistyle Font is a versatile typeface that starts as a modern sans-serif font and expands into a diverse collection of eight alternative font styles. These variations include slab, stencil, display, sport, classic, serif, and decorative, offering a wide range of design options. Each font style can be combined with others or used individually, making it adaptable for a multitude of design purposes. Whether it's for logos, posters, packaging, branding, business names, stickers, headlines, or any creative endeavor, Burgs provides a wealth of options for your projects.

A heavy, cartoonish and fun font based on a hand lettered 1960s advertisement. The hand-lettered original gave me the idea to expand this into an OpenType font with multiple interlocking ligatures. There are over 260 alternate ligatures found the in the "Discretionary Ligatures" OpenType Feature, which will lend the font a hand drawn look. The ligature glyphs can also be accessed via the glyph palette. Great for any design that requires a fun and light-hearted mood. Contains language support for both Latin-based and most Eastern European languages.

Display Explicit is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Explicit has an uppercase alphabet located under the shift+character set keys with alternate characters for A, B, C, D, E, F, G, J, K, M, N, P, Q, R, and W located under the option+character and shift+option+character set keys. Under the character set keys are condensed uppercase characters. There are sets of numbers matching each of the uppercase sets, and punctuation.

MultiType Glitch, an all caps typeface focused in display purposes. 9 styles with a glitchy look. This is the third release of an expanding multiverse of mixable fonts. The whole family of typefaces has been designed to work at big sizes and display purposes such as branding, headlines, thumbnails, posters and animations. You can swap between the three additional alternate sets through all the styles to add diversity to your composition, even in Cyrillic. MultiType Glitch is inspired glitch effects, errors and hacks. Have fun mixing all the styles in your projects.

Trends Modern Bold Sans Font Typeface inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : + Standard glyphs + International Accent + Works on PC & Mac + Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Bilton is a sans-serif typeface with the personality of serif and an incredibly large X-height. Intended for headlines and display sizes, Hutton can also be used at body sizes if needed. High contrast, sharp angles, and subtle serif-like flares are used throughout the design, making Bilton feel playful yet classy. Featuring ten styles – five roman and five matching italics – Bilton is suitable for a wide range of uses. The family supports more than 300 latin-based languages, and features contextual alternatives for character combinations and languages.