Based on Mr. Hubbard's own hand printing, Richfont Medium is an extremely casual design. Actually light in weight, it renders best at 14 point and above. Richfont Light and Bold are available from the designer.

The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and Case-Sensitive Forms. Clarendon BT is an updated revival of the square serif (also called Ionic or Egyptienne styles) with bracketed serifs, ball terminals and high xheights. These attributes give Clarendon BT a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.

Futuristic and spacey, Tannarin is a modular, cap-only typeface. Many letters are constructed of repeated components with the added twist of the round characters being shorter than the square characters.

The boss of extended typefaces, Brian Bonislawsky, has belted out this ultra wide design, EuroMachina, that looks like an odd meld of OCR-A, Microgramma and Bank Gothic. And if that wasn't enough, Brian then felt the need to distort it in various ways, creating Broken, Eroded and OverGreased. A little something for everyone.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

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.

Ronna Penner's Sketchley is a 2001 winner of ATypI's bukva:raz! design competition, held recently in Moscow. Inspired by handwriting samples and unable to find a typeface to satisfy her needs, Ms. Penner decided to create her own. The result is this warm, casual script. The compliment of characters demanded the creation of two fonts. Sketchley is considered the base font and should be used for basic layouts. Sketchley Swash has numerous initial, medial and final swash characters that, when used thoughtfully with Sketchley, can recreate the look of hand drawn calligraphy.

Perhaps one of the more difficult typeface styles to space convincingly, Irakly, a serif-sans by Russian designer Oleg Karpinsky imparts an unfamiliar elegance. The odd mixture of superficial details such as the half serifs and the protruding horizontal strokes confuse your visual senses, yet the simple geometric roots of the letterforms are apparent and ultimately reassuring. Irakly Light and Bold make a great addition to any library. The OpenType versions have alternates that are more conservative in design and broaden the usefulness of the typefaces

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

The hand-hewn Islander looks like it could have been liberated from granite blocks.These demonstrative letter forms leave no doubt when it comes to conveying your message, yet they remain playful.

Introducing VeraCruz BT, a fanciful display typeface by Ray Cruz. A tasteful, flair serif design, VeraCruz BT is available as an OpenType font. By selecting the Contextual Alternates feature in OT savvy applications, many of the cap and lowercase characters will change automatically as you type to give the text an informal, animated look. There are also tabular and proportional figure sets, and the extended glyph set supports Central Europe.

Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion. The Ecliptica family is an unusual layout of styles and all work equally well with one another. The OpenType versions of the Ecliptica fonts support an extended Latin character set that includes a full array of fractions as well as additional ligatures. The Sans and Cursive fonts contain some cap and lowercase alternates.

A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s. The drawings were abandoned to allow the lettering to become the real composition. Playfully set in blocks of verse with each line shaped through free-association, the only visual rule was that all the lines of capitals be of equal length. The challenge of the game required extensive abbreviations, ligatures, small caps, and superiors. With the advent of Letraset’s FontStudio program, the project moved into the typographic realm.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

An Swish is a unique handwritten font. Crafted in ink to become digital. Initially it was created as a kind of textural filling of spaces - walls, posters, clothes. In the process of creation, it became clear that it can solve different problems. It can become a logo or a great solution for identity. With the apparent density of the set and the negligence of the forms, it remains quite readable. It can work with different spacing options. There is a feature in the font that changes the second character when two identical letters meet. Also added icons (lightning, heart, eye) that can decorate your projects.

The history of this font is those. Once I assorted the old children's books which have stayed from times of my childhood. On one of them I have seen a trade mark of a printing house consisting of two Russian letters "L" and "B". From they were begun also with my font. And though finally from these letters a little that remained, elements of these letters can be seen in font D-block B.

The Erbar font was designed by Jakob Erbar for the Ludwig & Mayer/Neufville foundry in 1930.

Another Speedball pen alphabet from master draftsman Ross George, this face is bold and lively. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Core Sans D is a modern interpretation of condensed sans-serif typeface designed by S-Core and the whole family consists of 2 widths (Condensed, Normal), 7 weights (Thin, Light, Regular, Medium, Bold, Heavy, Black) with their corresponding italics. Core Sans D features a condensed geometric construction and has a large x-height which enhances legibility. The family is ideal for signage, headline as well as body text. Core Sans D is a part of the Core Sans Series such as Core Sans N SC, Core Sans N, Core Sans N NR, Core Sans M, Core Sans G and Core Sans A. Letterform in this type family is simple, clean and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Core Sans D supports complete Basic Latin, Cyrillic, Central European, Turkish, Baltic character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features.

Core Gothic D is a simple and modern sans-serif Korean font consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black). Character set is consist of Korean 11,172 characters, Hirakana & Katakana, Latin and Korean symbols. It is well balenced between Korean and Latin characters. Latin typeface (Core Sans D) was adjusted to be matched with korean typeface. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean. We recommend to use for books, web, screen displays and so on.

D Hanna Soft is a sans serif type family of 9 weights plus matching italics. It is inspired by the geometric style sans serif faces with a mix of rounded shapes and a little bit of black in some corners. The medium weights serve very well in body text, while the thinner and bolder styles make an excellent choice for headlines . D Hanna Soft is equipped with a complete set of opentype features including alternative glyphs, fractions, ligatures and many more. It is perfectly suited for highlighting lettering, magazines, web, interaction design, advertising, logotypes, etc.

Brutal Type — is a new sans serif typeface with a distinct manly character. It’s based on the shapes of DIN font, however radically reconsidered. Despite the apparent simplicity and obviousness of forms, the Brutal Type design is original and fresh. This font is universal and familiar to all, emotional and catchy at the same time.

We’re in a lockdown of sorts (again) and things are pretty … uhm … boring at the moment. No going out for a coffee, no school (so the kids are at home), no meeting with friends… The new reality kinda sucks if I say so myself. Besides that, it turns out that we have a new dominant type of Covid in Holland.. wait, Dominant Type! Ahh, great name for my latest font! Dominant Type is a handmade all caps font. It comes with extensive language support (including Vietnamese) and 2 sets of alternate glyphs for that bit of ‘random awesomeness’!

Introducing Type Dream by Forberas Club Type Dream is a Handwritten Script font that will make your designs look classic, Farmhouse, Boho, and Feminine. It is a great font for events, Wedding Project, fashion, apparel projects, signature, album covers, logos, branding, magazines, social media posts, advertisements, but it also works great for other projects. Add it to your fonts’ library, and it will enhance your creativity! Type Dream is best for: - logos, branding, & Signatures. - Flyers, Album cover, Magazine, & Advertisements. - Website design , design blogs, & fashion. - Quote graphics for social media. - and also it works great for other projects. Whats included : - Character Set - Numerals and Punctuation (OpenType Standard) - Accents (Multilingual characters) If you have any questions, before or after purchase, please feel free to get in touch.

Moden Type is Sans Serif fonts great for product logo, poster, headline, card logo, web, magazine, packaging, stationery and much more. Easily creates your own logo type with fonts. Moden Type has an Open Type feature to access a large selection of unique alternative letters and many ligatures to make it easier for you to create. Moden Type can be accessed perfectly on design applications such as Adobe Illustrator, Adobe Photoshop, Corel Draw, Affinity Designer but does not rule out the possibility that it can also be accessed using web-based applications such as kittl, canva, artboard studio and others.

Thx for checking out Tropicalia Type! This hand written display font gives a tropical feeling to any project. Perfect for logos, product packaging, posters, cards, printed quotes, t-shirt design and whatever your imagination holds. Tropicalia Type comes with a complete set of uppercase and lowercase alternates, which can easily be accessed through the glyphs panel. Enjoy!