The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman faces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. The Roos family contains romans, italics and small caps in regular, semibold and display weights, as well as a magnificent set of initial caps. All the fonts contain extended language support, surpassing the usual Western Latin codepages to include characters for Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, and Turkish.

This cute bunting style font includes extras like a cupcake, anchor, and a fleur de lis. Use the ( ) { } [ ] to make end pieces and join them with the underscore __.

RMU Gloria is a family of two stylish fin-de-siècle fonts, formerly released by the Gursch Foundry, Berlin, which additionally were spiced with elements for frame making.

Retro Vintage , Inspired by 70s Design Era. Retro Vintage offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs. Includes a shadow/extrude version.

Retro Sanderia, Inspired by 70s Advertising Design With 2 Style : Regular & Shadow Retro Sanderia offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Monsterific BB was inspired by classic 70s horror magazine titles, and features a large complement of European characters and over 160 Opentype Autoligatures! Perfect for Halloween or any spooky time of the year!

Retro Styla , Inspired by 70s Design Era , With 2 Style : Regular & Shadow, Retro Styla offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Based on the handwriting of the eminent Dutch typographer Alexander Verberne, Julius de Goede's Xander typeface manages to be both sophisticated and whimsical. This monoline connecting script dances across the page with the grace of a ballerina. An accomplished graphic designer and writer of more than 20 books on calligraphy, de Goede's lettering skills are evident in this careful translation of casual handwriting into a lighthearted, affable typeface family. Like a warm breeze on a spring day, Xander is fresh and welcome.

The BD Roylac typeface has its roots in some lowercase glyphs drawn by Jacques Loison in 1972. Some of these characters are included in the use of stylistic alternates. Filed under a retro-futuristic design the font separates two filled shapes by a thin and curvy line; sometimes following to the path leaning readability and sometimes interfere with it. The font is dedicated to the BD fanboy Monsieur «Eric de Broche des Combes» aka «Roy La Combe» to his fiftieth anniversary.

Swing Band JNL is a casual, playful type design inspired by the title lettering from "Hi-De-Ho", a 1930s all-black cast film starring legendary bandleader Cab Calloway.

It’s a mixture of digital exactness and analog freedom. With over 130 Opentype features, the font can change its look from strict to charming twirly. GELI offers many different ways to highlight words, which gives the font a personal character. It is a powerfull corporate font with a wide range to play with. Tobias Gutmann designed the Font in 2009/10 in the Typoclub which is part of the Hochschule der Künste Bern.

Introducing Beauty Ballerina, the top choice for those looking for a typeface that exudes beauty and grace. Every exquisite detail of this typeface mirrors the strength, passion, and elegance innate to each ballerina, making it an embodiment of the beauty and grace that ballet dancers exude. Featuring an extensive collection of over 360+ quick-access ligatures and alternatives, it allows everyone to delve deeper into their imagination and reshape their creations with luxury.

Take a deep dive into the Sybilla Multiverse with this unique 294 style multi-versatile type family – a further creative exploration of the capabilities offered by our original warm and friendly slab design. Encompassing one body and six display sub-families, Sybilla Multiverse is a unique attempt to create a never before seen symphony of text and decorative type that spans in multiple usable widths and weights. Each sub-style consists of seven weights in three widths with complimentary true italics. Sybilla Multiverse is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Every one of the styles offered (body or display) provides a broad range of advanced typographical features such as small caps, case-sensitive forms, fractions, scientific inferiors, super- and subscript characters. It comes with a complete figure range set of oldstyle and lining figures, each in tabular and proportional widths. Sybilla Multiverse has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic that works harmoniously with its Latin counterparts – a perfect choice for projects that need both writing systems running side by side.

Haboro Slab Soft is a scion of the Haboro hyperfamily. This concept powers through with its well built, accommodating nature. Haboro Slab Soft’s serifs are rounded, giving it a softer look. The Haboro hyperfamily is a comprehensive design suite that provides solutions for many projects. The iconic angled wedge makes this family ideal for apparel, packaging, apps, corporate identities and advertising campaigns. Subfamilies in the hyperfamily include the original Haboro, a Didone face, Haboro Sans, Serif, Soft, and Slab. The Haboro hyperfamily is known for its ability to make your copy appear clear and simple. The Haboro typeface is built on a common underlying model. It has the same cap height, the same x-height, and the same basic character shape. This unification of shape and proportion results in a complementary set of typefaces. Haboro Slab Soft’s wide variety of ligatures and OpenType alternatives give your message the clarity it deserves. The Haboro Slab Soft family includes seven weights, from Thin to ExBold, three widths, and matching italics. There are over 550 glyphs per style and support for over 70 Latin-based languages. Haboro Slab Soft includes features such as small caps, ligatures, fractions, and alternatives. Haboro Slab Soft is there when you need to present information in a clear and friendly fashion.

Rubber B is a heavy display typeface with very tight open counters & character spacing and non-existent closed counters. It is an amalgam of styles and influences that demands attention. It is comparable with the highly geometric experimental fonts of the '90s and early '00s, but also heavily inspired by decorative fonts of the '60s and the psychedelic poster art of the '70s. Bold and loud, yet delicate, almost calligraphic in some cases. It works with Latin & Extended Latin, Cyrillic & Extended Cyrillic and Greek. It comes with 1,500+ glyphs, with more than half of them being ligatures. It also contains several Stylistic Alternates as well as Localised forms (available through the Open Type Features and also as ligatures). All these features are available in order to not only make sure that it works with as many languages as possible, but also that depending on the specific glyph or ligature one chooses to use, they have the ability to alter the emotional character of the word(s) they’re setting. Ideal for titles and logos, as it works best in medium and large sizes.

Johann Neudörffer the Elder's 1538 writing manual fascinated the German designer Helmut Bomm for years. Together with Albrecht Dürer and Hieronymus Andreä, Neudörffer helped create Fraktur, perhaps the most Germanic of all the blackletter styles. As a tribute to this master, and bringing its letterforms to a 21st century public, Boom released the Neudoerffer Fraktur family through Linotype in 2009. Neudoerffer Fraktur's appearance is based very much in handwriting, and Bomm had already begun using letters from prototype versions of this typeface as early as the 1990s. For years, Neudoerffer Fraktur'sletters would appear secretly and seductively in design projects like historical sign restorations or heraldry pieces. The sources that Bomm used while drawing the typeface were images from Jan Tschichold's Treasures of Calligraphy" and Albert Kapr's "Schriftkunst." The Neudoerffer Fraktur family has four separate fonts. Any user of Adobe CS applications should consider licensing Neudoerffer Fraktur Regular (the font without any numeral suffixes). This font contains three different OpenType stylistic sets. Users can pick and choose which versions of the letters that they would like to set. Anyone using Quark XPress, Microsoft Word, or other applications without support for Stylistic Sets should license Neudoeffer Fraktur Regular 1, Neudoeffer Fraktur Regular 2, and Neudoeffer Fraktur Regular 3. Each of these three fonts has letters with slightly different style of flourish, and all three may be combined with each other. Neudoerffer Fraktur Regular 1 is optimal for longer texts; Neudoerffer Fraktur Regular 2 contains alternate letters, and well as more ornamented capitals; Neudoerffer Fraktur Regular 3's letters have a stronger calligraphic accent."

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.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

Latim es una tipografia inspirada en el esitlo románico latino La fuente amplía su uso proporcionando 4 pesos desde delgado hasta negrita; mientras que los pesos más delgados han reducido el contraste y las correcciones ópticas para crear una apariencia cálida y suave. Los tamaños de letra grandes, puede apreciar las formas de las letras, mientras que la misma moderación y enfoque crean una textura uniforme para tamaños de letra pequeños y lectura larga. ------- Latim is a typeface inspired by the Latin Romanesque style The font expands its use by providing 4 weights from thin to bold; while thinner weights have reduced contrast and optical corrections to create a warm, soft look. Large font sizes, you can appreciate the shapes of the letters, while the same restraint and focus create an even texture for small font sizes and long reading.

Maître d' Stencil JNL is based on an alphabet example found in the 1949 French lettering book “Album de Lettres Arti”, and is available in both regular and oblique versions.

Alger Blanche est une police de caractère inspiré du koufi et naskh. AlgerBlanche supporte les scriptes. Arabe, Farsi, et Ourdou Dans cette mise à jour l'ajout du Latin et Tifinagh

Dexa Pro is now available on variable version. The family was designed by Ceyhun Birinci in 2020 with an inspiration to create a contemporary super family with inspiration from classic sans serif families. It's a workhorse family consisting of condensed, narrow, normal and expanded widths. Each width has a wide weight range from thin to black, along with their true italic counterparts. With more than 770 glyphs per font, It offers a ton of language support from all the Latin languages to Cyrillic.

Kalisha Script was built 570+ glyphs, with OpenType features and includes many beginning and ending swashes, numbers, punctuation, and it also supports other languages. You can toggle between both the regular and swashes font to get a handwritten, professional look. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CC, Adobe Indesign & CorelDraw , Microsoft Word 2010 or later versions. Don't hesitate to drop me a message if you have any issues or queries

2030 font is inspired by the typography of the early 20th century, the Futura of Paul Reener, Cassandre and Charles Loupot’s works and, on a broader level by modernism and art déco mouvements. Geometric, with classicals proportions, this typefaces is a re-interpretation, in a actual form, of the alphabets from this period. The lines are straight, but the letters are easy to read and nice to watch thanks to optical corrections. Build with 9 weights of 700 glyphs, italics and small caps.