Many times, when a new creative process is starting, it is triggered by an everyday action or item. In this case, the looks of a lady’s watch inspired Michael Herold to create his new typeface LUX. The sight of the chronograph sparked associations of the 1950s in Mr. Herold: While this decade was predominantly dominated by brush and feather scripts, there was also a bloom of strict and modern architecture. This special mix of strength and retro style is exactly what Michael Herold is trying to capture in his LUX. The result is a typeface which is perfectly suitable for use on book covers, posters and claims – thanks to its striking impression. The name LUX, Latin for light, is inspired by the high bright-dark contrast within the individual characters. Oft sind es alltägliche Gegenstände, die das Bestreben eines neuen kreativen Prozesses auslösen. So entspringt auch die Inspiration zur Erschaffung der LUX von Michael Herold dem Anblick einer Damenuhr. Der Chronograph löste bei Herrn Herold Assoziationen zu den 1950er Jahren aus: Während diese Zeit hauptsächlich von Schreibschriften aus Federn und Pinseln beherrscht wurde, nahm auch die streng und modern anmutende Architektur starken Einfluss auf die Epoche. Diese Mischung aus Strenge und 50er Jahre Retro-Stil soll in der LUX zum Ausdruck kommen. Das Ergebnis ist eine Schrift, die sich mit ihrer plakativen Wirkung perfekt für Buchumschläge, Poster und Claims eignet. Namensgebend war der starke hell-dunkel Kontrast innerhalb der Schrift – festgehalten in dem lateinischen Wort für Licht.

I’d like to introduce you to Ernest and Emily :) ....The happiest font duo you'll ever meet :) They are completely in love with each other, and always get along like a house fire :) Ernest and Emily consist of two lovingly handwritten fonts. A brushed quirky-casual script, and a playful all-caps sans-serif font. Perfect for Type-based creations, branding, websites, merchandise, packaging, quotes, invites, greetings and so much more! All they need is a blank canvas, and they work their magic for you! The brush script comes in 3 variants - Regular, Slanted and Upright- each with its own twist to fit the look you need. Four sweet little heart glyphs can be found by typing the characters { } and [ ] individually. Well now that I've introduced you, I'll let you get properly acquainted! :)

Coming again to complete your script font collection. Belinda Carolyne is a beautiful classic calligraphy font. This font has a modern swirl that can make your work look elegant, sweet and perfect. With a style like this, Belinda Carolyne will be suitable for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects. You can use this font very easily because there are many features in it. It contains a complete set of lower and uppercase letters, punctuation, numbers, web fonts, and multilingual support. This font also includes several ligatures and alternative style Stylistic Set for those of you who have software that is capable of working OpenType (Corel Draw / Photoshop / Illustrator / InDesign).

A silk screened sign promoting a mattress sale that was spotted on Flickr features Art Deco-influenced sans serif lettering that is the basis for Innerspring JNL.

Slab Serif version of the Bulldog family. Hunter family lends itself to on-screen use for web design - the letterforms being legible and robust at small sizes.

This is the kind of font which is up to trouble. Not trouble in a bad way, but trouble like when you are in no way prepared what is going to happen. The font is handmade and playful - and to help that playfullness come to live, the 5 different versions of each letter helps! Watch your words change while you write with Budskab! And, by the way..."budskab" is message in danish...just thought you should know!

Our sans serif font, Named Bentto. This simple, dynamic and exotic themed font has a character that is suitable for you to use in formal and informal design themes, both feminine and masculine design characters. this font will look beautiful. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Like Refused said in their song ”The Shape of new Punk to come”, Oblik could be “The Shape of new Fonts to come”. We present to you our uprising star - Oblik - that could shine in your monitors. Modern family, stylish and secure, with its own personality (it’s photogenic, too), available for all kinds of use, even if you're a doctor or policeman or butcher or truck driver or maybe rock star, this font will rock your world.

Cross the irrepressible Samuel Welo with a bit of found matchbook art and voilà! You have this retro charmer, proudly found on the kind of neon signs that offered an invitation to dine and dance. To continue the baseline treatment between words—or to extend it on either side—use the _Underscore character. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Keswick is a beautiful small town in the English Lake District. It is a good place to hang out for a while and explore the surrounding National Park. During your stay you could visit the Keswick Pencil Factory - which brings us to this nice font… Keswick font was created using a 6B pencil (the crumbly, soft kind) and a lot of patience. I have to admit, the pencil used was not made in Keswick. Sorry 'bout that…

Olap Metric is a modern, one-of-a kind font that will make your designs stand out against the competition. With 9styles and Multi-languages support, this stylistic display type has what you need for all sorts of projects! The family has been developed as a modern playing system allowing the mixing of infinite combinations. Perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, digital and more.

Introducing Pistoletto script. I was inspired by works of Roy Lichtenstein and Michelangelo Pistoletto. There are 4 fonts that in different combinations make interesting results: Background, Black, Highlight, Regular. Each style supports European languages. Basic latin has uppercase alternates, two lowercase alternates, many ligatures and swashes. I used for display pictures following works of Roy Lichtenstein: Pistol (1964), Engagement Ring (1961), Oh, Jeff...I Love You, Too...But... (1964), Seductive Girl, Yellow Brushstroke I (1965), Brushstroke (1965).

In 1966 and 1967 a series of weird events spooked Point Pleasant, a small town in West Virginia. Townspeople described a creature that looked like a man, with red eyes and moth-like wings, which appeared at several locations around town. The Mothman myth was born. Mothman font is spooky as well. It is a very scratched and distorted typeface, completely hand drawn, using ink and various sharp utensils. Mothman font will surely leave a lasting impression!

Check out these Lazy Dance moves - fits perfect to any dancefloor! A tall and thin font made with a brush - it has slightly rugged lines, and a kind of jumpy x-line. All in all it is a font that deserves a design with a handmade look. There are 4 different versions of each letter, and thanks to Contextual Alternates, these automatically cycle as you type. Making your text look really authentic and handmade! There is also multilingual support!

Hi, Introducing the latest styles Hello melodi Script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic. Thank You.

Protofo is a modern-humanist sans-serif with characters that features various geometric shapes — from square, round and triangle. Protofo comes in 16 styles — upright and italic — from thin to black with each equipped with features such as localized, ligature, fraction, ordinal, superscript, numerator, nominator, subscript, proportional and tabular numerals. Protofo is also equipped with extended latin letters which can represent multi languages so making it perfect for any kind of project (display, editorial, web, interface, app, etc).

Utilize the elegance of Art Nouveau in modern form with Lotus Grove. Lotus Grove is a high-contrast serif typeface with deep roots in Art Nouveau aesthetics. In contrast to its archetypal models, Lotus Grove boasts a clean-cut and smooth design, perfectly suited for modern requirements. It is a fancy typeface that suits any kind of display use. Lotus Grove is equipped with Stylistic Alternates for letters G, E, K, R, S, T and ampersand.

This font is perfect for logotype, apparel, branding, packaging, advertising and more. This typeface comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic alternate, ending swashes. Also having multilingual support. Fireclay is perfect for logos & branding, photography, invitations, watermarks, advertisements, product designs, stationery, wedding designs, labels, product packaging, special events or anything that requires branding content. Ending the Swash and alternate makes it complete. It comes with several different lengths.It's easy to access swash Kind regards Ergibi Studio

Boundary This is a vintage display font inspired by signage, logos in the style of the old time. This is a great find for creating logos, various kinds of designs in vintage style. This font includes 2 font styles: regular and rough style, also it includes alternates for uppercase and lowercase. Try changing them and see how diverse it can be. Font includes: Full alphabet A-z Numbers, fractions Punctuation and symbols Alternates for Uppercase Alternates for Lowercase

The LifeAfterCollege family began as a set of four fonts based on two styles of Ranger, which are slab-serif, geometric fonts with no curves. Two of the four are outlines with hollow insides, and two have-filled insides. The two fonts that are outlined have been taken apart and made into three typeface that can be layered. This allows one color for the inside, another for the middle ring, and a third for the outside outline.

Machete is the hulky, overfed distant cousin of Bayoneta. Enthusiastically in your face and full of humour, Machete is exactly the kind of big alphabet that takes a skinny actress camping at the top of a really tall building downtown. If you don't think this sort of date is interesting enough, try cramming these letters on your next tub of comfort food, road trip comedy, or assault rifle packaging and see. Machete don't text. Machete roars!

You don’t have to question when to use a vintage font. Introducing our newest font called Chaslow. This font has a very strong and bold personality, making it perfect for any design that needs a unique touch. Thin lines are contrasted against thick ones, which makes them stand out from all other fonts. This font will give your work that extra zest! You can use it to create all kinds of designs, including logo designs, posters, flyers, and more!

The cold, conservative strokes of a typical sans-serif/grotesque descend into a distinctive "bat-wing drip" in this subtly spooky font named after the band for which it was originally designed. Perfect for any wordings which project darkness or menace, yet still require an air of respectability. Business in the front, evil in the back. Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

Introducing Genora Sans - Geometric Sans Serif Genora Sans is a clean and geometric sans serif font. Genora Sans comes in a modern style featuring 9 weights and 18 styles from Thin to Black, making it easy to adapt to your design. The typeface is ideal for corporate identities, branding, publishing, websites, titles, books, magazines, business cards, logos, product labels, packaging, or any kind of advertising purpose and use on UI/UX design. Hope you Like it. Thanks.

The image of a set of vintage French tin stencils spotted online was the starting point in designing Freight Yard Stencil JNL. A more traditional ‘B’ and ‘R’ replaces the original characters (which looked kind of awkward due to extra ‘stencil breaks’ within the letters). However, there are a few interesting variants in other characters to set the design apart from similar stencil fonts. Work Yard Stencil JNL is available in both regular and oblique versions.

Crossfit is a new headline font for great sizes, such as big movie posters, advertising or editorials. Matching topics might be adventures, sports, strong nature and all kind of challenging life events. Its bold stability transforms your creation into a non questionable design. It is bold, clear and also friendly thanks to its rounded corners. www.typethis.studio Thank you for checking out Crossfit font family. If you have any questions, please send us an email: hello@typethis.studio

Kanyon is a family of typefaces created from basic geometric forms based on the equal width system. Its clean and neutral structure and 3 different widths provide ease of use in different design channels. With its rich OpenType features, multi-language support and small capital characters, it has a wider usage area than its counterparts. Ideal for packaging, labels, routing designs, mobile applications, brand designs, logos, all kinds of presentation and editorial designs, indoor and outdoor printing works.

Say hello to our new modern calligraphy font "Floristica"! Featuring handwritten, sophisticated flows, it provides a full set of uppercase and lowercase letters, multilingual symbols, numerals, and punctuation. Additionally, it includes lowercase beginning and ending swashes, making it perfect for invitations and monograms. With its smooth texture, it would be ideal for all kinds of home crafters (cricut, silhouette, etc). "Floristica" works great for wedding designs, logos, stationery, signature, quotes, cards, display text, and so many other designs.

Thursday Afternoon is like a typewriter that was out in the rain all night - all wobbly and worn, but with the well-known details of a typewriter, just a bit...well a lot...out of the ordinary! Although being awkward, Thursday Afternoon is surprisingly legible. I'd like that the font should be used for labels, toys for kids, candy or any kind of organic product. It even looks really well with headlines or shoutouts in all-caps!

The inspiration for this proto-Art Nouveau typeface showed up in the 1887 type specimen book of Farmer, Little & Co. under the name Vassar. Its bold, sinuous curves, which take unexpected turns now and then, make it the perfect choice when you want to command attention...in a dignified, Ivy League kind of way, of course. All versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Intensiva font family has been designed for Graviton Font Foundry by Pablo Balcells in 2019. It is a slightly condensed, humanistic sans serif typeface with angular details and shortened endings that provide an unorthodox appearance. Despite of this particular features, it is suitable for any kind of project, text length, size and, due to it subtle condensation, it is particularly effective for space economizing. Intensiva consists of 8 styles, each containing small caps and glyph coverage for several languages.

Introducing our latest product, The Flourish, is a flourished calligraphy font. Alternates of every letter makes any design projects so perfect. The Flourish is very beautiful for many design projects such as product brand, quotes, clothes, business card, wedding invitation, signature, logos, lettering, etc. Various kinds of alternate characters that will surely enhance every design projects. Please enjoy this font ! Thanks for visiting and downloading my font. Any question? don't hesitate to send us an email. Thank You

Manifestor is designed to be an urban culture typeface, it can effortlessly fit, blend and be in very situation at any time without taking up too much attention. It has a clean san-serif structure and proportion, kind to the eyes when set in texts while also look reliable when use in big scale. Manifestor has the simple - easy - comfortable feature, therefore it is a type appropriate for a very wide range of occasion. Manifestor also comes in Variable!

GAZELLA Displays Fonts. This font has a unique and bold typeface, making it suitable for unique design themes. The unique binding of the serifs makes this typeface cool and stands out from the usual serif fonts, perfect for headlines, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signs or gift/post cards, cafes and weddings or any kind of advertising purposes. GAZELLA comes with uppercase, lowercase, Numbers, Punctuation, Ligatures and also Multi Language Support.

Salin is a modern sans serif font family with a geometric and humanist touch. Salin has totally 20 fonts with 10 weights and their appropriate italics. It contains rich opentype features. Includes extended language support, fractions, table figures, arrows, ligatures and more for each weight. Ideal for corporate identity, poster, brochure, orientation signs, and all kinds of graphic design works. “Salin News" and "Salin News Italic” are specially made for long paragraph texts which are written with small sizes.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."