Wanderlust Letters has returned, but now offered in a beautiful collection of hand painted scripts. New versions include Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments. Wanderlust Letters Pro is an extended version of the immensely popular Wanderlust Letters. This latest version includes three sets of basic alternates, one set of decorative alternates, and one set of ligatures. Wanderlust Decorative Pro offers a magnificent updated flow from the initial Wanderlust Letters release. Decorative Pro includes two sets of decorative alternates, two sets of basic alternates, and one set of ligatures. Decorative Regular comes with one set of decorative alternates. Boho, Chic, Shine and Gold are an updated spin off of Wanderlust Letters. These fonts offer new letter styles that blend seamlessly with all Wanderlust fonts. Pro versions of Chic, Shine and Gold comes with three sets of basic alternates and one set of decorative alternates. Boho Pro comes with with two sets of basic alternates and two sets of decorative alternates. Caps is a perfect choice for headline use since it’s an all uppercase font. But don't be afraid to mix it up with all the other Wanderlust fonts. The entire Wanderlust Collection works impeccably to enhance your magazine, packaging, advertising, branding, posters, websites, and films. Combine all Wanderlust fonts with Ornaments to create unique hand painted typography art.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Enjoy Font Kitchen’s all-natural Pastrami! This rounded geometric sans is served with a tall glass of ligatures, a heaping portion of all kinds of fractions, and your choice of stylistic alternates. Inspired by warm, whimsical typefaces of 70s American diners, Pastrami is perfect for adding a stylized charm to your next piece. Available in seven weights, Pastrami is sure to add a dash of flavor to your next project.

Linotype Dot is part of the Take Type Library, featuring the winners of Linotype’s International Digital Type Design Contest. Designed by Lucy Davies, the figures are composed of a combination of white and black dots and the contrast makes the font look like points of light and darkness. The general impression of Dot lies somewhere between ornamental and technical. It combines well with sans serif and calligraphy fonts.

Paine was designed to be a humanistic sans serif with an overall contemporary feel while at the same time evoking the feeling of earlier transitional faces.

An all-capitals reversed sans-serif font, designed for easy creation of signs, labels and banners. Various endpieces are included. Upright and italic can be combined.

Nostalgia styled font designed by Samborghini Uppercase Character Set A-Z Lowercase Character Set a-z Tons of alternate characters Numerals & Simple punctuation OTF file format

A sans serif with splayed ends, descenders and ascenders of the lower case dropping below the baseline, or above the x-height, very tall x-height.

Windlesham is a more traditional sans serif version of our Guildford typeface. Windlesham contains all the high-end features expected in a quality OpenType Pro font.

Yoon Backjae is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

Gusto is a mixture of San Serif and Humanist style fonts together. We put the craft into the character. It's a unique option available for you.

Yoon Gogooryo is a sans serif typeface consisting of 2 weights. It supports up to 13 different languages such as English in Latin and other scripts

Mix and match the upper and lowercase keys to access swash and non-swash letters in this unconventional serif font with a plethora of European characters.

Retail Monoline JNL is a light weight sans serif extracted from the inline of Retail Price JNL and is available in both regular and oblique versions.

Motena Golden is a elegant pair of script and sans serif font. It's suitable for any project purpose such as invitation, logotype, packaging, branding and more

YD Yoonche is a geometric sans serif consisting of 4 weights. It supports up to 13 different languages such as English in Latin and other scripts.

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Pusekatt means Pussycat in Norwegian. It was finished on a rather gloomy monday, which reminded me of Norway and I just like cats. There you have it: the naming of fonts explained. It ain't rocket science for sure! There is nothing gloomy about Pusekatt font: it is a very lively, happy and useful poster face. It comes with extensive language support, one alternative (yes, one) and a lot of feline grace.

Majordomo font is a font that was based on a vintage unnamed alphabet I found in an old font book. I traced it and added serifs and weight. Majordomo is a person who speaks, makes arrangements, or takes charge for another. Typically, the term refers to the highest (major) person of a household (domo) staff, one who acts on behalf of the (often absent) owner of a typically large residence.

TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

Calligrapher Gothic Textura Font is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional Gothic Textura calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. It contains all the Latin glyphs.

Calligrapher Rustic Capitals Font, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional Rustic Capitals calligraphic stile. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. It contains all the Latin glyphs.

Calligrapher Fraktur Modern is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on modern Gothic Fraktur calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. This font contains all the Latin glyphs.

Calligrapher Neuland Bold is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on Neuland calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. The font contains all the Latin, Cyrillic and Greek glyphs.

Calligrapher Square Capitals Font, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional Square Capitals calligraphic stile. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. It contains all the Latin glyphs.

Calligrapher Rustic Black is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on modern Rustic calligraphic style. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. Calligrapher Rustic Black contains all the Latin glyphs.

Calligrapher Insular Minuscule Font, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“. All graphemes are taken from calligraphic pages written on traditional Insular Majuscule calligraphic stile. This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. Font contains all the Latin glyphs.

A revival of one of the popular wooden type fonts of the 19th century. Suitable for text, a narrow, thin Antique, with flat unbracketed serifs.

A revival of one of the popular wooden type fonts of the 19th century, condensed, bold, flat thick serifs, a very useful design for display.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

A revival of one of the popular wooden type fonts of the 19th century, suitable for text or display, short ascenders and descenders, serifs triangular.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders, very condensed.

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

STF Eclectic Medley is the budget-concious answer to your dingbat blues! This "best of" collection from the Eclectic One, Two and Three fonts is the ultimate grab-bag dingbat resource. Every slot in the font is filled (over 200 characters!), and includes the form-making glyphs from Eclectic Three. The Eclectic family is legendary, with a cult-like following among the inititated. You'll find yourself using Eclectic Medley almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. Available in Mac and PC formats. License it today!

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

Eidetic Modern is the sanserif counterpart to Eidetic Neo. Both families were developed in tandem, however the Modern was the first to be published by PSY/OPS [1997]. Eidetic Modern's features -- gently tapered stems, buffed corners and junctures, vertical stress, non-classical proportions -- combine to create a unique, contemporary humanist sans.

There are thousands of pieces of vintage sheet music available for collectors and curiosity seekers. Prior to the 1930s, a large percentage of them had wonderfully hand-lettered titles on the covers, but gradually there was a shift by music publishers to utilizing metal type for the bulk of their output. Normally set in an all-caps format, certain type faces reappeared in growing frequency and familiarity. Composer JNL is one such example of a “workhorse” font, and has been re-drawn and reinterpreted by Jeff Levine Fonts in both regular and oblique versions. It is based on the design "Glamour", released by Lanston Monotype in 1948; which in turn was based on "Corvinus", designed by Imre Reiner.

By day, Ken Gitschier is one of Monotype Imaging's in-house type designers, busy creating fonts for on-screen typography - a demanding undertaking that requires meticulously editing fonts on a pixel-by-pixel basis. His tools are Fontographer software, a Wacom digital tablet, a high-resolution monitor and a keen understanding of typographic forms. But by night, Gitschier uses the same tools to indulge his passion for experimental typeface designs. GitchHand is one of Gitschier's nocturnal projects. The design has an almost painterly quality. Depth, texture and even a sense of color are found in the lettershapes. Edgy, iconoclastic, and not for the typographically faint of heart, GitchHand makes a strong visual statement.

Introducing Xenara—a typeface born from the mechanical precision of vintage calculators and electric typewriters of the 1970s. Designed with technical applications in mind, Xenara features stolid letterforms and rounded ends that communicate a cold, businesslike style with scientific precision. Xenara’s unique design elements include an alternate barless “A”, trident “M”, zigzag “E”, and square “S”, which are available when you use the OpenType alternates feature. These details add a level of technical sophistication to your work that is unmatched by other typefaces. Available in both Regular and Bold weights, Xenara is the perfect choice for projects that require a technical look and feel. Whether you’re creating data-heavy reports, technical manuals, or scientific publications, Xenara will ensure your message is delivered with the utmost precision. Choose Xenara for a typeface that speaks to the essence of science and technology with a timeless design that will endure for years to come. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.