Wisconsin is a complete character set including three stylistic sets in nine weights offering a new singular aesthetic to each. Three differents attitudes in one font, a real typographic weapon. Supports all latin languages

Art Nouveau serif capitals and numerals in the 1917 instructional book “A Roman Alphabet and How to Use It” were the inspiration for Show Card Roman JNL; available in both regular and oblique versions.

Meshuggeneh means 'crazy fool' in Yiddish. The typeface before you is kind of crazy as well: it is 3D, twisted, with light and shadows in all directions. Meshuggeneh comes with all diacritics, oy veh!

Anubis, the first DSType font at MyFonts is back in an improved Pro version. AnubisPro, a slab serif font with a contemporary feel, with Central Europe diacritics, swashes and ligatures, available in OpenType format.

A square but fair font, or as they say in Germany "kradratisch, praktisch, gut". Because of the simpleness in this font, I decided add two styles less square to the family: funky and zit.

Made in collaboration with my 14-year-old daughter, this font embodies her desire for people to rise up and resist injustice in this world. The font is neat, legible, and yet slightly playful.

Gently rounded in shape, Kassena is reminiscent of the round thatched huts of the Zulu people. The triangular motif is inspired by the designs used in the decorative crafts of the Nguni African tribes.

Resiliency font family offers 6 font; 3 weight in regular and italic that provides a variety of looks and possible combinations. Resiliency offers great looks on esports themed designs and other sports in general.

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

Berthold Wolpe’s innovative design undertaken for Monotype in 1932 suggests the texture of letters cut in wood. Albertus can be seen as Morison’s improvement of Othello, Monotype’s 1928 copy of Neuland, executed by Pierpont.

Tonal is a fat typeface, geometrical in its peculiar way. Available in three styles, it's a unicase alphabet and offers an alternative glyph for each letter, providing flexibility to your designs. Use it big!

Alfredo is a neo-humanist family with a contemporary touch, presenting a subtlety in forms, in which it’s simu- lates calligraphic fluidity. With rectangular serifs, Alfredo was designed exclusively for publishing projects and texts.

Chisel Brush is a handmade font created with a, um, chisel brush... It has a casual handmade feel that works well at larger sizes in headers or titles. Also works great in branding applications.

Another in a series of typefaces (Joost a Gigolo and Modern Art) based on the works of comic-book artist Joost Swarte, which continues in a long-standing Dutch tradition of unconventional lettering design.

Killer Elephant is a heavy-as-hell all-caps font that'll trample all over your design. Killer Elephant is recommended to use in posters and flyers and in anything mutant, jungle or superhero related.

Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.

Designed for Volkswagen AG in 1979, VAG Rounded is a modification of 19th-century grotesques. Exceptional in this typeface are the rounded stroke endings. Use this typeface for technical texts, instruction manuals, or advertising.

In 2009, a book from 1897 in the library of the University of Wisconsin caught David Berlow’s attention. It was set in a clear text face—a predecessor of Bookman—cast by the Western Type Foundry who called it Custer. Upon noting how well the typeface worked in sizes of 6 and 7 points, Berlow developed it into a member of the Reading Edge series specifically designed for small text on screen. Custer RE was a broad and approachable typeface drawn large on the body with a tall x-height to maximize its apparent size when set very small. This was the beginning of the newly expanded series; in 2020, Berlow added new optical sizes and weights, growing the original design’s versatility up to headline sizes.

The first design of Elensans consisted of 4 styles that are including two weights and their italics which I designed in my student years in 2002. It was designed with a little Art Nouveau style touch with inspired by classical geometric based fonts such as Friz Quadrata and Eras. It was updated with according to the orientations of the day in 2012 and eventually it took its final form with actual touches in 2020. The family has 18 weights, ranging from Thin to Black in normal styles and including their italics. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

I have created the brush font named “ BrushType Michiko” in my unique brush style. This is wider than “BrushType Standard ”. I made it for ad designers. I believe this is the only one brush font in the world, so using it will enable them to get easily satisfied on their work. Brush handwriting in Japan has a long and proud Tradition and History. I tried to interject this feeling of Tradition into my font designs for you to comprehend its true meaning. I trust I have succeeded to convey my feelings to you. In addition, I can say each letter of the “ BrushType Michiko” is truly art. I am a pioneer of Brush Art. You are the first person to see and use it in the world.

Displace Serif is a continuation of my Displace fonts. Adding serifs allows you to see the font in a new way. There is a more pronounced charm of Italian monumental fonts, but in an expressive way. The appearance of the serifs allowed the font to move to the antiqua class, but this is purely a formal matter. The proportion of serifs changes markedly from weight to weight, allowing the font to retain its decorative character. In the Light drawing the serifs are barely visible and delicate, while in the Black they are in superposition. The font is catchy, noticeable, which makes it suitable for graphics requiring instantaneous spectator emotions. Displace Serif is suitable for editorial design, as despite the modern image it retains the classic concept.

Akumaru, our newest font, is now available. In every area of the eye, there are typefaces made with unique and appealing shapes. if you want your unique project to be charming, unique, gorgeous, and sophisticated enough to hypnotize the entire audience. Then this font should be used in your project. because the letters and words in this typeface have a gorgeous, elegant, and pleasant appearance. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Darmhagh Underwood is a “rough” monowidth font based on the face used on the old Underwood manual typewriter. Darmhagh Underwood was first digitized in 1999 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Darmhagh Underwood version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. The particular Underwood typewriter from which samples were taken to design Darmhagh Underwood is on display in the National Library of Ireland. It belonged to Conradh na Gaeilge and was used to draft armistice documentation which led to the end of the Irish War of Independence in 1921. Darmhagh is pronounced [ˈdaɾuː].

ITC Coventry is the work of American designer Brian Sooy. ITC Coventry is what type would look like if you left a gothic font out in the rain. IF you look close, you'll see the roots of a handsome sans serif font buried under a layer of grime and rust, basically." The low-budget student flyers that Sooy saw in the Coventry section of Cleveland Heights, Ohio, inspired him to design this font and the result is a typeface which looks as though it has been faxed or photocopied many times. "While it looks very irregular in text, it's very carefully spaced to give that effect," says Sooy. ITC Coventry was designed to work just as well in text as in headlines or even on billboards."

Since Mommie, I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extentions to the characters. Even in an upright typeface. Narziss is very elegant in big headlinesizes. Use it only very big. What was the inspiration for designing the font? spencerian calligraphies and neoclassic contrast What are its main characteristics and features? Narziss is very elegant in very big sizes. The Regular version is without any ornament. The Drops version has some character like the e and the k that are more unique. The Swirls version has got carefully added swirls, that come out of the basic stroke and flow into other characters. Usage recommendations: Big headlines in magazines, brochures and invitations

Eckhardt Signwork JNL was inspired by visual images collected by two great nostalgia sites: www.forgotten-ny.com and www.norelevance.com. The vintage signage photographed and saved for posterity on both sites reflect an age when hand-crafted work was the rule, rather than the exception [as is today]. Although somewhat limited in scope, this font can best be used for retro or nostalgic embellishments in ads or design work. There's also a generous amount of blank panels to insert your own copy for special projects. As with previous typefaces in this series, the font is named in honor of the late Al Eckhardt, owner of Allied Signs in Miami, Florida - a talented sign man and Jeff Levine's good friend for 18 years.

Lamborte is a strong modern sans serif style with All Caps feel nice balanced. Its wide range of uppercase with ligatures allow versatile design options and works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please klick fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please klick fi symbol If you have questions, just send me a message and I'm glad to help. Have a great day, Haksen

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

This family typeface consists of three fonts which have the same weight and style, but have been designed to work best at different sizes and in slightly different contexts. It is based on handwriting and calligraphy and consists of three typefaces: Rumba Small (for texts), Rumba Large (for headlines) and Rumba Extra (for words). The family is based on the idea of fonts that are interrelated depending on the differences in contrast, expressiveness and use, not on the classic range of weights. This type has been designed specifically but not exclusively for use in the languages spoken in Spain, hence special attention has been paid to the design of accents, special characters and ligatures. In a later development it was extended to CE Character Set.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

The font collection is called "Helight", it is a display font with crafted themes. These collections contain sans serif, script and dingbat. The sans serif comes with 3 style typefaces (regular, inline and outline). This product give more extras illustration pack (13 hand-drawn illustrations). The Helight matches apply in some designs such as the logotype, poster, label, badge, packaging, apparel, branding, and more custom design. Helight features : 3 style typefaces in sans serif (regular, inline and outline) Uppercase, lowercase, numeral, symbol, punctuation, ligatures in script All-caps, numeral, symbol and punctuation in sans serif Multilingual PUA Encoded Helight includes : 5 fonts (script, sans serif and dingbat) 13 hand-drawn illustrations in dingbat Thank you for your support and choosing us.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Hobi was influenced by Spaza. In it I tried to highlight the dissonance between the irregular outlines of the characters and the formality suggested by the serifs of the characters. Differences from Spaza are: -- character heights from the baseline; -- the presence of serifs; and -- variations in the character outlines to accomodate the different balance that the characters require in terms of the presence of serifs. Hobi is loose, funky and quite contemporary. The font can be used with great effect in a great variety of applications such as advertisements, flyers, posters, magazine pages and in movie credits. Hobi contains a full character set with all upper and lower case characters, numerals, symbols, accented characters and it has been carefully spaced and kerned.

Decora one is a typographic innovation. It is the first of a series of typeface that gives the typographer and other graphic artists the possibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is suitable for manipulations in both vector-based and pixel-based graphic programs. Typographies in countries worldwide, whose alphabets derive from the Roman one, are dependent on such innovations in order to meet the increasing demands of modern communication. This typeface implies at the same time an enrichment of the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide.

If you're getting tired of using Broadway, here’s an exciting alternative in regular and bold weights. Douglas C. McMurtrie, Aaron Borad, and Leslie Sprunger began designing this high-contrast novelty face for the Ludlow Foundry in 1928. It retains the classic style of the Jazz Age with a bit more individuality and spirit than Broadway. This extreme thick and thin design also sports normal descenders instead of the clipped ones found on Broadway. Ultramodern Classic is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Get yourself ready to jump on into the future-verse realm with the VOGATRON. A solid-strong futuristic sans-serif display fonts with a wide range of possibilities in usage. We're not joking when we say wide. The variety of styles that comes in 15 weights, from Condensed to Expanded, will make you ask no more for another choice. Fortunately, we're living in the best moment in this era of Retro-Futurism trends, when the retro and futuristic vibes are running side-by-side in terms of visual implementation nowadays. Which makes VOGATRON are easier to play with on every occasion. Perfectly fit for futuristic branding, retro gaming vibes, posters, esport logo, visual branding, social media content, streaming overlay design, animation project, you name it.

The other day, I was thinking how time flies and how my kids grow up so fast. In the blink of an eye, they had turned from babies into almost-teenagers. They're not teenagers yet, but given their tantrums, it does feel like I have three teenagers in the house... ;-) Ogenblik, in Dutch, means: ‘in the blink of an eye’, ‘lightning fast’, or ‘for a brief moment’. It’s similar to the German ‘Augenblick’, which means exactly the same. Ogenblik was made with the same dried out marker pen that helped me create my font Castlerigg. I guess it had more than one extra font in it! Ogenblik is a bit of a grungy, yet quite legible and neat font. Comes with multilingual support.

The German typeface artist Lucian Bernhard designed Bernhard Antiqua as the first of his many text typefaces. The first weights were produced in 1912 by the foundry Flinsch in Frankfurt am Main. Further weights followed in the 1920s, produced by the Bauersche foundry, which had acquired Flinsch in the meantime. Bernhard font is an alphabet with a marked historical influence. It brings the viewer back to the early 20th century, when the bold forms of this typeface graced advertising displays and posters. Distinguishing characteristics of this typeface are the cross of the capital W and the rounding of the capital R. Linotype's Bernhard condensed bold, with its narrow, robust forms, is best for headlines in medium and larger point sizes.