Mister Dorky is a grungy, jumpy and warm handwritten font made with an inky pen!

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard’s own range of Grotesques. More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement. The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Giesecke’s 1913 type specimen book ‘Die Zierde’. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in ‘Die Zierde’ make for beautiful combinations. This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings. The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the ‘G’, the gammy-leg of the ‘R’, a strange ampersand and some irregular terminals across the weights. Zierde is display face meant for headlines, titles, short-copy, labels and logos. It comes in caps and small caps, Latin and Cyrillic.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon font is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. ITC Caslon 224 was designed by Edward Benguiat and appeared with ITC in 1982. It is the text font which expanded upon the title font ITC Caslon 223. The alterations in the proportions of the letters make this Caslon 224 a noticeable departure from the original, but make the font overall more legible.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These 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.

The Cabrito family is back again to make a statement. Released as a complement to the children's book, The Clothes Letters Wear, the original Cabrito is light-hearted, fun, and easy to read. Now, balancing this friendliness with a new elegance, Cabrito Contrast steps forward--a handsome typeface with an extra-sophisticated sensibility injected into the design. Still bright and playful in its Cabrito ancestry, this new Cabrito member approaches the field with a cleaner, more reductionist form, ensuring that its polished look retains the readability. Regular features and Italic forms of the 54 fonts include upright alternates, ligatures, and old figures. A range of weights include extended and condensed variants. To preview any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are over 600 glyphs for further refining your work. Cabrito Contrast is best used for logos and packaging as well as flyers and websites, though its readability makes it a great option across a wide variety of works. In short, it’s well-designed just for you. Take a stroll with Cabrito Contrast, and see how much fun refinement can be. Along the way, take a look at a few other members of Cabrito, too and see how well the likes of Original, Inverto or Didone can pair with the new Contrast.

Looking for a way to make your message pop? Usurp Typeface might just be the answer. This cut-out psychedelic display font boasts peculiar hallucinogenic letterforms and outrageous slab serifs that will give your design a surreal elegance and trippy vitality. Usurp Typeface was designed with modern psychedelic aesthetics in mind. It features unique letterforms that appear to be cut-out and arranged in an abstract, almost otherworldly fashion. The slab serifs add a touch of boldness and sophistication, creating a balance between the playful and the serious. One of the standout features of Usurp Typeface is its use of OpenType ligatures. When certain letter combinations appear together, bespoke pairs will replace them, creating a more genuine and natural feel. This attention to detail is what sets Usurp Typeface apart from other display fonts. Whether you’re designing a poster, album cover, or branding project, Usurp Typeface is a great choice. Its modern psychotropic style will add a unique and eye-catching element to your design, helping you stand out from the crowd. Give your message the trippy vitality it deserves with Usurp Typeface. 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.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

ATTACK OS font version: 1.0 is the first version, including 340 characters, there are 4 types of handwriting that are: Regular; Italic; Bold; Bold Italic. We work with agencies and brands on visual identities and custom type design. Do you need a new font? Or an adjustment of the existing one? We can handle it on a best technological and creative level. New font design We create a concept and drawing of a completely new font to emphasise the character of your brand or project. Modifications to our fonts We adjust one of our retail fonts to your needs. It usually means a small change in design, an extension of the language set or icons. Let’s discuss how we can work together

Long Rider - The Cowboy Font A compressed slab font forged from grit and leather. Inspired by a nostalgic cowboy style this font stands tall and ready for your titles, logos and social media layouts. Particularly suited to portrait designs, this text looks great filling the screen of Instagram stories or epic widescreen productions. Includes bonus extras that help you to add texture to your type - first are the forever useful grit textures for Adobe Illustrator. Set up as seamless patterns you can easily fill any size text with an authentic broken look. Next are high-resolution leather textures for creating those rugged backgrounds. Contents: - Long Rider Regular (Standard uppercase and and lower characters) - Long Rider Alternate (Features Alternative lowercase characters)

Paper Tiger is a splendid display font package by Fenotype. It’s a Victorian Script accompanied by a condensed flared serif in two weights and a chunky sans serif. Together they make a powerful set for creating logotypes, posters, packaging design, headlines or any display use online or offline. Paper Tiger fonts are available as normal clean versions, as well as “Print” versions that have rugged outlines and eroded texture inside. Paper Tiger suits great for book covers, restaurant menus, food products, craft ale labels, organic teas, sport teams logos and any such. Paper Tiger Script is equipped with Contextual Alternates and Standard Ligatures that keep the connections smooth. Both features are automatically on. In addition it has Swash, Stylistic and Titling Alternates for some extra flair.

Strogino is a modern display pseudo-monospaced sans serif font. Due to the special design and some variants, all letters are easily identifiable though stuck together. It is as geometric as possible, being made with the simplest forms, capital letter sizes are exactly square. This allows to even create seamless patterns for backgrounds and watermarks. Diacritic can be added to any letter or even symbol and number, giving in total more than 1500 combinations! Strogino is perfect for logos, headings, titles, inscriptions, overlay text, backgrounds, and many more! Short paragraphs or quotes also look great with it. The font is named after Strogino (Russian: Строгино), a district in northwest Moscow, where the designer Roman Maganet came from. You can read more about making this font here.

The 'Somatype' range has expanded further with this latest addition to the collection, titled SomaSlab. Although the basic letterforms are the same as in the generic Somatype family, the introduction of slab-serifs to appropriate characters has transformed the typeface into something new, creating a completely different styling in the process and striking a pleasing balance between classic & contemporary styles. The fishtail and curved serifs on certain characters also introduces a unique quirkiness, making SomaSlab stand out alongside most classic slab serif fonts. Some alternative characters are available too, together with an extended Latin glyph set, allowing users a variable choice and great versatility for text settings. SomaSlab comes in both Regular & Slanted styles, each in 4 practical weights, providing plenty of flexibility on any creative project.

BUMBLE OS font version: 1.0 is the first version, including 340 characters, there are 3 types of handwriting that are: Regular (Regular); Italic (Italic); Bold (Bold). We work with agencies and brands on visual identities and custom type design. Do you need a new font? Or an adjustment of the existing one? We can handle it on a best technological and creative level. New font design We create a concept and drawing of a completely new font to emphasise the character of your brand or project. Modifications to our fonts We adjust one of our retail fonts to your needs. It usually means a small change in design, an extension of the language set or icons. Let’s discuss how we can work together

Coral had its origins in the font Leah. I had requests from users that I create a cursive version of Leah. (In a cursive font the letters are joined together as in handwriting). In the process of development it changed sufficiently that I decided to release it under its own name. Hence "Coral". Coral is relaxed but very readable. It is, perhaps, a tad more formal and regular than Leah but not sufficiently so as to detract from its relaxed quality. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

Ghimli Antique was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov in the future. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Antique has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite evil, incredibly dense, bold. It looks like when the dwarves closed ranks and go to defend their lands from the invasion of the orcs. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

Titul is a display typeface with strong historical connotations. It is based on a series of stylish lettering for book covers, designed by Russian graphic artist Alexander Leo in the 1920s. The historical reference for him was book design of the 1st half of the 19th century. Type family consists of four ornamented and three basic styles: one solid, one inline and one striped. All seven faces have corresponding oblique styles. Also, there is a beautiful vignette font and a style for constructing ornamental borders. Titul suits best for vintage spirited typography, from the 19th to early 20th century. It is perfect for book covers, theater posters, packaging and greeting cards. Typeface was created by Isabella Chaeva and released by Paratype in 2020.

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.

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.

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.

In the early days of printing it was soon recognized that there was a need to identify the printer and publisher behind the printed work. So these industrious people created marks to identify themselves to clients. This font contains over 160 marks dating back to the early years of printing with the likes of Fust, Ratdolt, Manutius, Caxton, and a whole host of others represented. Some of these printers were very influential and altered the course of history, some merely enabled the broader public to access the classics. Some were imprisoned and others helped foment revolutions. But all were riding the new current of this technology of moveable type that helped transform our world through the enabling of easily exchanging information.

A 1916 book entitled “Lettering” by Thomas Woods Stevens features a number of hand lettered alphabets; some plain, others unique. One of the more novel examples was designed by Harry Lawrence Gage and featured letters and numbers with a crude, wavy style described in the book as “adapted to wood block and linoleum cutting”. To keep the design as close to the original as possible, the image from the book page was auto-traced, with each character given just enough of a clean-up as to retain its own quirkiness while smoothing out any jagged lines and fixing some curves. From there, other necessary characters were created for the digital font, and the end result is Tenement JNL, which is available in both regular and oblique versions.

Ghimli Sans was created using the ping-pong method, based on the graphic idea of Artem Rulev and the participation of Vladimir Anosov after. Then we sent the font file to each other, adding something of our own and making corrections, and so on many times. Ghimli Sans has already managed to get 2nd place in the Granshan competition in the Cyrillic section. The name was obtained by combining the name of the dwarf Gimli and Studio Ghibli. The font is quite friendly, dense, kind, as if a dwarf is walking around the lawn with a mug of intoxicated ale on a pleasant sunny day. Suitable for short word design, logo creation, menu layout and use in movies about gnomes and anything fantastic.

Geon Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with geometric shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Geon is a versatile type family of 54 fonts. Geon family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) & 3 widths (Condensed, Normal & Expanded)with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

A mix of Renaissance & tropical atmosphere Basco is an exploration of the Renaissance style, a period in which letterforms were informed primarily by hand writing. It is clearly a contemporary interpretation of calligraphic shapes forms. The serifs are subtly asymmetrical. Slightly curved arches on the n, m and u are noticeable, creating an interesting tension in the text. Bruno Mello’s distinctive style is most obvious in his mastery of super fluid curves. It is a result of his extensive exploration of calligraphic forms, their tensions and dynamics, mixing angularities with curves. The roman weights include alternate swashes, as well as initial and terminal glyphs. The italics, based on chancellery script, feature simple stroke endings, most visible on the s and c. ➼ Basco minisite

Once I had a young, very eager and interested designer in my employ. We got into talking about where our letterforms come from and the habits in perception we are used to. He did not quite believe me. So I said, let's try to design a typeface where everything is just the opposite of what we are used to. We really had a hard time, our habits crept up on us all the time. But after a couple of weeks we finally finished this typeface and wanted to call it crazytype, but my young apprentice ­ who did most of the manual labor ­ said Contype sounded crazier. So it became Contype and it's really crazy, with a small asian touch to it. Yours very crazy Gert Wiescher

Jiho Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with minimal & modern shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Jiho is versatile type family of 18 fonts. Jiho family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions, old style-figures and case features. We highly recommend it for use in signage, books, web pages, screen displays, and so on.

Ingram BT might be described as Deco, or Arts & Crafts, in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines. There are two sets of alternate glyphs accessible via stylistic and contextual OpenType features. The contextual alternates offer the most interesting glyph substitutions. There are also oldstyle and tabular figures, superiors and inferiors, as well as unlimited fractions. Ingram is a very handsome, casual typeface, with a slightly rough finish. The compact lowercase remains very readable at text sizes and it is a pleasure to turn on the earth tone colors and typeset left and right justified paragraphs! The extended character set supports Baltic and Central European languages.

Stribe, this is an amazing work. Why? ... because this is not just talking about fonts, but more than that, with the spirit of Street Art, stribe invites you to explore with your wild ideas, I'm sure this will really make you feel happy in creating the work that you will wake up to the front. Supported by 3 font choices that are very sweet and also strong, stribe answers all your difficulties in choosing font support that suits your taste. And the most exciting thing is, you get a free bonus vector illustration that is very detailed and also has a very strong Street Art spirit, and is made very original, so what are you waiting for, have Stribe as soon as possible. Thank You

In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e." Jenson Old Style™ was designed by Freda Sack and Colin Brignall for Letraset in 1982. Because of its darkness, this version is best used for display designs that call for a sense of old-world elegance and solidity."

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

The design of the typeface Moskau Grotesk and Moskau Pattern is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complimentary pattern fonts emerged.

The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complementary pattern fonts emerged.

Bit Player JNL is the extra-condensed companion font to Cast and Crew JNL, and features an additional oblique version. Useful wherever a large block of copy text needs to fit into a constrained space, Bit Player JNL can be applied to movie title credits, disclaimers, warranty information, end user license agreements and similar projects.

Ivà by Joan Barjau / OpenType, 2 styles.   Ivà, a very personal script based on the handwriting of the cartoonist called Ramón Tosas "Ivà, digitised by Joan Barjau in two plain weights. These fonts were set for the credit titles of a film in 1994 and remain in our collection as an icon of those times.