Wolby is a rough and organic hand drawn typefamily which draws inspiration from a variety of sources such as sign painting, hand lettering, comic books, cartoons, health food, sticks and stones to name a few. The letter shapes were all originally created by writing with a pointed brush. The use of one writing tool results in an aesthetical harmony between the very different styles making them all fit together. The family consists of eight styles; upright and slanted caps in regular and bold, a layered block style in fill, outline and shadow styles and a lively script. Wolby is capapble of creating very different moods depending on which style you choose to highlight. Because of it’s aesthetics, range of styles and extensive language support, Wolby is especially suitable for use in advertising, packaging design and gritty branding & fashion design. When using the layered block styles you’ll get the best result by placing the shadow layer on the bottom, the fill in the middle and the outline layer on top. These can also be combined freely so you can use just shadow + fill, shadow + outline or fill + outline. The script style is armed with a set of ligatures and swash capitals which allow you to supercharge your designs.

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

Magnetik is a versatile geometric typeface that boasts slightly rounded corners, which give it a modern and unique appearance that sets it apart from traditional geometric fonts. The font’s design is bold and striking, with sharp angles and precise lines that create a sleek and futuristic look. Its clean and minimalist style is ideal for a variety of applications, from logos and branding to web design and print materials. The slightly rounded corners of Magnetik lend it an organic, dynamic feel, suggesting movement and energy, while the geometric structure conveys stability and strength. The fusion of these seemingly contrasting elements results in a design that is visually appealing and attention-grabbing.

Marit Otto about Picastro: The revolutionary typeface. Picastro is a fusion of Picasso and Castro. Don’t be alarmed by the second name! It is no political statement. Both characters represent different qualities in the typeface. The Picasso influence is the artistic, freestyle and frolic part. The Castro influence is the firm, square, perseverant look with a hint of propaganda to it. To combine two opposite inspirational sources (innovative versus persistent) makes the shape a bit edged. This typeface is very suitable for all kinds of graphic design (flyer, posters, CD covers and artworks) but also casual enough for (non academic) letter and text writing.

Mtwane is a contemporary font, fusing the vigor of African design with the clean-lined sophistication of the European fonts popular at the turn of the 20th century. In the wake of African Renaissance, European and African cultures are counter-influenced, resulting in an exciting fusion of the two. Mtwane plays on the line between upper and lower case characters, creating a young, powerful, in-your-face effect. Use Mtwane for clear, powerful impact in contemporary design. Mtwane contains over 250 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.

Are you ready to travel back in time? To a world of neon lights, high-tech logos, and a retro-futuristic style that defined an era? Then you’re ready for Forgotten Futurist. This industrial typeface is the perfect blend of old and new, with a vintage feel that still looks cutting-edge. Its letterforms are inspired by the 1960s and 1970s, when technology was just starting to take off and the world was full of possibilities. But Forgotten Futurist is more than just a tribute to the past. Its rounded technical corners and sleek lines are timeless classics, just as relevant today as they were decades ago. And with ten different styles to choose from, including Ultra-Light, Extra-Light, Light, Book, Regular, Semi-Bold, Bold, Heavy, Black, and italics, you’ll have all the flexibility you need to create a truly unique design. So if you want to add some retro-futuristic flair to your next project, look no further than Forgotten Futurist. It’s the typeface of the future, inspired by the past. 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.

The Tazugane Gothic typeface family is the first original Japanese typeface created by Monotype. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement the classic Latin typeface, Neue Frutiger. The design of the Tazugane Gothic typeface balances an original, humanistic style with elements of traditional Japanese handwriting. The two typefaces work together in a natural, seamless and adaptable manner so that Japanese and Latin texts can be used side-by-side for a wide range of applications, including in magazines, books and other print media; on digital devices; in branding and corporate identity systems; and in signage for buildings, highways and mass transit. Tazugane Gothic was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Gothic includes Reiwa designed as a single ligature and is encoded as U+32FF. The inspiration for the Tazugane Gothic typeface is as elegant as its design. Since antiquity, cranes have been regarded in East Asia as auspicious birds for their noble appearance and elegance in flight. The typeface is named Tazugane Gothic in honor of the longevity of the crane, with the goal that it will be used for many years to come. The combination of the Tazugane Gothic typefaces’ traditional and humanistic elements, along with its intended ability to complement popular Latin typefaces, makes it one of the most uniquely flexible designs for applications where Japanese and Latin texts can be used together. The typeface family was created to have wide appeal, with a pleasing and consistent experience for readers, for use on screen, in print, in signage, packaging and advertising. Tazugane Gothic has 10 weights. The Light, Book, Regular, Medium and Bold weights are considered best for text sizes. The Ultra Light, Thin, Heavy, Black and Extra Black weights are recommended for headline sizes.

Introducing Magent – Display Typeface A Fusion of Style Magent sets itself apart as a striking Display Typeface that seamlessly merges the timeless elegance of serifs with the contemporary allure of sans serifs. This extraordinary fusion not only shatters monotony but also injects a vibrant energy into your designs. Fun and Playful Typography Magent exudes an unmistakable aura of fun and playfulness. It’s the font to choose when you want to infuse your projects with a touch of whimsy and character. The result is content that not only stands out but also leaves a lasting and memorable impression. Endless Creative Versatility An outstanding attribute of Magent is its sheer versatility. This font effortlessly adapts to a multitude of design contexts, spanning from posters to branding and beyond. Its adaptability makes it a true chameleon in the world of creativity. Memorable and Engaging Magent’s dynamic blend of serif and sans serif elements guarantees that your content remains not only memorable but also engaging. It captivates your audience and leaves them with a vivid and enduring impression, ensuring they keep coming back for more. In Conclusion In summary, Magent – Display Typeface is a font that defies conventions. It’s a design masterpiece that harmoniously combines aesthetics with a playful spirit. Whether it’s branding, posters, or an array of creative projects, Magent is a one-of-a-kind font that captivates your audience and infuses your content with vibrancy and charm.

Matahati is a script font that is created based on the modern calligraphic style which is reprocessed by combining passion and deep feelings to create beautiful artwork and memorable. Besides bringing charming basic characters, Matahati also offers OpenType features that will facilitate the work of typography and graphic design. It includes Standard Ligatures, Stylistic Alternates, Terminal Swashes, Regular Swashes, Stylistic Set and PUA (Private Use Area) Unicode. This font also presents the beautiful ornaments of Matahati Swash, so it will be easier to mix and match your design. Matahati is suitable for the design of posters, invitations, quotes, headlines etc. Matahati comes in various styles — Regular, Slant, and Swash — each with its own unique personality to suit the style you need for your design.

Are you trying to make an elegant, modern, and stylish statement with your invitations, social media, website, or printed materials? Ready to enchant your audience and enhance your branding? Introducing Callimba - A Serif Font Callimba is a gorgeous serif font that will whisk you away to a place of style! We are hoping that through this elegance and passion edged font, you can maximize your designs, reign in sales or make lasting impressions. The ideal font for social media banners; posts, and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Callimba includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Alternates Multilingual Support PUA Encoded Numerals and Punctuation

Random But Perfect is Nice Bold Script Font - A stylish and quirky new bold script. Random But Perfect font was created to look as close to a readable bold script as possible by including over a lot ligatures, titling, and swash. This font is for those who want to show something strong and modern. You may use this font if you want to attract modern buyers. The font design seems to show that you have a passion in the business and give your love to the products and services you are offered to customers. Because it is an eye-catching bold script font, you can use it for a variety of purposes including design, branding, signature, logo, poster, and many more.

RAXON is a futuristic mecha typeface. Highly inspired by industrial vibes and future-themed mecha-robots. Font design will make your project more powerful and inspiring. Perfect for headlines, billboards, magazines, websites, titles, posters, branding, thumbnails, creative logos, and many others. We are always passionate about bringing new futuristic typography to market. This time we present a special futuristic font for you. **What’s Included:** - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support Thank you for your purchase!

“Redzone” is a versatile display family developed as the workhorse typeface for the “Ultimate Football League”, a fictional football league passion project. With a strong focus on the sports branding industry, “Redzone” has a voice that is competitive and sophisticated, its letterforms featuring angled terminals and sharp serifs across 5 weights and widths. Its generous x-height and overall build makes it especially capable for headlines, thought it serves well for shortened body type as well. The “Redzone” name was debuted in October of 2017 as a titlecase font (later refined and renamed “Redzone Classic”), redesigned in November of 2018 with sheared and stenciled styles, and is now presented in the most streamlined version yet with the same charming fearlessness still present. Enjoy!

Grow your imagination, this font is for you. Skillwize is a bold and fun typeface. This playful, thick font is perfect for your next design project. It will give you the personality you've been looking for. Skillwize is fresh, creative and has a little bit of everything: it's casual, yet serious; soft yet hard; and made for everyone. Use Skillwize for product packaging, posters, newsletters, invitations, blog posts, headlines - any design where you want to stand out with your creativity. Try it out today! So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations, works on PC & Mac Thank You. We hope you enjoy our fonts.

Prêt-à-porter is a project developed as part of a series of type experiments appearing on the blog ‘Letritas’. Prêt-à-porter is a very expressive friendly font with a handwritten look, smooth curves and strong identity. Its counterforms make it a carefree, wild, cheerful, light and highly readable typeface. This type system consists of two Script families—Contrast and Linear—and a Slab family. The Contrast set works as a complement, providing more elegance and formal refinement. Both Linear and Contrast come in 5 weights plus Ornaments, which can be used as initial and terminal forms since they have been designed for connecting with each letter. Linear and Contrast families include ligatures and the whole font family supports 208 different languages.

This is the perfect combination of fonts, we are proud to introduce BROWN MARLYN, these fonts are of two types serif and script. Display Serif inspired by famous logo, This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures on serif makes this typeface unique and stands out rather than the regular serif font, perfectly for headlines, wedding, social media, logos, posters, packaging, T-shirts,coffee shops, restaurants, magazine’s headers, signs or gift/post cards,cafe’s and weddings or any type of advertising purpose. What's Included : Standard glyphs Ligatures International Accent Works on PC & Mac Simple installations If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Sheepman inspired by and based on retro William Page’s No.506 typeface which is popular wooden type fonts of the 19th century. To make soft and natural impressions, the original polygonal design was changed to rounded design. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This modern wood type includes 3 weights and their matching slanted style and all style have sprayed ends(beginning) alternates for F, H, L, M, N, P, U, f, h, j, m, n, p, q, and u which can be accessed by using OpenType Stylistic alternates or swash alts. Sheepman will be the best solution for posters, titles and anywhere you need vintage lettering.

Remember those plastic Popsicle sticks that clicked together and you could make things from them with your sticky little fingers? Things like... camp crafts. Well, no� Of course you don't. You were too young. That�s why there is Campcraft. This is a fun loving dot-matrix font, or it would be a fun loving dot-matrix if the vertical and horizontal grid lines didn't pile up at the intersections. Then again, it wouldn't be any fun if they didn't pile up at the intersections, would it? Strictly a display type... Campcraft is excellent for what the name suggests. I goes well with Christmas sweaters, beaded jackets and purses and that time when we were all happy children with sticky little fingers.

Herr Pfister was a printer in the city of Bamberg Bavaria. He is known to have published nine works. And it has been contentiously argued that he printed the “36 line Bible.” He was responsible for two innovations. The first was printing in his native German language and the second was the use of woodblock prints to add illustrations to the text. These were both first with the use of movable type. He was heavily influenced by Gutenberg’s typefaces but there are a range of notable and also subtle differences between the two men’s output. He was known to be active in the industry from about 1460 to his death in 1466. This font was specifically based on his "Biblia Paperum."

Fargo Tuscan is the first of seven typefaces exploring the decorative possibilities of the Tuscan letter form, all of which are releasing in 2017. It’s the most European of the seven- it’s a Mid-Victorian inspired display face which would have been (and is) at home on either side of the Atlantic, unlike some of the others in this batch of Tuscan faces which are distinctly ‘trans-Atlantic’ (we know, that depends on your point of view but we are Greater ALBION Typefounders after all) in flavour. Fargo Tuscan is replete with decorative features, including Swash Capitals, alternate numeric forms and stylistic alternates ideal for the beginning and ending of words. Have some mid-Victorian mid-Atlantic fun with your next design project!

What can be more lovely than a wedding, an invitation or a gift from the heart? One whose presentation uses the warm and welcoming family of typefaces, Adorn. With a modern and sometimes quirky twist on the staid, almost corporate look of formal invitations, this family of hand lettered typefaces arms designers with a breathtakingly large number of fonts that work harmoniously, despite the distinctiveness of each. Adorn offers seven display fonts, four script designs, monograms, ornaments, illustrations, banners, frames, and catchwords. See what’s included! http://bit.ly/2hYM1ur *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Toulouse is a city of culture. It has long nurtured literature, music, dance, theater and concerts. It is therefore an entirely appropriate name for an elegant and classical french-style font. Toulouse, the font, is classically calligraphic with a sharp-edged look to the character terminus that speaks of skilled penmanship. Careful attention has been paid to the weights of the vertical strokes, keeping them consistent with the pen angle, and enhancing the faithfulness of this font to the period style. Toulouse will be very useful wherever an ambience of measured elegance is required. It will enhance the appearance of advertisements, wedding and other invitations, as well as menus, headlines and posters. It contains a full character set and is professionally letter-spaced and kerned.

Tall, thin and elegant, Marian Churchland’s fonts are very much like her.. and now available from those awfully nice chaps at Comicraft to allow you to pretend that you are too! Marian Churchland was born in Canada in 1982, and was raised on a strict diet of fine literature and epic fantasy video games. She has a BA in Interdisciplinary Studies (English Literature and Visual Arts) from the University of British Columbia, and has been doing professional illustration work, including book covers and magazine articles, since she was 17. Last year, she became the first woman to solo-illustrate a CONAN story, and this year she’s illustrating three issues of ELEPHANTMEN for Image Comics. See the families related to Marian Churchland: Marian Churchland Journal.