This font set is based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art. Both artists kept a record of Edward's paintings in a series of journals, which provide the basis for this set. Unlike font sets which feature two similar handwriting samples of one artist, the Edward Hopper font set presents two distinct handwriting styles. The Edward Hopper font is typically masculine, with its sharp angularity, while the Josephine Hopper font presents an interesting contrast, given its elegant, rounded shape, with significantly more flourish. The extras, culled from the aforementioned journals, feature 52 Hopper sketches, which run the gamut from landscapes to nude studies.

Lifeform is a modern display font created as a result of my experiments on the forms of letters. While working on the font, I had ambivalent feelings, on the one hand I liked the individual curved lines, on the other hand they seemed very strange, alien and illogical. It was like looking into a microscope and seeing something strange. I wanted to develop and study these forms as something new, because I had never seen anything similar before. The result is a contrasting font that has both curves and sharp, and smooth lines that resemble some kind of organic matter. The font is well suited for large headlines, posters and covers. Its strange design catches the eye and will not leave the viewer indifferent.

This antique-aged version of Monkton can be used to imitate old letterpress printed documents such as old English text. The rough edges resemble ink spread on paper to give an old look. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Dreaming to make your branding sparkle? Or maybe you’re looking for the perfect font to use on your invitations? Whatever you need - we’ve got the thing for you. Introducing Basking- A Serif Font A fabulous and elegant modern serif font that’ll engage your audience and make your branding stand out from the competition. This font can be used for a host of different content needs and projects. Perfect for social media branding projects, fashion designs, printed quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual option to make your branding globally recognized. Features: Alternates Standard Ligatures Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studi

ITC Coconino is the work of Serbian designer Slobodan Miladinov. His original inspiration for this monostroked typeface was the idea of translating certain auditory impressions into type, in this case, the surprising and confusing music of the Serbian hip hop musician Voodoo Popeye." Miladinov is an art director in Belgrade and created Coconino using a "freemouse" technique with Adobe Illustrator and sees his work as "computer calligraphy which allows for a specific directness and immediacy in notation." The strokes of this font are simple and abrupt with a studied irregularity. The forms can look either cheerful and lighthearted or chaotic and subtly disturbing. Coconino was named for the home of hte Krazy KAt comics and even includes a few additional characters from the strip."

Metalworker JNL is Jeff Levine's take on a perennial favorite originally known as Eagle, but available under different names over the years. This bold, clean Art Deco font was the basis for Jeff's star-studded National Spirit JNL.

Lingua is the unlikely offspring of our CAPUT font. Wondering what the undercast characters of this font would look like, I started writing. I was pleased with the first results and this encouraged me to pursue the process. The final font still has some slight resemblance to its predecessor, but stands completely on its own. This bold, sturdy typeface is very suitable for headers, posters and other designs where large sizes are needed. It comes with both a western and a cyrillic character set.

Stepside is a slick retro display face with plenty of horsepower. Stepside’s heavy-duty type chassis of sturdy uprights and bold strokes was modified with sweet retro details like graceful curves and tapered fins. Inspired by street rods, custom vans and power wagons, Stepside modestly hides its muscle like a true sleeper. Take Stepside for a spin on logos, posters and t-shirts for a more classic look. Need more speed? Step on the gas with Stepside Italic — perfect for type in need of emphasis.

NONLOCAL, has a firm personality and clearly produces a sturdy and consistent font, making it very easy to read that is suitable for everyday use. All caps fonts. USE NONLOCAL works great in branding, logos, Quotes, headlines, high fashion, Landing Page and Magazine. Have 2 Style give you full to explore for your project. FEATURES 2 Style / Numbers & Punctuation / Extensive Language Support Thanks for checking out NONLOCAL. I really hope you enjoy using it! please kindly send us a message for any question about our product. DLetters.Std

Pokerface is an industrious mixed-case display font devised on the theme of playing cards, designed by Jim Ford. Most letterforms in the font have 'four of a kind' while some are only available in pairs. It features Clarendon-style slab serif and grotesque sans serif forms. Furthermore, the letterforms are 'shuffled' to give a random appearance in standard text. It fuses a utilitarian sturdiness with a soft and friendly feel, and adds a bold flare to headlines, logos and posters. Character Set - Latin 1, OpenType extras.

Brenta is a crisp typeface with open counters and compact proportions, its name referring to a range of mountains in northern Italy. Like its namesake, Brenta is characterized by sharp-edged and sturdy forms, but also by its clarity and elegance. Strong serifs, flat and bold shoulders and open terminals pronounce the horizontal and help to guide the eye along the line. Very fine junctures keep the characters sharply defined and create dynamic light traps. Visit this minisite to see the Brenta webfonts in action: http://brenta.ludwigtype.de

Calliagona font Serif Font typeface with a sturdy structure, complements Swash + Alternates + Ligature + Ornament and is very comfortable for the reader, also simple in nature. very suitable for official media such as banners, magazines, newspapers, product name, logo, lebel, namebooks, and others. Font file Includes: Supported Languages: Breton, Catalan, Czech, Danish, Estonian, French, German, Hungarian, Icelandic, Italian, Romanian, Scottish Gaelic, Slovak, Latvian, Lithuanian, Norwegian, English, Finnish, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Welsh . Basically, all European languages ​​are based on the Latin alphabet. Thank you purchase!.

Elegance meets accident. A sturdy distressed all caps typeface that gives you the feeling of the happy little incidents that may happen when you print with silkscreen or letterpress. A whole bunch of alternative letters embedded in a pseudo-random OpenType feature does the magic. Get yourself surprised CA Mystery Girl speaks a lot of languages, at least all those covered by the extended Latin character set. Which means you can travel to Iceland, Turkey, France or Poland, this girl will always be your interpreter.

Realtime Text Rounded is the proportional alternative to the monospaced Realtime type family. Nevertheless Realtime Text Rounded includes a monospaced design already built into the font. It is employable through OpenType by activating alternate characters. Realtime Text Rounded is a technical yet friendly design with details that serve function and visual impact alike and lends itself to tabular designs, sturdy columns and tidy layouts. It comes in five weights, from light to black, and with a character set that covers over 200 latin languages.

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. 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."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. 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."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Nastaleeq (Nasta?l?q) ASC is a script font supporting Urdu. Urdu is the nation language of Pakistan. The Nastaleeq ASC font is Unicode encoded. The Nastaleeq ASC font requires an application program which supports Arabic fonts (right-to-left composition). Urdu is also spoken in Afghanistan, Bahrain, Bangladesh, Botswana, Fiji, Germany, Guyana, India, Malawi, Mauritius, Nepal, Norway, Oman, Qatar, Saudi Arabia, South Africa, Thailand, the UAE, the UK and Zambia.

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight normal weights with corresponding oblique cuts and it comes in a rounded version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

»SLAM« is my new, very sturdy but elegant slab-serif font family. I designed this font family with body copy in mind and gave it all the glyphs necessary for use with all latin writing languages. I also gave the fonts all kinds of different numerals as well as a complete set of small caps and overall extensive kerning. It comes in eight rounded weights with corresponding oblique cuts and it comes in a normal version and corresponding obliques as well. Enjoy this original font, it is a real work horse!

We created a serif version of our popular "Werk" Sans Serif that will greatly enhance the Work family of fonts. Like “Werk” Sans Serif, “WerkSerif” is a sturdy, well-tuned font that is a true “werkhorse” with plenty of character without being overbearing. “WerkSerif”is an ideal choice for corporate branding offering a complete typographic solution with the sans and serif range of fonts — also a prime choice for distinctive and dynamic logotype use. “WerkSerif” comes in a range of offerings from Light to Regular, to bold and Black with matching Italics.

The Bitstream version of Monotype Rockwell, 1934. Twentieth-century design influence is revealed in strokes of more even weight than in the original nineteenth-century Egyptians or Slab Serifs. Rockwell is a prime example of this twentieth-century approach. It seems to be a simple Constructivist geometric sans with strong square slab serifs added to. Angular terminals make its sturdy design particular sparkling. It is a strong face for headlines and posters, and is legible in very short text blocks. Cyrillic version was developed at ParaType in 2000 by Isay Slutsker and Manvel Shmavonyan.

Another font for the BAQ family, BAQ metal brings back the classically solid, sturdy form of its predecessors with a rough and ready finish. The roundness of this font doesn’t take away from its impact, but does keep it from being too harsh, while the texture creates extra legibility at smaller sizes. Really though, BAQ metal works better when it’s bigger, standing out with its coarse appearance and rotund fullness. Use it to create outstanding headlines and catch people’s attention without being aggressive, even in a variety of different languages.

INTRODUCING Mostera is a fun unique display serif font. This font looks sturdy and fun with a retro touch and curves giving it a playful personality. Mostera is a versatile display serif that works in both large and small sizes. This font is suitable for a wide variety of projects such as: headlines, logos, labels, branding projects, weddings, magazines, product packaging, mugs, quotes, posters, and more. Have fun using Mostera!!! I really hope you enjoy it! Feel free to follow, like and share. Thank you so much for checking out my shop!

Kanvas is a flowing calligraphy script. The typeface was drawn and created by Måns Grebäck between 2017 and 2020. Its flowing shapes are inherited from mid-century advertising, being soft and friendly while retaining a sturdy forward movement. Kanvas is a typeface family consisting of five weights: Thin, Light, Regular, Bold and Black. Use it for an invitation card, in a celebratory context or as a logotype. The font contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all European Latin-based scripts.

Inspired by the more than hundred years old classic Cooper Black, Chunk Black features a hefty character with rounded serifs and a soft yet sturdy overall appearance. Chunk Black provides a timeless and friendly feel and it’s very suitable for product and packaging design and any kind of display purposes from music business to restaurant menus and from t-shirts to band logos. Both Chunk Black and Chunk Black Italic are equipped with several OpenType -features and a total number of 87 alternate characters, set in Swash, Stylistic and Titling Alternates and Discretionary Ligatures.

Designed for the newspaper technology of the 1980s, Clarion uses many of the findings made in the preparation of Monotype Nimrod, from which it is derived. The Clarion font family differs from Nimrod in its detailing, which is more akin to that of the Ionics, a style which influenced most designers of contemporary newspaper faces. The large x-height and sturdy construction of the characters make Clarion well suited for use on laser printers as well as being an excellent choice for setting newspapers, journals, newsletters and circulars.

Kondolarge is a slab serif typeface developed from our successful Kondolar in 2011. Based on a simple skeleton, straight sides, gently curved horizontals and sturdy serifs, Kondolarge is a bit more geometric than the prior. It is suitable for both text and display. With a well-built character set including small caps and several numeral styles. The font comes in 9 styles, ranging from a delicate Thin to Black, with matching italics, resulting in a total of 18 weights. Kondolarge contains a set of 800 characters that support over 200 Latin-based languages.

Breuer Headline exhibits a modern geometric structure tempered with subtle strokes of friendly humanism. Its neutral forms and sturdy rhythm are convincing without being forceful. The lowercase has a slightly casual feel. Set in all caps for a sterner message. Breuer Headline is the display complement to the Breuer Text family. Differences are found in the inside curvature of the lowercase arms and the simplified Oblique as opposed to the Text Italics. Breuer Headline is equipped with Small Caps, Old Style Figures, Tabular Figures, and a selection of dingbats.

HWT Aetna is a revival of the sturdy Roman style of wood type most often called simply Aetna. This new digital version by Aaron Bell features four widths all based on the various widths commonly offered by 19th Century wood type manufacturers. In addition, there is a four-layer all-caps version Aetna based on the the famous Wm. Page Chromatic Types, that allows the user the ability to easily create these chromatic streamer and shadow effects. Both the multiple width Aetnas and Streamer component fonts support full Western and Eastern European languages.

Round, firm, and bursting at the seams with good humor, ITC Mister Chuckles is based on the premise that barrel shapes have pleasant associations. Think: beer-barrel polkas, a barrel of fun, or a barrel of laughs, and you'll get the idea. Designer Nick Curtis has combined sans serif sturdiness, a hint of 1930s deco and a handful of giggles in this remarkably versatile all-cap face. If the typographic occasion calls for mirth and merriment, invite Mister Chuckles to the party. You'll have more fun than a barrel of monkeys!

Benn is a bold and strong font family. Inspired by a car shape, it's sturdy uncompromising style is felt through the controlled letterforms and fluid touches. A balance of hard lines and smooth curves. Benn works great in any branding, poster, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the alternate glyphs give a fluid and modern feel to any projects. Eight styles Alternate glyphs are available Numbers & Punctuation Extensive Language Support Thanks for having a peek at Benn.

Monotype Century Schoolbook is another member of the Century family based on the Century Expanded typeface. The Monotype Century Schoolbook family was designed to fulfill the need for a solid, legible face for printing schoolbooks. It is wider and heavier than Century Expanded, there is also less contrast between thick and thin strokes. First cut by Monotype in 1934 and based on versions from ATF and Lanston Monotype, the sturdy nature of Monotype Century Schoolbook, coupled with its inherent legibility, has made it a popular choice for setting books, newspapers and magazines.