Easy to use, but hard to miss. That’s dT Delicatta. An elegant script face that adds a special touch to any message. Script typefaces usually come packed with endless features and, more often then not, all those possibilities take their toll on the designer or art director. With usability in mind, we kept dT Delicatta simple and straightforward to use while delivering refined shapes that enhance your or your client’s communication. dT Delicatta is a revised, improved and virtually new font of our old classic Delicatta

Change is An Arabic text typeface for desktop applications. Change is freestyle Ruqah and a winner in Horouf Bilingual Typefaces Design Competition. The design is open, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Change typeface comes with many opentype features.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Vulpa is a charming serif family in regular, italic and bold, informed by the proportions of a personal favorite, Plantin. The quirky foxtail terminals (inspired in part by my script font, Gelato Script) can be seen across all three styles. These little details make the typeface very expressive at display sizes, but practically disappear at text sizes, making for a very versatile face. Across the three styles there are a number of useful OpenType features which make Vulpa capable of demanding typographic work, even though there are only three styles. Regular, italic and bold are all you really need anyway! The regular and bold weights both include small caps, and the italic features swash capitals for most letters. The italic also features quaint discretionary ligatures, and all styles include standard ligatures, automatic fractions, proportional and tabular, lining and oldstyle figures. If this isn't enough, the Vulpa family also includes Ornaments and Drop-Cap fonts. There is an ornament for A to B, a to b and 0 to 9. These have been carefully designed to match the feel of the text fonts, and many are influenced by ornaments and fleurons from the ATF 1912 Type Specimen book. The drop-caps have an engraved look, and two color versions can be made by overlaying upper and lower case. Despite the lack of weights compared to ‘workhorse’ faces, the charm and versatility of Vulpa make it a really useful typeface, that I hope you'll enjoy using as much as I enjoyed making.

Galangal, or Laos, is a root belonging to the ginger family, which is used in Indonesian cuisine. Since this font has the same design characteristics as Kurkuma, I thought naming it after a root was quite appropriate. Galangal is pretty unique, with thin and fat areas, bizarre glyphs and rough edges. Upper and lower case are fully interchangeable and the typeface comes with a full range of diacritics.

Boldoni is like a caricature: it brings with itself exaggerated elements of the modern typefaces, that has as main names Giambattista Bodoni and François-Ambroise Didot. Boldoni takes to the limit its width and serifs, causing a ultra fat type feeling, and its styles causes a monochromatic effect that remember the colors Black, Gray and White. Boldoni is good for titles, initials, drop caps, lettering, posters and vertical writing.

CA Cula Superfat is a distinctive fatty typeface, mainly intended for display purposes. You will find out that it looks best in extremely large sizes, or in very small ones. Whatever you do, avoid the ordinary and expectable. It’s not only beautifully fat, it’s also useful. A central European character set, loads of ligatures, oldstyle and lining figures make it a versatile companion in the daily struggle for outstanding typography.

Rue is an organic, casually ornamental, narrow-faced sans serif. It is a display type structured with random traces of calligraphic tendencies. It does not begin with any noble ideals, other than to mediate between the muse of imagination and the act of realization. The spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. Rue is the epitome of vanity and indulgence which seems to purpose itself well in aesthetics, wellness and botanicals. Its whimsical quality also suggests applications in the form of gifts and ornamentation. In retrospect, Rue was conceived as a typeface, used as an image and discovered as an ornament. It comes in 5 weights of light, regular, medium, semibold and bold, and their matching italics. Rue Display was published in 2010 by TypeTogether. http://www.behance.net/gallery/Rue/373854

Angelin Love is a gorgeous script font, beautiful and romantic. This font looks perfect for Valentine’s Day designs, or for other romantically inclined styles and projects. To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

Musubi is juicy, flavorful display face inspired Tiki culture. Use it to make a big splash on posters and signage. This swinging face's special features include Small Capitals, tropical symbols, and decorative borders. Its funky and flared design is also perfect for a spooky Halloween bash!

Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister font is a contemporary design based on Garalde types. The letters have an oblique stress, capitals are wide, serifs are prominently concave. Minister font has obvious calligraphic overtones, making it a good informal text face.

KD Arguru Stencil is a geometric display font that will give your projects an elegant look. It breaks away from traditional stencil faces by using circle as a main design element. Originally published in 2014, it's now been updated with changes to letter shapes, curves, OT features.

VolumeFour is a heavy, geometric sans-serif display face inspired by the custom lettering which adorns Black Sabbath's groundbreaking "Vol 4." Its bold forms and naturally tight spacing evoke the era which spawned such classics as "Snowblind" and "Supernaut", bringing this aesthetic to a contemporary audience.

It is what it says: a classic woodtype face by the same name from Vanderburg and Wells' 1878 specimen book. What it lacks in refinement, it makes up for in exuberance. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

PeterPierre is a stiff, awkward sans serif face. It has little variation in stroke width and the vertical and horizontal elements are connected with short, sharp curves. The condensed style was developed first and then, in a quest for legibility, it was widened into the regular style.

An expressive disconnected script and a stylish display face that play together devilishly well. Add some handsome extras to the mix and voilà Blueshift, ​​a hand-drawn family with a remarkable contemporary accent. Splendid designs are guaranteed for all​!​ (​And tonight Mr. Kite is topping the bill.)

KD Bombarda is a piano-key, stencil and display face that will make your projects stand out from the crowd by introducing some interesting letter shapes. Originally designed in 2013, it's now been edited to provide smoother curves with broader character and feature support including Cyrillic.

Recreation JNL is Jeff Levine's own take on a popular vintage typeface from the late 50s or early 60s that's seen a resurgence in recent years. While the basic alphabet is somewhat modeled from the classic design, all the other characters in the font are original.

Shabon Dama is a cheerful fun Arabic typeface, it bridges the gap between formal and fun, thus keeping it readable. It fits well with video games rated for everyone, kids comics and books, and cheerful marketing. Featuring three weights: Light, Regular, and Bold. ARABIC CHARACTERS ONLY.

Qualettee is a decorative sans face with a high x-height that works surprisingly well for text. The lightest weight is almost moonline but as the styles get bolder, the contrast increases, becoming very pronounced. The family has ten members: five weights with italics for each weight.

Peanuts are a good source of healthful fats, protein and fiber - and besides that, I looove peanuts! Every once in a while, I have to name a font peanut-something. But I only do that with fonts that have that organic and handmade look and feeling ... and in this case, this font looked perfect to have the honour! :) Peanut Jam is super handmade and has 4 different versions of each lowercase letter and besides that, the font has multilingual support! Go get that peanut butter feeling! :)

Grit Sans is a font balanced enough to stand strong on the tippy-toes of its pointed "t" ascenders. Even all caps communicates calm. Dashes of whimsy in the proportionately plump X-Heights tell of the accountant drinking too much sherry at the office Christmas party, but thick, consistent strokes never lets you forget his job title. Ascenders and descenders consistently reach the same heights and depths, further attesting to the reliability of this typeface, at even very small sizes. Available in both regular and bold face, Grit Sans is a faithful complement to thin fonts with a pinch of frivolity such as Heirloom Artcraft. It is ideal in use for titles, subheadings, menus, playbills, custom stamps, logos - anywhere a solid font can speak at a volume just above all others.

Common use(s) of Comicraft's All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE. Possible Side Effects: This font should not be used if you are trapped in a world you never made or a world full of people that hate and fear you. Prolonged exposure to this font during an Age of Apocalypse may cause fatigue, muscle soreness, first degree burns and immobility. Contraindications in Homo Superior may manifest as an outbreak of large purple automatons. Interactions: Before using this font in either regular or bold doses, notify your doctor of any recent exposure to mechanoids, synthezoids or paranoid androids. Reprogrammed Sentinel has improved spacing and kerning, Western & Central European accents, alternate lettershapes, and a new Interlocking Mode with over 100 connecting letter combinations!

During many years I have been exploring the translation from lettering or calligraphy to type design. Lately I have been designing more big sans and serif families plenty of weight. One of the main things about Hopfen is to bring back the german lettering of Bentele, who also inspired my fonts Semilla and Bowling Script, to a more versatile and useful world. Hopfen has the spirit from the past but with today's flow, it comes in 5 weights, full of swashes, endings and alternates. We imagine it being used from Breweries to book covers, from packaging to movie posters but we prefer to let our costumers to find the better use. When you license the complete Hopfen set we will include the variable version of the set so that you can find the right weight.

Jim Ford's Hideout typeface is definitely walking on the wrong side of the law. Inspired by the flared serif lettering of antique tobacco tins, its sturdy shapes are confident, eye-catching, and hark back to the Wild West. Large sizes bring Hideout's details to life, emphasising the delicate nicks in its Ks and Rs. For designers that need to soften some of its swagger, a set of decorative alternatives offer a little Art Deco elegance, adding some refinement to its chunky letterforms. With its 14 weights, Hideout is an adaptable design that works especially well when used for display – for example in book covers, packaging, posters, restaurant menus, or editorial. Don't miss the ghost weights, which hint at the kinds of weathered lettering found on faded and peeling Wanted posters.

BB Noname™ (Pro) is intended to imply the appearance of a conventional typeface in a contemporary context. Due to the frequent use in the public service (among other things), the style associates a supposedly objective face. The style is characterized by the proportions, the contradiction of the apparently perfect reduction and the retention of chirographic elements. In addition, the rapid further development of the input devices has meant that existing character sets have been added again and again, regardless of style and technical requirements. With this work, the properties were analyzed, the characteristic features highlighted and summarized in a complete typesetting: Anonymity (procedure), bureaucracy (style by category), convention (shape) and formality (optical corrections). ● 3 Variants: Human, Computer, Interaction ● 20 Stylistic-Sets ● 34 Styles ● 39 OpenType features ● 93 Languages Support ● 35,598 (1,047/Style)

Australian designer and art director Wayne Thompson has loved typography “ever since I received a battered second-hand Letraset catalog at the age of 10.” He based ITC Django on the handwriting of an acquaintance -- “a fellow I know who writes and illustrates children's books and is also a commercial artist” -- who called himself Django, after the jazz guitarist Django Reinhardt. “I felt that that name Django suited the funky, lively feel of the face,” says Thompson. But he adds, “Django has a split personality: it appears loose and easy at first, but after looking at it for some time I felt an edginess come through that was slightly psychotic.” The looseness of the lowercase contrasts with the spikiness of the capitals. The “edginess” is especially apparent in words in all caps.

Gia is 7 weights, true small caps and unicase options, designed after iconic letterforms of the 1960’s to 1980’s. In the early years of the American tech revolution, when Silicon Valley was more closely identified with Dallas, Texas, a curious type of letterform began to appear—strict in geometry, and curiously minimal in geometry and stroke, making it easier to be read by machine-readers, and people more used to reading machine-generated typography. Coders! As the years went on, this kind of sinewy, curved letterform began popping up in logotypes and music videos and upright video games: NASA, The Buggles, Atari, Pong, Sega, Namco, Stern, Devo, Apple. Gia pays homage to that letterform, and is named after Gia Carangi, the iconic face of early 1980’s pop fashion.

Joost Schmidt?s (1893?1948) name is undoubtedly connected with monolinear condensed letters of geometric appearance ? his unfinished draft of a stencil alphabet, constructed on grid paper in 1930, is much lesser known. These modular shapes simply consist of half circles, quarter circles and square strokes with half-round terminals. From just six original letterforms (a, b, c, d, e, g), Flavia Zimbardi completed Schmidt?s draft and extended it to a full character set for contemporary use, adding upper case letters and different figure sets including old-style. Joschmi overcomes legibility issues usually associated with this stencil style, with special attention to the design of white space. Zimbardi lends the face even more character by carefully adding round terminals in subtle spots of the alphabet, accessible through stylistic sets.

Carpenter® is a beautiful script perfectly suited for invitations and announcements. Created by James West, the design was a facsimile of the penmanship of Mr. Carpenter of R. Hoe & Co. and released by the Cleveland Type Foundry as one weight in 1882. It is now also available in SemiBold and Bold. The style of this script is very reminiscent of formal handwriting popular in the late 19 and early 20th centuries. It is graceful with formal structure. Its x-height is very small, with unusually long ascenders and descenders. Although there are many script fonts available, Carpenter is a historical design with a truly unique personality that will add a truly unique look and feel to your design. From GroupType™, Carpenter is available in TrueType and OpenType.

Estragon is a vivid sans-serif text face with venetian influences, suitable especially for books. It is remarkable for: its light slant, to the right, for most of the verticals, its small sized uppercase letters making it suitable for languages where they are often used (for example German,) and its just lightly inclined true italics. For a wide language support, Estragon contains a lot of accented characters including the polish kreska. It is generously equipped with ligatures, special and alternate characters as well as various kinds of numbers: besides the standard old-style figures to be set as part of text copy there are small-cap and tabular numbers as well as a set of fraction figures. Estragon comes with two weights, uprights and true italics, each with small-caps.

Give your typographic designs a touch of retro style with Amderais! Amderais is one of our 2022 fonts inspired by the famous retro typographic designs of the late 60s to 70s. This font has an extruded version so you can easily create retro effect fonts. This typeface is very suitable to be applied especially to logos, and various other formal forms such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, make-up, stationery, novels, and labels or other types of fonts. advertising purposes. Feature : - upper & lower case - numbers and punctuation - multilingual - ligature - alternative - swashes - PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs.

Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography. Although it draws inspiration from some cold type ideas, like the uncredited Atlantis from VGC and a couple of older photo-lettering faces, its overall expression is right in line with what has become today's vernacular in integrity organic display packaging. Pipa's construct approaches the thick-and-thin idea from a rarely used perspective, where the flow in form contrast naturally seeps out from within each stroke, while minimizing the amount of strokes helps the totality of the setting come positively alive. This is bead and lava lamp psychedelia for the 21st century. Pipa comes with plenty of alternates, including some very cool unicase variations, and extended Latin language support.

Aure Wye wraps a carefree dispassion with the dignity of tradition. The precise engraving and organic finials of these decorative serif forms engage the reader with a subtext of elegance. Wye brings an unpretentious grace to titles and drop-caps and provides dignity to astrological expressions and chartwheels. In Regular, Wye presents a formal presence; in Italic, Wye offers a more romantic feel. Its small-caps add a stately variety to Wye's typographic textures. Wye is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets, now available in regular and italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Wye will stand up as a text font, but for extended text, try pairing Wye with its close cousin, Aure Declare. Used in titles and drop-caps, Wye will provide a striking elegance that will blend well with the serifed forms of Declare. Give Aure Wye a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Aure Teddy emanates the trusting tenderness of a favorite teddy bear. The hand-penned look of these forms engages the reader with a subtext of comfort. Teddy is delightfully legible as a text font and works well where a more organic look is wanted. It brings an unassuming charm to text and titles and a welcome empathy to astrological expressions and chartwheels. Its engaging charcter serves well in labeling diagrams and personalizing nametags. Teddy is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Teddy fills a unique niche, being a modestly decorative font as well as a competant text font. Like Aure Jane, Aure Teddy serves well paired with the decorative touches of Aure Brash and Aure Sable. Give Aure Teddy a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

A man purposes himself the task of drawing the world. Among the years, he populates a space with images of provinces, reigns, mountains, bays, ships, islands, fishes, rooms, instruments, heavenly bodies, horses and people. A while before he died, he discovers that patient labyrinth of lines traces the image of his own face. J. L. Borges. SL Borges is a homage to the genial Jorge Luis Borges, illustrious Argentinean writer who lived between 1899 and 1986. Sharply depicted by Augusto Costhanzo, SL Borges synthesizes to icons the big themes that obsessed him: the infinite, labyrinths, libraries, identity. But it although traces lines over the more human side of the writer, who loved cats, fervent politics and the taste of Tango. SL Borges abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Borges takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Norman Variable contains all the weights in between Norman Regular and Norman Fat. Get to know Norman, elegant and fashion forward. This new condensed and high contrast serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display.

I came across an article in which the author warned about the growing pile of technojunk. It appears we throw away 50 million tonnes of unwanted gadgets EVERY YEAR - and, yes, that number is growing as these are the figures for 2012. 50 million tonnes - just think of that! The new font I was working on had a squarish look - almost computer like, so I decided to call it technojunk. Hopefully you won't throw it away… Technojunk is a 3D font, every glyph was drawn by hand. It is fat, fun and very useful. Try it out!

Eric Stevens's latest typeface, ITC Lintball, combines two unusual features: its letterforms are based on the serifless lettering inscribed in stone by the ancient Greeks, yet the wobbly edges of the strokes, and especially the slightly wider “lintballs” on the ends, suggest lettering done on paper with a modern felt-tip pen. The ball motif is carried through in the fat dot under the raised capital O, and in the similar dot used in place of a crossbar in the capital A. There's an angularity to many of the strokes, especially in the lowercase, that gives Lintball its distinctive character.

Hello Buena - From Wood to Digital Type Buena is the first word I read on a letterpress paper, printed by my colleague and friend Wolfgang Wick. I was fascinated by the power of this fat wooden letters at first glance. So I started to create a digital version of it and »Buena Black« was born. Due to the fact that the original punches had only upper- case glyphs, I created the lowercase characters by myself. After that it was time to design the family... Buena is full of OpenType features. To get fully acces, go to www.mazefonts.de and Download the Type Specimen.