Viable Logic font, has a neat and clean character new face sans serif fonts, in response to the need for innovative and new designs, for that this sans serif font family has different characters namely bold, thin and regular. This font is simple yet neat and elegant, the design of this typeface gives it a clean, modern look and a unique style to help give it a captivating look when you use it. This font is perfect for strong text with displays for a wide variety of branding, advertising, posters, banners, packaging, news headlines, magazines, websites, logo design, and more.

Minor is contemporary simple equable text grotesk in 6 weights with italics. It combines the best features of neo- and humanist sans types for legibility and easy reading. Clean design and balanced white spaces enables using Minor for long texts. Or in any other work as secondary invisible type in pair with display face. Using as primary type in large sizes it, static and non-emotional, will focus attention to text content. Minor family supports Latin Extended-A (Western, Central Europe, Baltic, Turkish) and Cyrillic Extended encoding languages. All styles contain basic OT-features and numeric forms for text typography.

DRUMBEAT, a brand new face from Edy Type, coming to help resolve the necessities of loose scripts in Packaging and Editorial Design. Its' very particular thicks and thins and ups and down, makes it very suitable whenever informalities is required. Used with tiny little characters, enlarged to mammoth sizes or filling a large page with it, would show it’s perfect balance and color, almost as if where hand writen. In fact, a truly different script, a graphologist would declare that is written by a person very sure of what he wants, and besides and best of all, it’s pretty.

Neue Augenblick is a modern contemporary Germany-esque grotesk. This Font face carries a powerful mechanical and industrial feel, it is inspired by aesthetic personality of beautiful Panzerkampfwagen and Post-war Brutalist Architectural. There are ten weights, ranging from Thin to Black, each with oblique italics and plenty of alternates. Neue Augenblick comes with attention-grabbing ink traps make it feels more contemporary. Various opentype features from stylistic alternates, multilingual extended latin support, ligatures, discretionary ligatures, fractions, arrows, scientific numerals, catchwords set, icons and more. Neue Augenblick is suited for embrace both maximalism or minimalism design works for designers to play with.

The Bitstream version of Letter Gothic designed by Roger Robertson in 1956-62 for IBM electric typewriter. It is a condensed, monospaced font resembling a typewriter face, suitable for tabular material. Primarily used for slide presentations and for word processing applications, Letter Gothic is very helpful for printing out software source listing, for informal office communications and for tabular charts where alignment of columns is important. Besides, being a clear and easy-to-read font, Letter Gothic is popular now for display and advertising matters. Cyrillic version was developed for ParaType in 2000 by Gayaneh Bagdasaryan.

Willow is an Adobe Originals typeface designed in 1990 by Joy Redick for the Adobe Wood Type series. Willow is a condensed typeface modeled on nineteenth-century wood types known as Clarendons (wood type Clarendons do not resemble the English metal types of that name). Clarendon condensed faces were originally so well-designed that words or a line of display type have an even color that is remarkable for wood types. Taken from proofs of type in the Rob Roy Kelly Collection housed at the University of Texas at Austin, Willow can be used for display work such packaging, advertising, and posters.

Narin Font Family is a geometric sans design with rounded corners which seems much softer and eye-pleasing even though it still has geometric and straight borders. The family comes in six weights with regular and italic forms. Narin Font Family is legible from very small size to very large ones. It is suitable for letterpress and also long texts. With the small caps, all fonts can be used to create great and gorgeous works like logos, texts, presentations, t-shirts etc. and can be used to create the pressworks such as posters, magazines and books. The word "Narin" means "graceful" in Turkish.

The key words for this font are taste, elegance, storytelling, and a little bit of dynamism. HIGH TABLE family have exquisite details and great quality. We believe that only high quality and unique details can move people more than exaggerated shapes. Fonts are so powerful, they tell a moving story. The PACE typeface was chosen to tell a story quietly but with dynamism. Readers are delighted and relaxed when they see this font family, and colleagues read the story with respect. A brand needs a story, and a brand’s story needs the most appropriate font to carry it.

Montix is a narrow, constructed type family that developed by the German designer Diana Fischer in 2003. With five weights (light, light italic, regular, regular italic, and bold), Montix is a particularly effective small family, especially when used for headline or display purposes. Montix's letterforms have relatively long ascenders and descenders, which compared with its horizontally compact body gives it its unique style. Words or lines of text set in Montix would look best when some amount of white space is left around them. Because of this, the faces are well suited for logos and corporate identity uses.

Set it large... I dare you! 100pt+ is definitely encouraged with this face. White Wolf was created to fill the void for condensed sharp wedge serif fonts. Taking inspiration from other hybrid fonts such as FF Dog, FF Vortex and HI Halfway House, I wanted to create a font that would offer something different for artists looking for a condensed font that has a lot of character. Use it for titles, subtitles, logos, posters, signs and pair it with some heavy wood types or slab serifs and you will be pleased with the attitude White Wolf will bring to your project!

Melts Script from Estudio Calderón is a typeface based on Harlow Solid SB from Colin Brignall. It is made by round traces, with a simple design and a slightly “chubby” look. We wanted to propose a new version that works as an alternative of Harlow Solid, with connectors at the same heightand a complementary Font “Melts Sanscript” with sans serif capitals to be combined with lowercase scripts. Specimen Supporting 219 latin based languages, which are spoken in 212 countries. Psssss....It includes alternatives, swashes, ligatures and a version called Glint Glint, especially designed for those who want to highlight their works.

Creative Wonder is a Modern Handwritten Font. Our handwritten font takes inspiration from the fluidity and uniqueness of human handwriting, ensuring that each letter carries a sense of character and charm. With its graceful curves and delicate strokes, this font adds an intimate and personal feel to your written words. Perfect for creating notes, memos, journal entries, or beautiful quote designs, our handwritten font elevates your messages with a sense of authenticity and warmth. It transforms your ordinary words into a beautiful composition, breathing life into your writing. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

Introducing "Queen Michelly" - a Serif font family that's "two-faced" with modern and vintage. If you're using Vintage Retro : Access your OpenType features to access a large selection of alternative fonts and ligatures, pick the font you like from a wide variety of variations to get the vintage look you're looking for. Vary between a light and heavy vintage look based on the number of letters you change. Due to its dual personality, Queen Michelly is a very versatile font, covering a wide variety of projects, from bold magazine images, to wedding invitations, to branding, poster design, and more. Inclouded : - Multilanguage

Introducing "Challwa" - an exquisite and elegant handwritten font that adds a touch of sophistication and refinement to your designs. With its graceful letterforms and refined strokes, Challwa embodies timeless beauty and effortless elegance. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Janice is a revival and expansion of a 1960s Mecanorma film type called Putty Bold. It’s thick, flowing, happy and oozes psychedelia. Unlike many art nouveau/hippy faces of the era, this font comes with a lowercase that expands its functionality to quite a few applications, like design aimed at kids and young adults. It’s also one of those fonts that feel right at home being warped, scaled and manually squeezed for packaging and poster design. Janice comes with over 400 glyphs. It contains a few stylistic alternates and support for the majority of Latin languages.

"And she, Pasiphae, gave birth to Asterion, who was also known by the name of Minotaur, since he had the face of a bull and the rest of a man. Minos wanted to beware against certain oracles by locking him in a maze. It was the labyrinth, the work of Daedalus, a construction of tangled revolts that strayed from the exit.” - Apollodorus from Atenas. LABERINTIA is a font inspired by Daedalus' masterpiece, The Cretan Labyrinth, an experimental, display typeface that creates textures, plays with the mind and loses anyone who dares to take a walk inside it.

Jobst Gutknecht was a highly successful printer in the city of Nuremburg from 1514 to 1542. He published the "Achtliederbuch" (the first Lutheran hymnal, with a whole 4 tunes) and many works by Martin Luther. This font is an accurate "recutting" of the font face Gutknecht used for the body text in his printed works. It has been extended to over 900 glyphs adding hundreds for modern use. It also presents many ancient things like old ligatures such as "tz", a hedera, and alternate style pilcrow for visual interest. And for those conservative types the modern lower case "k" is also available.

Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton's 'Karnak', produced in 1936 for Ludlow. "Karnak" itself was based on the geometric slab-serif "Memphis", designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century type founders." Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

StoneWash is a funky, grunge font, with a monumental marble finish. The font combines an “old as the hills grunge” look with IN YOUR FACE, modern lines. It has a look of very old, washed out denim, about to disintegrate. StoneWash has all of the grunge characteristics: -- it’s dirty and corroded -- it’s coarse & broken -- it’s rough & pitted It also has the characteristics of an African style font: -- it’s ethnic -- it’s irregular -- it’s primitive -- it’s rustic -- it’s vibrant Use StoneWash for a great variety of applications: -- think advertisements - think flyers - think graffiti art - think posters - think magazine pages. You have to have StoneWash.

Introducing "Antheia" - An Elegant Signature Font. Experience the epitome of elegance and sophistication with "Antheia," a graceful signature font that adds a touch of timeless beauty to your designs. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Tabulamore is a monospaced script typeface with two goals: to make a script face that looks as natural as possible within the limitation of monospace, and to offer better all-cap solution where many script typefaces fail to address. The typeface style is generally a loosely spaced casual script, whose spacing allows big letters like M W m to fit comfortably. The automatic small cap part is based on so-called Architect�s Casual style, and shows up automatically depending on the context. As the name suggests, it is perfect for someone who likes to express their love in monospace format.

Orbita is a new playful display font. Based on our popular ‘Stencil Creek’ skeleton and keeping its freshness and grace. The aim was to create a new version, dynamic and full of movement, so we came along with this idea of adding a pop up effect which creates a visual illusion of strokes moving in different directions. The family includes 4 versions of this font. It’s perfect to create headlines, posters, book covers, cards, wrapping paper, invitations, T-shirts, labels, packaging and an endless array of options for your projects. In these flags is also featured one of our popular font, ‘Nautica’

The earliest form of Ionic was brought out by Vincent Figgins in 1821 and was intended for display work. In 1863 a more refined version appeared which had more contrast between thick and thin strokes and the serifs were bracketed. Further developments were made, however the robustness of the Egyptian style was retained making the face suitable for newspaper text setting. With a large x-height and strong hairlines and serifs, the Ionic font family became widely used by the newspaper industry as a body type and provided a model for many twentieth century newspaper typefaces.

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

Weiss Modern Gothic is the first digital re-creation with a lot of improvements of a late seventies well-known edited typeface by Bauer. At the time known as Weiss Initials Extra Bold or Weiß Modern Gothik, the design was inspired by the famous Weiß Initialen N°2 drawn by Emil Rudolf Weiß (1875-1942); also father of the non-less famous "Neuland" typeface. Strangely, this beauty seemed abandoned while sister-flared faces like Friz Quadrata, Flange, Serif Gothic or Romic are in a new wave of revival. Hoping this one will not again disappear... Happy new life.

Monotype Old Style is a nineteenth century update of Caslon Old Face with characteristics of the moderns built in. Monotype Old Style was recut by Monotype in 1901 from a Stephenson Blake & Company version. The design originated at the Miller and Richard foundry in 1860. In some respects it can be seen as transitional between old style and modern, but the spirit of the old styles predominates. By the turn of the century it had become a successful rival to the moderns. The Monotype Old Style font family is an attractive design which gives a light, airy feel to text.

Wade Sans Light was designed by Paul Hickson and Key Characters and appeared in the ITC library in 1990. The basic forms of the font are those of a constructed sans serif, as seen in the circular O and triangular A. The low x-height of the lower case letters make this font particularly reserved and graceful and the high ascenders give it a certain elegance. The high, wide capitals need a lot of space and dominate the overall look of this font. Wade Sans Light is reminiscent of the elegant cabarets of the 1920s and 30s.

I have no great love for walls, especially when they are built to keep people out. When I started working on this font, I realized it looked a bit like protest graffiti, found on… yes, walls. Down The Wall is a great little font: it is handwritten, messy and in your face. It has no real baseline and glyphs jump all over the place. Use it for book covers, posters, album covers - anything really. It certainly would look good on a wall too! Comes with a whole bunch of diacritics, so whatever you have to say, the world will understand.

The light and the bold. The thick and the thin. Laverne and the Shirley. Peanut Butter and the Jelly. Hoban is about contrast. Hoban wants to be noticed, but only after a second glance. A friend of a friend to the didones, it has smaller, tapering serifs, slightly calligraphic traits, and spindly little terminals that go where they please. It’s a headline face. Period. Set it big and bold. Or light and airy. But preferably next to something with flair. Cuff links, canapés, or corvettes–it’s up to you. Distinct ligatures, ornaments, and swashy alternates provide plenty of character to tailor your style.

Manufacturer JNL is a reinterpretation of the classic type face Venus Extra Bold Extended, and is available in both regular and oblique versions. According to Wikipedia: “Venus or Venus-Grotesk is a sans-serif typeface family released by the Bauer Type Foundry of Frankfurt am Main, Germany from1907 onwards. Released in a large range of styles, including condensed and extended weights, it was very popular in the early-to-mid twentieth century. It was exported to other countries, notably the United States, where it was distributed by Bauer Alphabets Inc, the U.S. branch of the firm.”

Niveau Grotesk—the companion of Niveau Serif —is a type family of six weights plus matching italics and small caps. It was designed by Hannes von Döhren in 2013. Influenced by classical nineteenth-century faces, the fonts are based on geometric forms. Because of its straight architecture, Niveau Grotesk has a “punch” in big sizes but is very legible in smaller sizes and longer texts—in print or on screen. Niveau Grotesk is equipped for complex, professional typography with alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

It hit me one day that the '60s-vintage labelmaker I had lying around might make an interesting display face. I began playing with it -- clicking out letters at various pressures, scanning the results, going over the scans in a vector-graphics program. Looked pretty good. To my chagrin, however, I soon afterward got a glimpse of someone else's label-tape font. Though modeled after a more modern device, its rocketing popularity prompted me to set Chromosome aside for a year or so. Finally finished it up in late-1995. Full release has light and heavy weights, regular and reversed styles.

Sheet music at the beginning of the 20th Century reflects both the musical and artistic tastes of the times in often colorful ways. It seemed to be a favorite thing amongst songwriters of that era to come up with very wordy song titles. The cover of the sheet music for 1907’s “Every Little Bit Added to What You’ve Got Makes Just A Little Bit More” checks in at fourteen words, but the hand lettered title (done in an Art Nouveau style) made it worthy of transposition into a digital type face. Nouveau Years JNL is available in both regular and oblique versions.

Petulante is a striking and creative hand-drawn face with a scribbled feel. It's an all-caps font and brings two options for each letter and numeral for a more organic and natural look. There are yet a few ornaments to add an extra something here and there. Petulante is ideal for book covers, packaging, apparel, album art, posters, or any situation where you want a stylish and uncommon hand-crafted look. And let's not forget to mention the broad language coverage: Petulante speaks more than 208 languages, including Russian and Greek. Yes, just take it everywhere!

Type Maestro is an exquisite ligature serif font that exudes creativity and elegance. With over 100 meticulously crafted ligatures, this font is the perfect choice for designers looking to elevate their projects to new heights. One of the key features of Type Maestro is its extensive language support, boasting compatibility with 87 different languages. This makes it an incredibly versatile font that can be used for a wide range of projects, no matter where your audience is located. But what truly sets Type Maestro apart are its alternate glyphs. These unique characters add a touch of individuality and personality to your text, allowing you to create truly one-of-a-kind designs. Whether you're designing a logo, a website, or a social media post, Type Maestro has the flexibility and style to help you stand out from the crowd. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : IS, FO, OD, FA, TY, EX, NN, EY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, VO, WO, SA, MA, OL, VA, YP, YR, OX, XO, BA, OT, TO, BE, RU, KU, TW, EN, NT, FAS, FAST, CKS, OOD, FOOD, FOO, TEE, TOR, TOP, TWE, NTY, TYP, OUT, UST, URS, WAS, THE, WES, EST, EEN, ERS, EAS, LES, ENT, FOR, OUG, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE, ERG, ERE, ERC, ERU, ERO, NTH, FOU, HRO, HRE, HRC, HRU, TWO, GHT, OUR, OUP, STO, VEN, ORT, MEN How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

Elegise is a captivating script font that gracefully captures the essence of cursive handwriting with a touch of elegance. This typeface exudes an air of sophistication and refinement, making it perfect for projects that require a stylish and polished look. Each letter in this font is meticulously crafted with high contrast, adding a dynamic and eye-catching quality to the font. The combination of thick and thin strokes creates a sense of fluidity and movement, adding a touch of liveliness to your typography. The long swinging endings in some letters of Elegise bring a sense of graceful flair and drama to the font. These charming details add a touch of elegance and uniqueness, making the script come to life with a sense of poise and grace. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Elegise fits in headlines, logos, movie posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.