Savor the perfectly imperfect strokes of "Limoncello Recipe," a handwritten font that embraces the charm of human touch in every line. Just like the handwritten notes of a well-used family cookbook, this font features delightfully uneven lines and a casual, unrefined style that brings an approachable, personal feel to any project. With 84 standard ligatures, "Limoncello Recipe" reflects the natural variations of handwriting, creating connections that are as authentic as they are unique. These connections celebrate the beauty of imperfection, making your text resonate with the warmth and originality of a handwritten letter. The font's assortment of beginning and ending swashes provides a variety of expressive flourishes, giving your words a laid-back elegance. These alternates allow for a playful freedom in your designs, echoing the spontaneous and joyful scribbles found in the margins of a secret family recipe. Ideal for designs that call for a touch of rustic charm and a dash of whimsy, "Limoncello Recipe" is a reminder that beauty often lies in the flaws. Whether you're designing a quirky brand identity, a charming event invitation, or packaging for artisanal products, this font proves that sometimes the best approach is a little bit carefree and wonderfully imperfect.

This typeface finds a perfect balance between technical excellence, careful design of letter forms for extended reading, and a measured dose of charm and personality. Its informal feel allows for successfully typesetting a wide range of applications, from magazines and fiction books to advertising and websites. Calligraphy, be it done with the broad-edge pen, brush, or other tools, has been fundamental in the development of Pollen. Its influence is clearly visible in the construction of the top serifs contrasting the curved bottom serifs and the fluid aspect of terminals and tails, such as on “g” and “r”. The shapes of the diagonal letters are based on a less formal calligraphic model, but still uses the broad edge pen. ­The letters were then subject to a further process of pencil drawing and digital re-interpretation, which gave them the final shape. The designs of “e” and “c” are derived from drawings made with only one continuous line, with the pencil always touching the paper. The letters “g” and “y” express the intention to bring informal elements to a typeface intended for long text reading, usually characteristic of casual writing. Pollen consists of 3 basic styles with an extended OpenType Pro character set and large language support, perfectly serving the most common typographic needs.

Characterized by quickness, lightness, and ease of movement, Bird Script is a font which challenges many aspects of type-design: every single stroke, comes directly from the author’s hand and tries to reflect not only the tool used, but also his feelings at the moment of writing. Bird Script is a font filled up with the energic gestures of what it’s called gestural calligraphy, a not very explored field in typography, where hardly ever a letter comes the same way two times: When manipulating the pen, the letterer seeks for the beauty of the differences and the grace of a confident execution. Originally done with a flat speedball pen nib nº5 and retouched with pencil for the bolder elements, it turned into a very pleasant to the eyes font which dances between the formal rules of typography and the artistic look of calligraphy. Bird Script Pro and Bird Script Light Pro come with many ligatures, alternates and ornaments. Into the standard ligatures we find lots of pairs of two and three ligated letters so when they are activated the font seems alive. However if none of them are activated, the font gives a really particular text pattern, specially in smaller sizes. Get Bird Script, add rhythm to your work.

Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world. After building his own theoretical framework of relevant legibility parameters, the design process used a unique custom real-time simulation software, which could simulate difficult reading conditions (distance, fog, halation, positive/negative contrast) while the letters were actually being designed. This process made it possible to optimize even the tiniest details of each letter for maximum legibility. Being made specifically for wayfinding purposes, this type family does not compromise on any aspect of legibility — and yet, the typeface is a beautiful, clean and modern sans serif. With its broad language support and the large number of available styles it is perfectly suitable for any possible signage project anywhere in the world. In an independent empirical study at the University of Applied Sciences “htw” in Berlin different typefaces were recently tested when used on signs and Wayfinding Sans Pro was the winner in all conducted tests, being significantly more legible and therefore superior to all other styles of the tested typefaces. Check out the PDF specimen for more information: wayfinding-sans-pro.pdf

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Improved kerning of the Updated Version of 2020 - New Features: • Cyrillic language support • Bulgarian Localization • Completely New Nexa Text subfamily • New ExtraLight weight with a corresponding italics • Stylistic Set suitable for Display purposes - ss02 • Tabular Figures Even the most recognizable typefaces of our time, such as Nexa, should be updated sometimes. We proudly present you with the latest upgraded version of the notorious geometric sans serif. The completely refined family design comes with an addition of one more weight—Extra Light—and its matching italic, alongside an entirely new subfamily—Nexa Text, optimized for longer text, and even a futurist stylistic set of Nexa for an alternative display look. The outcome is altogether 9 weights and 36 fonts! The glyph case now covers not only an improved Extended Latin but a new set of Cyrillic with adequate language localization. The fluent functionality of Nexa is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. The unique appearance of Nexa combined with rich variety places it beyond the scope of regular geometric typefaces for all kinds of scales and purposes and designs that speak for themselves.

The Bruce Foundry in New York gave this Italian Clarendon the catchy name of Ornamented No. 1529. The original had a top right white shadow which we eliminated. Additionally we improved the color of several of the characters.

Before designing this font, C.H. Griffith consulted the results of a survey of optometrists regarding optimal legibility. Excelsior font was then presented by Mergenthaler Linotype in 1931 and remains one of the most legible and popular fonts worldwide.

Based on the more usual pen stroke form of 'runes', (translation of Elvish Certar and Cirth). The richest form was also known as the Alphabet of Daeron. NOTE: this font comes with an interpretation guide in pdf format.

An elegant new design with just a slight bit of flare. A face which will work for both headlines and text. Its delicate serif gives a bit of class while its swash 's' adds a touch of fun.

Doge’s Venezia is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Darker and Doge’s Banner. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

Based on L&C Hairline, this family of faces is weighted to achieve stroke consistency in a variety of sizes. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Beyond the halls of the ivy league, a vintage sport font from the days of old. A complete family for all of your layout needs. Includes a layered COLLEGE effect to stack up and command those team colors.

Doge’s Darker is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Banner and Doge’s Venezia. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Doge’s Delight is one of a set of four typefaces, the others being Doge’s Darker, Doge’s Banner and Doge’s Venezia. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

HU Mois KR is a calligraphy typeface with a sense of speed and a naturally slanted feel as if writing. It also gave a sense of free rhythm of handwriting. Includes Korean from the existing 'HU Mois' font.

Based on a few examples of an Art Nouveau-inspired wood type, Nouveau Sans JNL has an interesting mix of angles, curves and general letter shapes that are reminiscent of the period preceding the Art Deco streamline movement.

This revival of the typeface Baldur, published by Julius Klinkhardt in 1901, is a fine, harmonious and legible Art Nouveau font named after Ferdinand von Reznicek (1868-1909), one of the leading artists and illustrators of those times.

Mazzard Soft is a rounded version of Mazzard – a superfamily of three geometric grotesques with three different x-heights (H, M, and L). It features rich language support, includes Cyrillic, and offers a wide variety of alternate forms.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Designed at ParaType in 1997 by Tagir Safayev. Based on OCR-A typeface (1968) of American Type Founders. A simple sans serif typeface designed to meet the requirements of the US Bureau of Standards for optical character recognition.

Doge’s Banner is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Darker and Doge’s Venezia. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

Signage JNL shows the heavy influence of the perennial favorite Futura Black with a couple of minor changes here and there. The design was inspired by a set of British brass stencils for sale in an online auction.

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Drawn by Tony Stan, ITC Garamond was first released in 1975 in Book and Ultra weights only. These were intended as display faces to complement existing text designs from other foundries. (In fact, many of ITC’s interpretations of traditional typefaces began as display counterparts for existing text designs.) These first weights of ITC Garamond became so popular, however, that ITC released the Light and Bold weights and a suite of condensed faces in 1977. Now, the complete ITC Garamond family features sixteen members: four weights of roman and italic in normal width and four weights of roman and italic in companion condensed versions. The family resemblance is there, but ITC Garamond’s unique provenance gives it an unmistakable, one-of-a-kind appeal.

Bellatrice Natural is a captivating natural signature font that effortlessly combines elegance with a touch of organic charm. Its fluid strokes emulate the graceful movements of handwritten script, lending a personalized and authentic feel to any design. The gentle curves and slightly irregular lines of Bellatrice evoke the warmth and individuality of a handcrafted signature, making it an ideal choice for projects that seek a distinctive and human touch. The font’s natural flow and intricate details create a harmonious balance, resulting in a timeless and sophisticated signature style that can elevate a variety of creative endeavors, from invitations and branding to personal correspondence. Bellatrice is a testament to the artistry of a well-crafted signature font, capturing the essence of natural handwriting with grace and finesse.

An industrial strength slab-serif inspired by Detroit itself, Motor City is a heavyweight titan of type that breathes diesel and exudes brawn. Defined by its trapezoidal serifs that were characteristic of many Detroit-centric sign-painters during the dawn of the 20th century, this typeface is a modern adaption of a classic aesthetic. This typeface can be layered with the outline version to add levels of detail quickly and easily making an already strong statement even more powerful and prominent. This uppercase only typeface comes with a set of true small capitals that is certain to add an extra level of style to your next project. Features Include: Over 330 glyphs Uppercase Only Small CapsSupports 75+ Latin Languages OTF files Designed and Developed by Jason Carne

Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces were producing too much bleed of the individual glyphs...Cynapse was born. It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page, and in effect, reducing the appearance of bleed). The results was promising. The new OT version contains additional OpenType features that include expanded ligature sets, fractions, 5 sets of numerals as well as small caps and Central European diacritics.

LECO 1983 is a headline display OpenType typeface with its three styles: LECO 1983: regular LECO 1983 Blind: without interiors of signs LECO 1983 Negative: in its inverse form. The inspiration for creating this font came from the label on a 1983 bottle of Lečo. The characteristic feature of this font is an embedded diacritic. The monolinear character of drawings is dominant. This font is drawn as capital letter type for both: upper case and lower case letters. It contains alternatives of some signs (e, f, g, m, n, y) and (& and a glyph No) but it consists several interesting alternatives (ligatures) of pairs as (in, on, of, by) as well. This font is best used on strong posters or as a headline display typeface.

I have a notation that the summer of 1994, when I worked with Kalix, was a warm one. I had no special typeface in mind when drawing the characters of Kalix, but many typefaces contributed to it, e.g. my own Omnibus from which I borrowed the looks of the smal case g. I think it is a lovely typeface whose use is mainly for books and magazines. Kalix is the name of a northern Swedish town situated along a river called Kalixälven. Its name is of sami origin, *káles, meaning cold. There comes the connection to the warm summer of 1994! But even the Latin word for chalice, calix, has something to do with my choice of name. Kalix was released in 1994.

Cracked Dream is an enchanting and imaginative fantasy display typeface that transports us to a world of otherworldly wonder. With its intricate and mystic letterforms, Cracked Dream evokes the feeling of stepping into a realm where reality blends with the fantastical. The ornate cracks and intricate details on each letter conjure images of ancient spells and hidden secrets, making it a perfect choice for fantasy book covers, magical-themed designs, and mystical event posters. Cracked Dream’s unique design adds a touch of mystique and allure, inviting viewers to explore the depths of their imagination. Whether used for gaming graphics or ethereal illustrations, this typeface effortlessly weaves a sense of enigma and adventure, truly embodying the essence of a captivating fantasy world.

Martin Crantz (or sometimes Krantz) of the three, including Ulrich Gering and Michael Friburger, that set up a press at the Sorbonne in 1470 was likely the fellow who had the technical know how how to cast the type itself, hence the name of this new face that is based on his work. This font has been expanded to meet the demands of modern day use but it also contains a number of specialized glyphs that allow for the recreation of text in the manner of his day with such characters as the -rum abbreviation and other handy Renaissance oddities. Since this face was designed prior to 1501 there is no italic variant in keeping with the spirit of historical accuracy.

This font is based on the popular and timeless Caslon design and was carefully digitized from the pages of an early 19th century book. I was excited to see some unique design treatments of characters such as the lower case italic 'p', the question mark, and various swash caps that I had never seen before. During the conversion process, I made sure to preserve the worn look of faded ink on old paper by maintaining a subtle level of decay and opacity with each character. For missing characters not found in the book, I created new characters that were faithful to the style of the rest of the family. Used as a text font, The Letterpress Text Family successfully reproduces the appearance of old letterpress lithography.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Sibylle Schlaich and her friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Schlaich and her fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Styletti Medium is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype GmbH."

Hippie Mods is a font that takes you back to the psychedelic era of the 1960s and 70s. This fun and retro typeface is a true embodiment of the free-spirited movement, peace and love, capturing the essence of the countercultural revolution in its design. It is the perfect choice for projects that demand a touch of nostalgia and strong individuality. The font's flowing curves, hand-drawn feel, and vintage details evoke the spirit of a bygone era. With a natural color palette and versatile design, Hippie Mods are the perfect choice for adding a touch of nostalgia and whimsy to your creative projects. This typeface will also make your projects radiate the strong spirit of the Hippie era, whether you are creating art, posters, or branding.

Niccolo Niccoli (1364-1437) was a wealthy bibliophile and an acclaimed scribe, in Florence (Italy). He was one of the most important Italian calligrapher in this early time of rediscovering Roman script. Of rare accomplishment was his adaptation of the so called Italian humanistic minuscule script. We were inspired from his late work to create this present Font. We have added a lot of accented and other characters (U/V, I/J...) who was not existing in the original and replacing "long s" by a small "s" for a modern use. The OTF encoding was used for intelligent alternates, permitting to use different forms of the same lower case or capital in a single word, reproducing easily the charming variety of a real manual scripture.

Shelf is a humanistic sans-serif font of cool and solid character. Its frugal, clean and organic drawing as well as its name were inspired by the ice shelf landscape. Shelf was designed as a universal tool for creating a coherent information and navigation systems with accompanying publications, such as visual identity of exhibitions including catalogues. It is suggested to set long texts in Roman and Italic, while the best combination for a wayfinding system is Roman and Oblique. Every weight, therefore, contains Roman, Italic and Oblique versions. The variety of over 1500 glyphs constitutes a rich set of Latin script characters. Shelf includes small caps, a broad set of figures, a wide set of alternative style variants, arrows and a number of OpenType features.

Replica seamlessly blends organic and geometric elements to create a captivating geometric grotesque font that draws its creative essence from the principles and design philosophy of organic architecture. Replica's journey towards this harmonious equilibrium begins with a deep exploration of organic architecture, a design philosophy that celebrates the integration of the built environment with the natural world. Drawing inspiration from the works of architects like Frank Lloyd Wright and Antoni Gaudí, Replica seeks to capture the essence of flowing lines, biomorphic shapes, and the seamless fusion of structure and surroundings. At the heart of Replica's design process lies a commitment to translating these organic principles into a typographic form that resonates with viewers in a way that is both visually captivating and functionally versatile.