Precision is a sans serif contemporary font with each character having a horizontal connecting bar before and after.

A serifed handwriting font with equal parts fun and flair. Wide spacing gives the font a festive feel.

Woozee is a serif font with characters that appear to be wobbly and are not clean and crisp.

Condensed Sans-Serif font family 7 widths with corresponding italics 2 free fonts (Aureola regular & italic) OpenType features

Geometric sans-serif with clean, ordered, hi-tech, futuristic feeling. For texts, titles, interfaces, logos, technical inscriptions, everything.

Designed to be layered, DeepFried is a multi-weight geometric sans-serif with a 70's pop feel.

A rough hand drawn playful serif that would be good at larger than normal text use, or headlines.

A revival of an unusual wooden type font of the 19th century, a sans serif, suitable for display.

Modern geometric sans serif typeface. Suitable for many projects such as logo, printing, social media, website, apps, etc.

Adelon Serial is a classic flare serif typeface. Use it for titling, packaging, and other types of headlines.

An elegant take on Bodoni, with its subtle flared serifs that give it a very beautiful distinguished look.

Tournedot is a semi-serif headline font with two stylistic sets to give more possibilities for different feel.

A simple and uneven handmade brush seriffed font. Great for that extra dip your handmade looking designs need! ;)

Moonbandit presents Predatory, a bold modern sans serif titling font. A multi purpose display font with high impact

Slender is a sans serif contemporary font with each character having a horizontal connecting bar before and after.

FattyPans is a strange, bizarre font with spiky serifs that bulges where letters are not supposed to bulge.

A hand-sketched sans serif sketch font. For a solid version, pair this with KG Second Chances Solid.

A heavy bold serif face, packs great punch; excellent headline font. Can be used for many different applications.

Equal parts Sabbath and Blackletter. Its distinctive serifs will make any metalhead want to stand up and shout!

A beautiful new sans serif great for magazines, ad work, text or headlines works for all your needs.

Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears. Upon finishing the serif version, a sans-serif variant called Dederon Sans was added. The construction principles are also derived from the Old Style Roman model, which lends the lettering its open, humanist feel. Yet the design also conforms to the rules of the modern sans serif. Most characteristics of Dederon Sans match the serif version — the weight of individual cuts, the width proportions, x-height, ascenders' and descenders' length, and the slope of the italics. Each version of Dederon Open Type Std contains the standard Western Latin character set and the Central European characters; a number of basic and accented ligatures, small caps; old style, small caps and caps, table, fraction and superscript numerals; expert glyphs and alternative characters. This brings the total to a comfortable 820 glyphs per weight

This font is a clean, modern sans serif bold. Named after “De Rotterdam”* this huge and super cool building (read the story below). Great for headlines, Posters, Flyers but also well legible at small size in large texts. Contains All European language accents and characters. --- The Story --- *This complex is located in the Kop Van Zuid district of Rotterdam, on Wilhelminapier. I was lucky to see this building from the beginning (2009) growing up (2013) That time when I was working and living here. I was always amazed by the design and how huge it is every time I took a look at it while driving or walking on the Erasmus Bridge. When I was going to work or just hiking around the city. It has a special meaning and message for me: I started creating fonts in my free time in 2010 when I came to this city to work. I was factory worker, dishwasher etc. I grew together with this amazing construction from brick to brick, step by step. By the time its construction finished, I was able to quit my day job and become a full time freelance designer.

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Makosi is a traditional serif typeface that is ideal for classic or retro modernist applications. With a graceful and elegant design, this typeface adds a distinctive touch to any text composition. Makosi includes unusual features such as ligatures and alternatives, which provide flexibility and provide intriguing variations in text appearance. As a result, you’ll be able to effortlessly adjust the style and feel you want for each of your creative projects. Furthermore, Makosi is multilingual, allowing you to utilize this typeface in a variety of languages all around the world. You may reach a worldwide audience while also providing a consistent and appealing visual experience. You will develop an eye-catching design with a distinctive classic touch if you use Makosi as the main font for your project. Join Makosi and give your distinctive typography a new depth. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Newbery Sans is a new contrasted sans serif designed by Alejandro Paul and the Sudtipos team. As Paul has lately found inspiration from different German instructional books, Newbery Sans finds its initial inspirations from the lettering work of E. Nerdinger and invokes the spirit of German designs but is imbued with personality all its own. The idea was to make the letterforms more usable and suitable for everything from corporate branding to editorial. It is an elegant, functional family with contemporary detail that will effortlessly meet the demands of the screen and printed page. From a condensed thin to an expanded black, Newbery Sans provides a usable workhorse system of three widths and seven weights, each with the original design of real italics, a selection of alternate glyphs and a complete set of small caps. Each weight is professionally crafted and includes extended Latin support for Central, East and Western Europe languages. The font’s name nods to its imagined uses in airports and street signage: Jorge Newbery was one of the first Latin American aircraft pilots, Newbery is the street where I live and it is also the name of Buenos Aires’s local airport.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. Please note that Interleave SB and Interleave OCR SB are versions which are for decorative purposes only.

The Macarons font family consists of a monoline version, regular and bold weights, and a set of gestural catchwords, which reflects the use of the ruling pen as a freestyle tool. Ornaments and dingbats are also included. Macarons is a display type based on the classic Garamond typeface. It’s inspired by the foodie culture and the slow food movement, which began as a rebellion against fast food and has now grown to a global scale. Every day, thousands of people around the world take pictures of their food, look for new recipes to try and recover old ones, enjoy wine-pairing, and value locally produced food. Macarons is a fresh and spontaneous looking typeface that has been designed by Coto Mendoza, who also has developed a hand-made product line (Ride my Bike, Ride my Bike Serif, Four Seasons, D.I.Y. Time, Dans le Cuisine and In a Jar). This font is not constructed out of modules: each character is drawn by hand. Macarons is ideal for cookbooks, menus, liquor bottle labels, food packaging, wedding invitations, greeting cards, tea boxes, food blogs, small shops, cupcake bakeries and so on. Try! A freshly-baked homemade macaron!

The Vondelpark is the famous Amsterdam city park, 47 hectares stretching out from Leidseplein to the Amstelveenseweg. It was founded in 1864 when a group of well-to-do Amsterdam citizens got together and bought land at the (then) edge of the city centre in order to create a park ‘for riding and strolling’. Designed by architect J.D. Zocher, it opened officially in 1865. The park received its name two years later when a statue of Dutch writer Joost van den Vondel was placed in the park. In the 1960s and 1970s the Vondelpark became a symbol and epicenter of the hippie flower power era. The park was declared a state monument in 1996. Donald DBXL was intrigued by the handmade iron nameplate lettering on the park’s entrance gates, and decided to design VLNL Vondelpark in its glory. The somewhat clumsy iron letters were not revived as is but optimized to turn it into a useful typeface. The all-caps serif with a deliberate constructed feel, contains a Positional Open Type feature that places half circles on the vertical stems, at the beginning and end of a word, to enliven the rhythm.

Mynaruse Royale is an expansion of Mynaruse Titling. It features script capitals and widely tracked and smaller titling capitals. Mynaruse Royale has plenty of character and, with its powerful and sharp serifs it draws in the eye. Mynaruse Royale is useful in settings that call for titling with an extra touch of elegance, such as a storefront, wedding program or formal invitation. Mynaruse Royale contains a number of OpenType alternates, including alternate forms for the capitals that are large, drop cap like capitals instead of the calligraphic script capitals found in the default forms. Additionally, there are non-widely tracked lowercase forms that work well with the included alternate characters and ligatures. The lowercase forms are 80% smaller in height than the Mynaruse lowercase forms, so the families are not interchangeable, but they can be used together. The calligraphic script capitals could also be used separately as drop capitals. OpenType-capable applications such as the Adobe suite or Quark can take full advantage of automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of latin based languages.

Stagen is a cloth with a length ranging from 5-10 meters and a width of about 15 cm which is usually used by traditional Javanese women as part of the traditional kebaya dress. The stagen is wrapped around the stomach to help maintain posture and "lock" the jarik cloth on the kebaya. Stagen existed before World War II in Indonesia and became an elegance in the harsh world at that time. Inspired by the rich culture, Stagen is a modern sans serif typeface that has an upright and sturdy impression, with unique curves in it. A simple, yet distinctive, elegant font that can be applied to many areas of design. Coming with 130+ stunning and super easy to use alternates and ligatures. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easly call alternates character using special combination like A.2 R.3 L.A L.a etc so you don't need special software. To get results like the preview just type Sta.gen.

Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases 'n' or 'd', for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.

“Chalkís” or “Chalkida” was the capital of the Euboea island in old Greece. The name derived from the Greek and it means copper - bronze. Colonist from this area founded several important cities in the Magna Graecia, such as Cumae (coastal area of Southern Italy), where our alphabet come from. At the beginning, first scribes draw the signs in mono-line, but later on, the influence of materials, tools and the skill of calligraphers, developed the refinement of the lettering. “Calcis” is a family of sans serif fonts, characterized by its austere, functional and clear style, emerged from straight lines and primary shapes; but enriched by the contribution of countless anonymous calligraphers who have polished and embellished their forms over the years. “Calcis” is presented in five weights and italic style. It has good legibility in small sizes, elegance and strong visual impact in headlines as well. Each font of the family contain 377 glyphs with accurate kerning pairs careful controlled, and advanced typographical support with OpenType features such as: old style numerals, ligatures, discretional ligatures and case-sensitive forms. It also contain diacritics for Central European languages.

EraMax 123 is a multi-layered display geometric sans serif, meant to be set BIG, for large, colourful statements. It's the perfect face for packaging, posters & branding, where a strong, colourful voice is needed... Did I mention posters? The "Max" in EraMax comes from the ultra bold weight, but also, and mainly as a tip of the hat to Peter Max, the designer and artist, known for creating so many images which have come to be emblematic of the sixties and seventies. The bold gradient effects in some of his posters were the inspiration behind the dotted and striped layers. This font's vintage flavour truly stand out in a retro setting, but also has a modern flavour that lends it the flexibility to work well in a more contemporary context. This is the second of what is to be an extended family of typefaces based on the original hand painted signage found in the T. H. & B Railway station in Hamilton Ontario, a classic Art Moderne building, designed by the New York architectural firm of Fellheimer and Wagner for the Toronto Hamilton and Buffalo Railway line and completed in 1933.

Novelia Pro & Novelia Pro Small Cap is a multi purpose serif font, with a swirly blend that is very spoiled in the eyes, unique and elegant, and ready to accompany and play around with you in preparing the next design project. Novelia can be used for various purposes such as posters, logos, t-shirt, signage, business card, magazines, book cover, wedding invitation, greeting cards etc. Novelia Pro & Novelia Pro Small Cap allow you to create custom dynamic text. You can access by turning on; Stylistic Alternates, Titling,Swash, as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's switch from the regular character into character alternative to get the text with the layout of your dreams. Novelia Pro also includes glyphs, punctuation, numbers, and multilingual. Novelia Pro & Novelia Pro Small Cap features +1000 glyphs and has given PUA encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software, COMPATIBLE WITH SILHOUETTE & CRICUT DESIGN SPACE.

This version of News Gothic contains the Vietnamese character set. Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Body Types). The most obvious differentiation can be found in the spacing. That of the Body Types is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Body Types, fine spaces were created which prevented the smear effect on acute angles in small type sizes. For a number of Body Types, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Indulge your senses with the exquisite elegance of Negotiate, a sans-serif typeface that exudes sophistication and style. This alluring font boasts a distinctive blend of rounded and flat stroke ends, creating a striking contrast that is both visually appealing and alluring to the eye. The smooth, curved lines of the rounded stroke ends provide a soft and gentle touch, while the flat strokes add a bold and assertive element that commands attention. This captivating contrast imbues Negotiate with a unique personality, making it a perfect choice for those seeking to convey a message that is both powerful and chic. What truly sets Negotiate apart is its versatility. The typeface is available in five distinct weights, allowing you to customize your design to achieve the perfect balance of grace and strength. Additionally, the italics add a touch of sophistication to your work, giving it a refined and polished edge that is sure to impress. If you’re looking for a font that truly embodies the essence of fashion and elegance, look no further than Negotiate. With its old-style numerals, this typeface is perfect for use in OpenType-capable apps. Its charming design and alluring character are sure to make an impact and leave a lasting impression on all who behold it. Choose Negotiate and let your creativity take flight. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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.

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.