ITC Gramophone is a work of Canadian designer Serge Pichii. The distinguishing feature is the large spiral which is part of the form of almost every capital letter as well as many other characters. The capitals can also be used as drop capitals. The forms of ITC Gramophone are perfect for displays and will surely catch the eye of any reader.

Index is a sans serif font which gives an impression of both movement and harmony. The soft, round forms of this font give it an almost ornamental feel. The influence of American advertisement and poster typefaces of the turn of the 20th century is apparent. Index can be used as a headline or text font in small or larger point sizes.

Alfonsina is a high contrast condensed didone typeface well-suited to classy magazines, short text, branding design, packaging and advertising. With a great set of alternates and swashes, allowing for more stylized designs. This font of thin serifs includes italic, strengthening the concept of its design. Alfonsina contains a set of more than 500 characters and supports a variety of languages.

Welcome to the cosmic dance of typography with Groove Galaxy, a captivating and thrilling rounded vintage typeface that swirls you into a time warp of retro charm reminiscent of the beloved 1970s. Just like stars twinkling in the night sky, each letter of Groove Galaxy emanates a mesmerizing aura, pulling you into a captivating journey through the groovy days of the past.

Kufiz which gets influence from the engravings of the Ottoman art and Rumi ornamentations, is an adaptation of the refinement of the period to the modern typography.

Ankara is a display font that inspired by the forms of high windows, doors and gates of buildings that constructed in the early years of Turkish Republic.

A revival of one of the popular wooden type fonts of the 19th century, regular, slab serifs, a very useful design for display, upper and lower case.

The typeface of GR onsoo Script is the handwriting of artist 'onsoo'. This font is designed for use in the text or title of fairy tale books.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many.

Jaunty, irreverent, whimsical and rebellious — Wynona brings the attitude of Mae West, the wit of Dorothy Parker, and the disconcerting exuberance of a child running with scissors.

Pinback was inspired by the science fiction movies of the 60s and 70s. The name is taken from one of the protagonists of John Carpenter’s Dark Star.

A revival of one of the popular wooden type fonts of the 19th century. Suitable for text or display, Teutonic features short descenders, and rounded, curved serifs.

Octagen is a family of 16 condensed Sans Serif fonts of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves and auctions of the tiny letters to avoid the coldness of the grotesque typographies, providing expressiveness, energy, warmth and docility , resulting in a friendly typography with a lot of personality and readability, specially drawn for the composition of short and medium texts, signage or headlines where horizontal space saving is needed. The typography has 529 glyphs (Latin Extended-A) with advanced OpenType functions, several number games, a complete set of neutral-style alternative lower case letters and the Bitcoin symbol. For Octagen cursive styles I used a set of lowercase letters without terminal finishes, more neutral than the regular versions, this being compensated by the expressiveness of the italics inclination, thus achieving important morphological, coherent differences within the conceptual development of this typographic family.

Shizzle is a font with a graffiti marker style. The lettterform of ‘Shizzle’ essentially made by the combination of downward and upward stroke base on -15 degres angle guideline. The basic of downward stroke is pulling pen from the top left to thw bottom right with full width of marker, then the basic shape of upward stroke look like the ligh flick by using the tip of the pen from bottom right to the top left. Inspired by Hip Hop and Rap style style. ‘Shizzle’ is a slang way of saying "Sure". People generally use it to communicate agreement to another person. This term is a product of Snoop Dogg's penchant for replacing the end of words with "izzle" to sound cooler. And ‘Fo Shizzle’ (for sure) this font offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts and advertisements, especially with graffiti look.

The world has changed; we want it to change. But it has a history too. Rustica draws back to the sans typeface tradition and updates it for the 21st century; we aim to go back to the humanist values without dismissing the role played by technology.It’s a GeoHumanist sans serif. Type design looks back at its past to return with renovated strength to its march to the future. Rustica is based on a humanist architecture with the addition of the determination and precision of the geometry of the classic sans of the early 20th century. Thus, a typographic conception typical of 21st century communications: returning to the human values of closeness and proximity, adding the certainty of knowledge and science. Rustica is born out of the DNA of our awarded font Rotunda, contributing to this typographic ecosystem humanist notes enhanced by the precision and discipline of geometry.

Before the Great War, there were great posters. Posters of elegance and grandeur. Posters calling people to the pleasures of sunny southern France and to the perfections of northern Italy’s dolce vita. Le Havre, based on a poster by AM Cassandre, was one of my first typefaces that took inspiration from this genre. Now, the golden memories of years past are the inspiration for insigne design’s new Gineso Titling as well. Gineso revives the retro forms of past poster design with its newly crafted sense of humanity, which is amplified by a great variety of texture options. While the new forms are perfect for posters, this titling font is also ideal for bringing the charm of pre-war Southern Europe to a new bottle of wine, to fine foods and beverages, and to high-end logotypes. For the grandeur and elegance you need in your titling, look to Gineso Titling.

Because all good things can get better. Texta was born in 2014, a collaborative project of the study of humanist models from Edward Johnston to Adrian Frutiger. Texta Pro is a contemporary and rational sans, almost invisible, but not quite. It is a workhorse for any type of project. New design of symbols such as Section, Partialdiff, Dagger, approxequal, among others. Expansion of monetary signs (Bitcoin, Peso, Franc, etc.) Basic ligatures fi, fl. Includes Cyrillic. Added set of small caps for Latin, Cyrillic, numbers, punctuation and monetary. Increased set of monetary and mathematical symbols. Set of 983 glyphs, 487 more glyphs than the update. New ligatures ff, ffi, ffl, It has two stylistic sets, ss01 and ss02 (tails). Set of numbers with versions: higher, lower, denominators, numbered, old, modern and tabular for the last two cases. New fractions added. Set of case sensitive signs.

The Victor Moscoso font is based on the 1960s psychedelic poster lettering of the artist Victor Moscoso. The letterforms are derived from some of his most celebrated Neon Rose posters of the late sixties, in particular the archetypical Moby Grape ‘Neptune’s Notion’ of 1967.

Based on the original design of Nicholas Jenson 1470-76, this is a revival of one of the popular wooden type fonts of the 19th century. This font was also created in a slightly different version by William Morris circa 1890. Suitable for text.

Horas Sans Serif Geometric is a stunning and modern font, designed with a touch of minimalism and attractive geometrics. This font combines the beauty of serif-free design with the boldness of geometric shapes, creating a fresh, clean look for a variety of design projects.

Devil Candle Variable is a dark variable typeface. Ideal for the bone-chilling narratives of horror movies, this typeface encompasses the raw essence of Halloween and satanic lore, effectively encapsulating the pulse of terror that courses through the veins of the enchanted and the damned.

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Introducing a distorted wavy Sans Serif font family. Interesting combination of elongation and distortion is embodied in the Dewave typeface. This font family is best suited for headlines and short text as an eye-catching accent. Due to its appearance, the font is well suited for the entertainment industry and everything connected with it both in offline life and in online projects. Dewave family has two types of tilt in different directions and 2 types of distortion - calm and strong, and all this is done in 3 types of thickness - this gives a lot of freedom of choice for the use of the font in the design. Features: Distorted letters in waveform 12 fonts in family: - 2 types of tilt - 3 thicknesses - 2 types of distortion Kerning ld.luxfont@gmail.com

Pilgrim is a re-cut of a Linotype face that Eric Gill originally designed for a book published by the Limited Edition Club of New York. Admired for its tranquil dignity, the Pilgrim type is both firm and elegant. Its general appearance resembles that of Gill’s Joanna font family. The contrast of the font is not very strong. The serifs are bracketed. Eric Gill, who designed the type on which Pilgrim is closely based, observed one sort of model for his lettering - the incised monumental letter of Roman origin. This is clearly seen in his capitals, but is also true of his lowercase letters, which have little of the calligraphic or engraved qualities of most other type designs. Gill’s types are Roman in the classic sense, yet also particular to Gill himself.

Provincial Railway is the first product of argentine typographic archeology project called "Tipografía Histórica Ferroviaria" (Fabio Ares & Octavio Osores, since 2012). Is about the signboards of the stations of the P1 line of the Provincial Railway of Buenos Aires (1907-1977). The letter of this signboards can be described as display type, with a tall box and a constructivist style, with elementary geometric shapes and without line modulation. Although without a doubt, its differential feature is provided by the rectangular shapes that it has towards the ascending and descending lines, which in some cases coincide with the stems, showing a curious rhythm in the composition of the text line. The family is completed with complementary fonts of different styles. The proceeds from the sale of the fonts will be used to finance the project.

Pompeijana is a part of the 1990 collection Type before Gutenberg 2’, which includes twelve contemporary typefaces each representative of a particular era. Pompeijana is Adrian Frutiger’s contribution to the project Type before Gutenberg’. He based the forms of this capital typeface on the writing of the Romans in Pompei. The decorative look of the alphabet is achieved by purely graphic means, placing the emphasis of the top and foot of the letters with heavy horizontals and diamond-shaped serifs. Frutiger completed his typeface with the weight Borders, a font consisting of numerous ornaments true to the style of the alphabet. The ornaments can be combined to form different borders and offer an optimal addition to the elegant Pompeijana. Pompeijana is best combined with modern sans serif typefaces.

The DEWANY (ALMONA DEWANY ) font is a font of original Arabic fonts and is specialized in writing in the offices of the Sultan and Arab’s Kings. It is also one of the most beautiful Arabic fonts as it has the flexibility to write official graduation certificates, certificates of appreciation, scientific progress and decorations. It is also commonly used in writing posters and sequences for serials, films, medals and decorations on clothes. The ALMONA DEWANY font has its aesthetics derived from its round and interlocking letters. In this version of Dewany font ( Almona Dewany ) you will find many of Arabian names, Ayat of Holley Quran and Good names of Allah (Asmaa Allah Al-Hosnna) and all of this is ready to written quickly by one click and choose glyphs you want to add.

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

The new typeface system is based on legibility of Renaissance and Baroque Antiqua. It maintains the quality of drawings without an overpowering historical legacy. The current concept makes the system a universal whole. Abrading of sharp edges which could catch one’s attention leads to a fine rounding of details. In this way, a sans drawing does not look hard and sterile unlike most of its contemporaries. Special attention was paid to every detail of each letter. The professional question of how to incorporate brightening wedges into the dark places of individual strokes’ onsets was resolved by rounded shapes that have their graphic response in the detail of the serifs. Particularly in larger sizes the typeface offers drawing sophistication and dimensional interconnection. Apart from Cyrillic alphabet, the alphabet design includes ­Vietnamese ­accents.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

Grand Paradiso is a luxurious and elegant display font that will add a touch of sophistication to any design. With its bold and dramatic curves, this font is perfect for headlines, titles, and branding projects that require a touch of elegance and class. Inspired by the grandeur of nature and the beauty of mountains, Grand Paradiso is designed to capture the essence of nature and the majesty of the great outdoors. Its unique and artistic letterforms make it ideal for creating logos, posters, and other design projects that require a touch of originality and creativity. Whether you're designing for a luxury brand or creating a beautiful piece of typography, Grand Paradiso is the perfect choice for your next project.

Bellflower is a collection of highly ornamented letters contoured with flourishes and tiny bellflowers. Romantic and classic, this stylized collection looks like something straight out of a fairy tale typography garden and comes with a full set of extended accented characters. Accented characters are also included. This digital format allows colorizing of type and is a perfect font for publications that want to capture the feel of the Victorian and Art Deco eras. Article abstract: Bellflower is a collection of highly ornamented letters contoured with flourishes and tiny bellflowers. Romantic and classic, this stylized collection looks like something straight out of a fairy tale typography garden and comes with a full set of extended accented characters.

Époque initially came from composing a fashion catalogue with some materials from the Brazilian Amazon. The pieces of the collection used natural caoutchouc as raw material and the design of capital letters use forms that refer to the typography of the historical period 1890 - 1910 in which caoutchouc was the main driving force of the Amazonian economy. This typeface has a complete set of numerals, a set of standard ligatures, in addition to alternates in specific glyphs and a large set of discretionary ligatures composed mainly for UPPERCASE. Époque family is comprised of four weights without italics(with an alternate set in place). It’s a typeface recommended for titles, logos, and posters.

A couple of years ago, I walked the Kumano Kodo pilgrimage trail in Japan. At the start of the walk, I stayed in a nice guesthouse in Tanabe city, which lies in Wakayama prefecture. I wouldn’t mention all of this, if it didn’t have something to do with the font name: Wakayama prefecture is THE mandarin orange (Mikan) growing area of Japan and the owner of the guesthouse had just picked a bagful of mikan, which he shared with me. So, I had to think of that when I made this font. Mikan is a nice, rounded family of fonts. Both styles come with alternative a’s (and accented a’s), which some people prefer for Children’s books.

This is a font imitating the stage of outline construction of letters using drawing tools - compass and ruler. It is very geometric (with auxiliary lines, axes, centers of circles, tangents, and conjugation of circles), although the circles are somewhat compressed from four sides. The second style, which plays the role of Bold style, is a hatched version of the Regular style. The font has very small elements that appear in a sufficiently large size, so it is better to use it for large compositions, in particular, advertisements, posters, large headings, etc. The family is named "Khachatur" after the name of the father of designer Ruben Tarumian — architect Khachatur Hakobyan, his first master.

Isidora Sans is a new version of the bestselling font Isidora (released a year ago). The absence of terminals gives this new typeface a cleaner and more geometric look, keeping the essence and structure of the classic sans fonts of the early 20th Century yet with a fresh, clean and contemporary appearance. Isidora Sans consists of two subfamilies of 7 weights, ranging from Thin to Black, with matching italics, giving a total of 28 fonts. Isidora Sans is the perfect font for publishing, titles, books, magazines and corporate design. Its Alt version is ideal for logotypes, branding, packaging, and use on web and Tv. The family contains a set of 416 characters supporting 207 different languages.

Sultania is a harmonic synthesis of the old characters’ suppleness and the resolute, clean design of modern typography. The rich in contrast calligraphic approach with thick and thin strokes is still visible and you can almost feel traces of ink on paper while it’s shapes in general, without serifs and any embellishments, proclaim its up-to-dateness swinging between roundness and rigor. Elegant, noble, yet still affected by traces of the handwritten script, Sultania is reminiscent of power, wealth, mind and culture. Sultania’s historical roots and it’s originality remind of oriental colors. A close Orient, at the gates of Europe, in which Latin characters are mixed with distant sounds. The Byzantium of the Sultans.

Simple - The Bilingual Font. The process of Simple began with the usual alphabets followed by a series of icons and soon it was an avalanche of Chinese characters. The pool of proposed Chinese characters were loosely determined by the needs of a lunar calender. In a nutshell, Simple is a single-weight, minimal, grid-based Sans-serif display. Prudent with details and sturdy in form, the geometrically-driven structure marks the foundation of a cross-cultural assortment of Latin alphabets, Chinese characters and thematic icons. After months of extensive typesetting, Simple is also realized to be well-catered for use in graphical information design in games and tournaments, logotypes, advertisements and headlines. http://www.behance.net/gallery/Simple/847905