Voyage is a smooth and friendly vintage script family of two weights and ornament sets. Voyage is packed with alternate characters and OpenType features to allow you create customized headlines. To activate the alternates click on Swash, Contextual, Stylistic or Titling Alternates or Discretionary Ligatures in any OpenType savvy program or manually select the characters from Glyph Palette. Always keep on Standard Ligatures for the best outcome. Combine Voyage with Voyage Ornaments to complete your designs. For the best price purchase the Complete Voyage Family.

The Revolancer Pro font was designed in addition to the unique Revolancer font, so this font looks more familiar. But this is only at first glance. This typeface combines the simplicity of classic grotesque typefaces with the freedom and independence of a Revolancer typeface. This font will give you freedom. The freedom to be unique, not like everyone else. Each character in Revolancer font knows its place, and it is impossible to achieve such a smooth and organic flow of words using a regular font.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Barkanon is not your ordinary humanist sans serif typeface. Blending modern styling with classic humanist flow creates a bold and captivating look. Designed to be expressive in the right places and legible where needed. Barkanon is great for headings, body copy, logos, etc. Barkanon was picked to be a part of the 2024 Typodarium and an early version of the font was featured on James Edmonson's (Oh No Type Co) YouTube channel Barkanon covers 96 languages, 9 styles plus italics, with stylistic alternates, ligatures, and other opentype features.

Avimode is bold, sharp, and futuristic. An original CubicType design with a design inspired by the holes and tracks on printed circuit boards. Text set in Avimode fills almost all the space available to it, and has small details. CubicType therefore recommends using this type at large sizes and with processes that are faithful to its fine details. It would look great cut 2 metres high on the side of your galactic spaceship. Please be aware that some of the lettershapes have sharp pointy corners: HANDLE WITH CARE!

This is a font that will fit in the "hard to read section" because it may not be super legible at first sight - that is because of the negative space. But when you combine the two layers (Layer and Box) the letter suddenly appears very legible! Play around with your favourite colour palette while adjusting the transparency in order for the colours to blend, giving a really nice handcrafted look! You have 4 different versions of each letter to play around with and of course there is multilingual support!

We have created this family inspired by the old-fashioned stencil letters like those the French army used during the WWI to write on soldiers' clothes, blankets, signals, ammunition, supplies and so on. This is a Didone-style font. We offer two variants for the same font: monospaced or proportionally spaced. Our Open Type specification allows automatic substitution of letters to avoid repeating the same glyph when a letter is repeated (for example “ee” or “bb”)(Not available with accented characters and a few others like “Q” that are never repeated in common use).

Maison Neue is the completely reworked version of our original Maison typeface family. While the earlier version was constructed using rigid elements, Maison Neue has been meticulously redrawn to be less formulaic and have a stronger focus on optical criteria to create a distinct grotesque paying greater attention to harmony, rhythm and flow. In 2017, Maison Neue was further developed and expanded into a super family of 40 styles. This includes the subtly condensed original version, an extended counterpart, a mono-spaced alignment—all featuring additional weights within each family.

Aircrew is a neutral, humanist sans-serif family optimized for signage applications in display sizes. Its large x-height enhances readability and its letterforms help distinguish characters from each other, increasing legibility. Aircrew has vertical terminals, low contrast, and short ascenders and descenders. The weight variations between uppercase and lowercase characters provide the perfect balance and its slightly condensed proportions allow more words to fit in less space. There are two different versions of Aircrew, positive and negative. This avoids optical effects that cause uneven thickness and unsteady readability in either light or dark backgrounds.

OpenType Layout features: Smallcaps, stylistic alternates, localized forms, standard ligatures, uppercase-sensitive forms and spacing, oldstyle figures, lining figures, smallcap figures, arbitrary fractions, superscript, subscript. Corbel is designed to give an uncluttered and clean appearance on screen. The letter forms are open with soft, flowing curves. It is legible, clear, and functional at small sizes. At larger sizes, the detailing and style of the shapes is more apparent, resulting in a modern sans serif type with a wide range of possible uses. This font is suitable for business documents, email, web design.

The elegant handwritten font for this brand exudes sophistication and timeless charm. Its strokes are fluid and graceful, reminiscent of a skilled calligrapher's penmanship. The letters are carefully crafted with a balance of curves and straight lines, creating a harmonious and refined look. The font maintains a moderate size, allowing for readability without sacrificing the delicate details that make it elegant. Each letter flows seamlessly into the next, creating a sense of continuity and grace. The spacing between characters is thoughtfully considered, striking the right balance between openness and cohesion.

Tertre is a display/short text typeface with a wide range of applications from signage or posters to menus and pricelists; branding, packaging or publishing. It is named after Place du Tertre, a square located at the top of Montmartre—a hill overlooking Paris, made famous by the artists of the 19th and 20th Century. Like in Galette, the letters have no overhangs and the stroke thickness of capitals and lower case letters is identical, making hinting or anti-aliasing more uniform at any point size and zoom combination.

Nat Grotesk family consists of 14 styles including 6 narrow ones. It has a half-closed sans serif design with simple and clear lettershapes. Due to compact proportions the face is very space saving, but nevertheless it is rather legible even in small sizes. The bold weights demonstrate increased contrast. The font is recommended for text and display typography as well as for headlines and advertising. It was designed by Natalia Vasilyeva and released by ParaType in 2007. The upgraded version with extended character set was released in 2009.

Usually fonts that are related to computers, space, future are not handmade, but rather digital made. Autoray is 100% handmade, and I am not sure which category it fits in. It has this futuristic and intergalactic look, but at the same time the handmade details are pointing in a more grafitti and comic way. I will let you decide where to go with Autoray! I have added 5 different versions of each letter, and they automatically changes as you type - and of course, there's multilingual support - and even intergalactic gravity! :)

Brittney Westone is a fragile, elegant and versatile script font. Fall for its ravishing style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! What's Included : Uppercase, Lowercase, Numerals & Punctuations Ligature & Swashes Works on PC & Mac Simple installations Multilingual support PUA Encoded Compatible with Silhouette Studio, Cricut Design Space, Scan N Cut, Adobe Illustrator and other cutting and design programs.

Helliya Signature is a lovely and timeless handwritten font. It is the best choice for creating eye catching logos, branding and quotes. Every letter has a unique and beautiful touch, which will make your design come alive! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! What's Included : TTF Uppercase, Lowercase, Numerals & Punctuations Ligature & Alternate Works on PC & Mac Simple installations Multilingual support Compatible with Silhouette Studio, Cricut Design Space, Scan N Cut, Adobe Illustrator and other cutting and design programs.

Velour is an elegant display typeface, with thin, bracketed serifs. The typeface’s main features are the curved crossbar on ‘A’ and ‘H’, the long, sophisticated legs of ‘K’ and ‘R’ including an alternative ‘k’ automatically substituted in appropriate places, providing a consistent flow of text and a romantic feel. The typeface comes with a beautiful set of both standard and old-style numerals, two different ampersands and alternates with less complicated letterforms. Velour is available in 6 weights, from Thin to Bold, and supports Western, Central and South Eastern European languages.

If you’re looking for lettering that’s a little fancy-schmancy, a little stylish, lively and free flowing, comic book lettering legend Richard Starkings has a bold, bodacious and exciting pen style for your font library! Richard Starkings Brush is exuberant and yet also quietly confident -- originally rendered with a Brush Pen, this slick new addition to the Comicraft library puts the Flam in Flamboyant. Includes four weights (Regular, Italic, Bold & Bold Italic) with automatic alternate letters, Western and Central European international characters, Vietnamese characters, and Comicraft's patented Crossbar I Technology.

Borden is a rounded hand-printed caps font ideal for your graphic project. Usage recommendations : Title, short text, children’s book, poster, book cover, brochure, label, magazine. "The friendly hand-drawn charms of the Borden family […] Designed by Ewen Prigent, the Borden family is a hand rendered, all-caps design ideal for all sorts of playful settings. With its narrow condensed letterforms and rough rendering, this family is a good fit when space is limited in your design but you don’t want to compromise its friendly tone." www.fonts.com - newsletter - march 2014

Inspired by retro movies and theatre display design. A very condensed font made by Minor Praxis. Perfect for headlines, tall-format prints, posters, and displays which can utilize space of a medium. Neugen is a condensed type of font with a very dense kern. Give a strong impression which can be matched with basic sans serif fonts as a body copy that can make it more casual and modern looks. Available in medium and medium-rounded style with multi languages support. Ligatures, alternates, and stuff like icons and symbols.

Marketing Strategy JNL was inspired by some display signage used in an episode of the classic "Alfred Hitchcock Hour". Evoking the early-60s feel of kitchy advertising, this display font has a limited character set and is specifically designed for creating retro ad banners and point-of-sale attention getters as well as period piece signage. For those preferring a blank hexagon for spaces between words, one is located on the equal key. Marketing Strategy JNL is available in both regular (outline) and solid (white letters on black) versions.

Greeting Cards contains over 30 hand-lettered expressions with so many uses! Express yourself in style! Most of these versatile expressions are designed with thoughtful spacing, so if the greeting has more than one word, there is both a version with all of the words on one line and an alternate version with the words on two or more lines. As a special bonus, a folder with transparent GIFs of all expressions have been included making it even easier to add to your emails or publications. See what’s included! http://bit.ly/2bGW2ML

Bocksay Mira is a text font family inspired by the manuscript Mira Caligraphiae Monumenta created between 1561 and 1596 by Georg Bocskay and Joris Hoefnagel for the Holy Roman Emperor. All shapes were taken from the original records in both regular and italic style: lower case (p. 5, 72), uppercase (p. 47, 121), small caps (p. 122, 7). The high contrast forms and the wide spacing makes this family suitable for long texts but also for titling uses, having always that calligraphic and stylish look. Find the original script here

The Delima font family has something of the Clarendon or Ionic influence but is distinguished by a lighter serif treatment. The contrast between thick and thin strokes is not pronounced, weight stress is vertical. Delima's serifs are short but strong, allowing close letter spacing to give good economy. Lowercase x-height is very generous, internal counters are open. This combines to give Delima excellent legibility in small sizes and an overall even colour when set in text. Delima works well for magazines, periodicals and display work in advertising, flyers and catalogues.

Roman-style stencil fonts have been around for much longer than most people realize - from the interlocking brass stencils of the 1880s to the laser-cut plastic stencils of today. A 1 inch Roman lettering guide [die-cut from oil board with spacing holes for correct alignment] made by the now-defunct Zipatone Corporation in the 1970s was a clone of an existing design of another company; but with variations in certain character shapes. This then became the working model for Classroom Stencil JNL, which is available in both regular and oblique versions.

Manual is an 80 font super family formed of 10 weights in 4 different widths. The font is styled with a slight retro feel to give it a unique appearance. Manual is a blue-collar font that works hard for you and your design ideas. The higher x-height enhances the readability for smaller, more informative text sizes whereas the black weights create beautiful, impactful headlines to fit a variety of spaces. The support of the expansive weights and widths will give your design a truly unique feel.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

This family was inspired by the set of fonts used in Paris by Ponce Rosset, aka “Faucheur” to print the account of the second voyage to Canada by Jacques Cartier, first edition, in 1545. It is a Garalde set, the punchcutter is unknown, certainly it was not Garamond himself. In our two styles (normal and italic), fontfaces, kernings and spaces are scrupulously the same as in the original. This Pro font covers Western, Eastern and Central European languages (including Celtic) Baltic and Turkish, with standard and long-s ligatures in each of the two styles.

Zania is a display typeface. Its characteristic element is cutting in the stem that makes this font very memorable and easy to recognize. Contains stylistic alternates, ligatures, diacritics, and OpenType features that will help you make your project more unique. Has an experimental vibe and nice movement from left to the right thanks to serifs placed in the top left and bottom right part of the letter. It has smooth edges that make it look more friendly. The letter contrast is high. Looks good in logotypes, branding, magazine titles, book covers, posters.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

The inspiration for AlbertBetenbuch came from a typeface drawn by Albert Dürer and an interpretation of that face in Arthur Baker’s Historic Calligraphic Alphabets (Dover, 1980). It is not a recreation of either. The characteristic common to AlbertBetenbuch and the faces inspiring it is the decorative zig-zag with the upper-case letters. In late 2018 the inside of the shadowed style was separated out. It looks very much like the plain face but its spacing matches the shadowed version. It can be layered with the shadowed version to easily create two-colored letters.

Urbane is a versatile all-purpose sans-serif family of six weights plus italics. It explores the same idea-space as early geometric modernist sans such as Futura, Erbar, Spartan and Elegant Sans, with a single-story a, a contemporary high x-height and very slightly condensed bowls. Perfect for headlines and running text, it is clear, classic and authoritative. Unusually for a geometric moderne sans, letter-widths are optically balanced, giving an even colour in setting. Includes a full international character set, lining, tabular and old-style numerals.

Romford Stencil is a Brexit inspired typeface. It’s letterforms represent the idea of a union splitting apart and the stylistic differences between the upper and lower case symbolise the notion of being different from one another. Research for this typeface started off in Romford which is an area where the majority of UK voters wanted to leave the European Union, hence the name. Romford Stencil is designed to be readable for body copy and look impressive when used as a display typeface. However, the bigger it's size the better it looks, especially in all capitals.

The BrightIdeas family contains two novelty fonts that have letters on light bulbs. The fonts have some characters on standing bulbs and some on hanging bulbs and these two sets are made to alternate with the OpenType contextual alternatives (calt) feature. To use only one set of bulbs, this feature must be turned off and character spacing adjusted. The family contains a style with clear bulbs and one with filled bulbs. They can be used in layers to add color. Both are monospaced. The characters on the bulbs are derived from the font Myhota-Bold.

Sambar is our newest display font, which has been meticulously created in every typeface to achieve a true graffiti-style shape. If you don’t utilize this font, all of your outside events and activities will feel out of place. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

In Norse mythology, Yggdrasil is the tree of life, which grows right into heaven - maybe even space! It has deep roots, which grows into three different worlds. I made this font in hope that someone with a love to Norse mythology could use it - maybe even for something viking themed! I don’t think that the gods of Norse mythology ever heard of contextual alternates or multilingual support - but I added it, without even asking! - Yggdrasil has 5 different versions of each letter (in both Regular and Rough) and supports loads of different languages!

Galaxus is an edgy display font defined by its tight spacing, sleekness, and short descenders. Curvature is limited throughout the character set with straightened lines dominating the interior. Traditional diagonals in capitals like M, N, W and Y are given the straight treatment to maintain vertical emphasis. This styling along with the contrast between thick and thin make for a unique look. Galaxus would work well in a logo, on sports apparel, or in a video game. This family is equipped with Basic Latin, Extended Latin, diacritics, punctuation, kerning, and comes in 4 versions.

This variation of Tangential (see also the Standard & Semi Serif variants) continues with the angles that give the typeface its name; however, the square terminals are half-rounded to create a softer and slightly more fluid styling. The Tangential style I envisaged for the family is complemented by the prominent use of negative space throughout, most apparent on the drop-shaped ‘o,’ which is a key feature of the typeface and a letterform I'm particularly pleased with. Available in 2 weights, Regular & Bold, in both OpenType OTF & TrueType TTF formats.

"Gardariki" font is geometric sans-serif, straight, bold, extra condensed, monoweight font, accidental with sharp corners and closed aperture. Typeface is great for headlines, text logos and posters. Primarily font is inspired by Constructivism. It has laconic forms, geometricity and solidity and a tight inter-letter space. - Uppercase and lowercase letters - Kerning - Numbers and punctuation - Multilingual support (Latin, Latin Extended, Cyrillic) - Support for more than 20 languages: Albanian, Belarusian, Bulgarian, Croatian, Danish (Norwegian), Estonian, Finnish, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Moldovan, Portuguese, Russian, Slovak, Slovenian, Spanish, Swedish, Turkish and others