The 1930s, 40s and 50s contribute many elegant and clean font families to the design canon. Plebia—the plain font—is Greater Albion's homage to that elegant design canon. The basic design is offered in a range of decorative forms chosen to preserve this basic simplicity: shadowed, outline and a subtle semi-serif. Use this font in signposts, labels and posters, anything that needs to get its message across with impact regardless of visual distance. Bring back the spirit of the middle years of the last decade.

The February 19, 1923 issue of The Film Daily contained an ad for Mack Sennett's new Ben Turpin comedy entitled "The Shriek of Araby". No doubt this was a spoof of the popular Rudolph Valentino film "The Sheik". The ad tries to emulate Mideastern or Arabic typography via a standard Western alphabet. It somewhat captures the flavor, but its free-form hand lettering comes off as more of a novelty-type style. This is now available digitally as Desert Sands JNL in both regular and oblique versions.

Daniel Berkeley Updike seems to have stimulated the architect Bertram G. Goodhue to design the prototype in 1896 for Ingalls Kimball at the Cheltenham Press. Six years later Morris Fuller Benton at ATF developed it into the design and then the series that we know today. “Owing to certain eccentricities of form,” writes Updike, “it cannot be read comfortably for any length of time.” But he concludes: “It is, however, an exceedingly handsome letter for ephemeral printing.” Mergenthaler bought composing machine rights to the original design c. 1896, but bought the Benton design in 1904.

Griffo Classico™ was produced by Franko Luin in 1993. It is a revival inspired by the types cut by Francesco Griffo for the Venetian printer Aldus Manutius at the end of the fifteenth century. The roman is based on the type Griffo cut in 1496 for Bembo's de Aetna," and the italic on a type he cut in 1501 for an edition of Virgil. Griffo did not make separate italic caps, so Luin designed his own for Griffo Classico. This is a serviceable family with five weights, including small caps.

Palamecia is a typeface that embodies the very essence of organic design. It is a testament to the power of the creative process, one that is imbued with the spirit of experimentation and the thirst for innovation. Its unique appearance, at first glance reminiscent of a cartoon typeface, is just the beginning of what sets it apart from the competition. Palamecia was designed with a specific purpose in mind—to withstand the rigors of scaling and blurring on a variety of user interface devices. The creators of Palamecia recognized that the legibility of typefaces can be compromised by the impact of pixel scaling, and they set out to design a typeface that would not only overcome this challenge but also thrive in its wake. What makes Palamecia truly exceptional is its design process. Unlike many other typefaces, Palamecia’s designs were not born from pen strokes, but rather from cut-out silhouettes that were meticulously chiseled and chipped away. This unique approach allowed the designers to create a typeface that is both rugged and refined, with a natural aesthetic that seamlessly blends into any interface. The end result is a typeface that is both durable and versatile. Palamecia’s unique design allows it to pierce through any type of display, regardless of resolution, making it an ideal choice for designers and developers who are looking for a typeface that can deliver the goods under any circumstances. In conclusion, Palamecia is a triumph of organic design, a typeface that is as beautiful as it is functional. Its rugged yet refined aesthetic and its ability to withstand the rigors of scaling and blurring make it a must-have for any designer or developer who values both form and function. So why wait? Try Palamecia today and experience the power of organic design for yourself. 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.

When reading text, the most informative parts of the written word for a human brain to identify, are the top and bottom edges of each word, and to a lesser degree, the leading and trailing edges. The overall shape has more useful info than the inner workings of each word. DT Enigmystic, is a display font family that gives you just that. The outer edge. At first glance, these letters don't look like standard letters, and yet, they are perfectly readable. And it is a 'somewhat' smart text, in that it will automatically complete the trailing edge of every word, whenever it sees a comma, period or space. Similarly, it will automatically complete the leading edge of every word following a space. When used as display test or as a heading, the first letter will need to be preceeded by a space, to achieve a full enclosed word outline. As with most of my fonts, do use Contextual Ligatures. This allows the letters to come alive. When generated here on this webpage, contextual ligatures are not turned on, and so the words do not appear completely closed at their beginnings and ends. But as can be seen in the poster images, these outlined words do automatically complete themselves when contextual ligatures are active.

ITC Christoph's Quill is just about everything you could want in a typeface: it's distinctive, beautiful, and exceptionally versatile. According to designer Russell Bean, ITC Christoph's Quill is the culmination of experimentation with a graphics tablet that spanned several years. Then one day, as if by magic, it all just fell into place. The design seemed to flow from my pen." Bean was born in Australia and, except for a brief stint with a photo-lettering firm in Southern California, has spent most of his career working down under. "I can recall a deep fascination for the written word," he says. "Even before learning to spell, read or write, I think I recognized that this was a means of visual communication." Bean's first job was in a small ad agency as a trainee in the production department, where he learned art techniques and how to handle print, as well as "the value of visual impressions," he says. His career path meandered from one design job to another, but always in the general direction of fonts and typefaces. Today, his workload consists of logo design commissions, font editing, typography and print production consultation to a select group of loyal clients - still leaving time, notes Bean, "to pursue my type design ambitions." ITC Christoph's Quill began life as a simple, visually striking font of caps, lowercase, punctuation and numerals. To this Bean added a bold weight, for when a little more strength is desirable. Next came a flock of alternate characters. Finally, Bean drew a set of decorative caps, a suite of logos, and a sprinkling of beginning and ending swashes. The net result is a type family that can add a signature flourish to a vast range of projects: from invitations and menus to logos, signage, packaging and more."

Bright Flicks is a delightful script font that embodies a playful and whimsical spirit. With its rounded letterforms and charming swings at the ends of some letters, this typeface adds a joyful and lively touch to your designs. The defining feature of this script lies in its rounded shape, which gives the font a friendly and approachable appearance. The letterforms flow smoothly, creating a sense of fluidity and movement. Each letter flows into the next, creating a harmonious and lively composition. The uppercase letterforms are crafted with precision and creativity, maintaining legibility while embracing the playful nature of the font. Adding to its character are the swings at the ends of select letters, adding a touch of playfulness and spontaneity. Bright Flicks captures the essence of creativity and imagination. The rounded shapes evoke a sense of warmth and friendliness, while the swings at the ends of certain letters add a touch of whimsy and fun. This font brings a sense of joy and positive energy to your designs. You can also enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Bright Flicks fits in logos, branding materials, packaging, and any design project that aims to evoke a sense of cheerfulness and creativity. Whether you're working on invitations, greeting cards, posters, or any project that needs a touch of playfulness, this font will bring a vibrant and lively vibe. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Kъnig – the old Bulgar runes The writing kъnig emerged in the places of ancient Thraco-Bulgarian migrations in ante-deluvial times and developed in stages paralleling the other ancient writings. There have been many interactions and loanings between kъnig and these other writings. The root of the word kъnig (OBg: кънигъı) comes from the Old Chinese k'üen 'scroll' (ModCh: 纸卷 zhǐjuǎn) [57]. The word was loaned directly in the Bulgar language (*kün'ig > *küniv) restoring two individual Old Chuvash forms: 1. *k'ün'čьk > кўнчěк kind of ornament on a woman's garment; *k'ün'-gi / *k'ün'-üg > k'ün'iv book, codex, which is evidenced by the Hungarian könyv book and Mordvinian konov paper borrowings; 2. *k'ün'i- > *k'ün'i-gi > к'әn'iγь > кънигъı. This word has been preserved in Sumerian as kunuku (inscription) and kəniga (writing, knowledge). It is inherited from Bulgar to Slavic: книга (Bulgarian and Russian), књига (Serbian, Croatian and Slovenian), kniha (Czech and Slovak), książka (Polish), and non-Slavic: könyv (Hungarian) languages. Kъnig letters (kъni) have been known from archeological finds for more than 100 years already; however, until recently, no attempt has been made to decipher them, find their phonological value, or connect them to their natural successors: the Glagolitic and Cyrillic alphabets. The oldest mention on the Bulgar runes is found in the mid-9th c. AD work On the Letters by the Bulgarian writer Chernorizets Hrabъr. Being already a Christian, he wrote pejoratively about the pagan Bulgars

Bertram Plain is the perfect font for setting titles in comic strips and similar designs. UK designer Martin Wait created this font 1991, after he was inspired by the casual style of circus graphics. In fact, this jolly and lighthearted font was even named after one circus in particular: the Bertram Mills Circus. Bertram Plain is an all-caps font, with capital letters placed on both the upper and lowercase keyboard strokes. Additionally, Bertram Plain letters sport a 3D-like drop shadow, a distinctive feature when comparing this to many other display fonts.

Dynamic and sportive. A well-balanced experiment for sparkling headlines. Glance Slab is an experimental design that plays on the tension between connection and detachment. In this typeface, serifs may be detached and some strokes may not connect to their stems. This creates a dynamic impression of balance and movement. The elegance of an ice skater and the determination of a quarterback: Glance Sans has it all. Where a curve meets a stem and where serifs seem to “hover” near their respective letters, the nonjoining elements create an impression similar to a stencil typeface. But here, the function of the gaps differs from strictly stencil designs: while the gaps provide a “sparkling” effect in Glance Slab that’s clearly visible in large sizes, they take on the role of ink traps when set smaller, making for surprisingly legible body copy. With its strong visual character, this font family is quickly recognizable, making it perfectly suitable for branding and any large-scale application, such as posters, billboards, and event signage. Glance Slab consists of seven weights from Thin to Black. Each style has a character set of about 570 glyphs, which includes circled numbers and arrows (positive and negative versions), ligatures, extended language support, and many other features.

The typography was created from the observed similarities between some musical symbols and the letters of the alphabet. Realizing that there were not typefaces which used this language, decided to implement this idea, providing a new typographic style closer to the musical symbolism.

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

Let me introduce my first ever product on my shop. Cinnamon Peach - Layered Font After 2 years of learning how to create a fonts, learn about the anatomy of typography, features of the OpenType fonts, and all of the experience on my collaborations with many friends, Finally I just launched my first personal product with the name Cinnamon Peach. Cinnamon Peach is beauty combinations of layered font. It has a Serif and Script style inside. Both of them are layered font, which is you can express the style on both of it. You can add shadow, inline or hatch on Serif style. Changing the color of the other layer as just easy as change standard color of the fonts but it’s more deep in detail. On the Script style, I give you more freedom of choosing which style do you want, if you want a deep style of layer, you can choose regular and inside with different color. but if you want the outline style, it also available as a single fonts. Looks like on the display that I Created, You can see the most of combinations font in there are perfectly matched even on script version doesn’t include the Uppercase character. Because of the strong characteristic of this fonts you can see the combinations are great with or without layer, monochrome or multi color, pastel or watercolour. It’s great for posters, display, logos, header website, magazine, animation text, etc. Thank You very much, hope you enjoy this fonts !

Introducing the Stencil PTx font family. We created two styles, sprayed, to be used in display giving the idea of graffiti on the wall and the clean, to possibly be used in print. This is the idea We have of an old school stenciled typeface/look. This typographic masterpiece brings the raw energy and urban flair of stencil graffiti art to your fingertips. The Stencil PTx font family is tailored for designers seeking to infuse their projects with the rebellious spirit and visual impact of street art. Whether you're designing for urban-themed events, streetwear branding, social media graphics, or edgy advertising campaigns, this font family adds an authentic urban edge to your creations. At Pedro Teixeira Foundry we're passionate about bringing the raw and vibrant energy of street art into the realm of typography. Explore the Stencil PTx font family to unleash the bold, gritty, and dynamic essence of stencil graffiti, elevating your designs with an urban attitude that commands attention and amplifies your message.

FHA Condensed French One could speculate that FHA Condensed French probably started life as wood type for displays, headlines and posters. The exaggerated sharp serifs and condensed forms were not uncommon for that period. At some point, sign painters picked up Condensed French added their own character. At the end of the nineteenth century, Frank H. Atkinson included Condensed French in his samples of lettering for his book, ”Sign Painting, A Complete Manual.” This book became one of the definitive guides for signwriting and hand lettering. In 1999, Mike Adkins digitized Condensed to add to our Atkinson collection. For its re-release, Condensed French has been updated with more language support, ligatures, and OpenType alternates. It has true vintage character but still plays well in more modern designs. A font for all seasons, the condensed forms and sharp serifs fit in every layout from wildwest days posters and creepy film credits to Christmas ads and Mother’s Day cards. While I can’t really see FHA Condensed French as the font for phone aps or video game text, it will provide impact to logos, branding, and product labeling.

My home mouse, Hector, drew this wonderful font for kids. He tried very hard and hopes that you will like the result of his work! This font is perfect for advertising various children's brands, decorating children's books, and generally any children's projects! Hector and I believe that the font Mouse Paw will help you in any business.

Introducing Bolandes, a handcrafted vintage monoline font, inspired by the vintage signage which visualizes a letterpress/inky looks and modern calligraphy. Perfect for logos, apparel, labels, posters, quotes, signage, packaging, and more! This font is all-caps font, recommended for displays. Bolandes has 340+ glyphs including many OpenType features that you can mix and match each character to get the more playful vintage typographic design. Available in three styles: Light, Bold, Aged. What you'll get : Uppercase Smallcaps Numbers & punctuation Accented characters SS01 - SS06 Stylistic Alternates Custom Ligature A great choice for the new spirit. Good luck!

LiebeKlara is LiebeFonts’ most delicious gourmet creation yet. The mouth-watering look of savory swashes and the fine aroma of masterfully sprinkled contextual alternates will make everyone happy—your spouse, family, and friends. LiebeKlara is festive enough to sit on wedding menus, but still warm enough to give everyday dinner invitations the personal flavor they deserve. LiebeKlara likes company—for example when her girlfriend LiebeErika comes over and they have some LiebeOrnaments with their LiebeMenu. LiebeKlara also likes travelling! She speaks most Western languages fluently and with a cute accent. Try it for yourself—LiebeKlara is calorie-free but (or because) she is very delicate. We hope you like her as much as we do! Bon appétit! LiebeKlara comes with a tasty variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 580 carefully hand-crafted glyphs—so it’s more like two or three fonts in one.

Blured Stroke is a beautiful script font. Every letter in this font looks like it was created with a skillfully swung brush. The subtle and soft brush strokes are clearly visible at every angle and bend, giving the entire font an artistic and expressive feel. The ends of each letter tend to be rounded, giving it a soft and elegant touch. This font is designed with detail and a perfect balance between thick and thin strokes. The thicker lines bring out strength and firmness, while thinner lines add softness and elegance to this font. The perfect combination of these differences creates an eye-catching visual harmony and expresses a unique writing style. The colors used in this font can vary, but to maintain a soft impression, bright colors would be the right choice. The letters remain legible and understandable because they have clear outlines. Enjoy the various features available in this font. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Blured Stroke fits best for any design projects that want to convey tenderness, friendliness and creativity. This font can be used in the invitations, greeting cards, brand logos, promotional materials, and many other design projects that require a warm artistic touch and are full of personality. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Designed for a privately-published luxury edition of The Time Machine, HGWelles Ultralight, Regular and Bold are now being made available to the public. This is the Welles of the early 20th century, seeing many of his predictions coming true and anticipating the shape of things yet to come.

Inspired by old surfer movie posters from the 60'ies. Surfing Ashtray consists of straight lines only - ironically the direct opposite of the ocean waves that was a part of the inspiration of this font! Hit the waves with extra ligatures for double letters, swashes and alternate letters.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.

Customs Paperwork Pro brings the unique style of the NuMode Type No. 61 vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Customs Paperwork Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

I'm Roberto Teixeira, a Brazilian graphic designer. After looking for a form quite different from the existing types, created in 2019, Di Barros Fonts Family is composed by Di Barros Regular...for while. This,form covers the following, according to the Windows character map: Basic Latin, Latin Supplement 1, Extended Latin A, Extended Latin B, Additional Latin, Cyrillic, Greek, Greek Extended, Armenian and several other special types, such as currency symbols, numbers, fractions, Roman numerals, arrows, symbol of electricity, hearts and vector images, of own authorship and more. Di Barros, with a good length, serves several languages. I think Di Barros applies to fine environments, such as jewelry stores, fashion stores, cultural events and others, where a beautiful and non-aggressive look is required. But there is no better application than the one chosen for its inspiration and creativity. Di Barros Fonts Family was made for you. Thank you for using it.

Creative greetings... Introducing the Northy fifty font which has a modern looking design. In this font there are additional arches at each foot of the letter so that it looks more elegant. Northy fifty has Alternate and Ligature that you can use in both modern and contemporary designs, and are suitable for use in a variety of fashion media, posters, modeling magazines, typography, promotions and other digital media. FEATURES; -Uppercase and lowercase letters. -Support Foreign, Numbers and Punctuation. -Alternative, Ligature -Regular & Italic. -Works on PC. -Simple installation. -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, it even works in Microsoft Word. -Fully accessible without additional design software. Northy fifty is coded with Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. Thanks for visiting, have a nice day ;)

Minimalisto is a typeface made by designer Keith Hayden. The distinguishing feature of this font is the simplistic style of each letter. This simplicity gives each letter a modern and sophisticated look.

A wonderful, very condensed, 3D font. A few years ago, I was commissioned to digitize the letters from this typeface for the words 'LEGENDS OF RODEO' and liked the look of it so much that I went ahead and digitized the rest of the alphabet. This CastleType revival is very clean-cut and contains uppercase, numerals, and punctuation. Sculptura was originally designed by the Swiss designer, Walter J. Diethelm (1913-1986) in 1957.

The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called "Tabard", whose antique charm was enhanced by several rather quirky alternate characters. This version tosses out the standard characters and keeps the quirks in the works: the result is warm, engaging, slightly mischievous and a whole lot of fun. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Just like a nice breakfast, Kitchen Stink is a great way to start the day! :) You may already have guessed that the fontname is the result of a wordplay. Sometimes it's funny how a single letter can completely change the meaning of a word. In this case! With this font, you are dealing with a gentle mixture of a basic handwritten font, a comic font and oldschool grafitti! The result is this steady, sometimes a bit off, but legible crunchy handwritten font!

Xylotype guru Rob Roy Kelly identified this specimen from his personal collection as "Phanitalian". This addition to the Whiz-Bang Woodtype series takes its name from a small Texas town in the middle of nowhere which has risen to international prominence—at least for folks interested in such things—as the site of the World Championship Chili Cook-off. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Slinces Heart is a captivating script font that captures the essence of handwriting with a touch of romance. Each letter in this font is meticulously crafted with fairly high line contrast, adding a dynamic and eye-catching quality to the font. The swinging endings in Slinces Heart add a flourish of creativity and uniqueness. With its smooth and flowing letterforms, this font offers a natural and seamless writing style. For the best legibility you can use this font in the bigger text sizes.

American Type Founders released the pattern for this typeface under the name "Thermotype". In the days of cast-metal foundry type, copyfitting headlines could prove problemmatic at times; this typeface, with a wide uppercase and narrower lowercase of exactly the same “color”, allowed stacked lines of type to be composed with uniform width. Clean, crisp and practical. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This duo of handlettered-style vintage Americana fonts is a versatile package that can not only provide that subtle secret sauce that transports the viewer back 60 or 70 years to the neighborhood grocery store, it's also capable of conjuring up a very forward-looking and relaxed modern vibe. Whether it's the extra bold mid-century signpainter style of the sans serif, or the quick-brush liveliness of the casual script, you'll find this versatile pair is a real go-to for a variety of great looks.

Northeast Railway is a 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 line of the Argentine North Eastern Railway Company Limited (1987-1948). The letter of this signboards can be described as display type, with elementary geometric shapes and without line modulation. The principal font of the resultant family is the bold. 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.

Caltic-Holiday, Caltic-Festival, and Caltic-Straight are three eye-catching, very bold typefaces that are suitable for posters and signage. Caltic-Holiday and Caltic-Festival base letter shapes on trapezoids with curved sides but with curves that are reversed going from one to the other. Caltic-Straight has letters based on trapezoids with straight sides. None are suited for text and with their built-in spacing will not work as all upper-case or all lower-case. All three come in two widths, regular and wide, giving the Caltic family six members. Caltic has nothing to do with Celts. The Calt refers to the calt or contextual alternative OpenType feature that makes this typeface work. When the letters on the upper-case keys alternate with the letters on the lower-case keys, they fit snuggly together. As long as the user has a word processor that supports the contextual alternatives feature, there is no need for the user to alternate letters; the calt feature does it automatically. Although the fonts seem similar to hand-drawn lettering that was done on posters and signs during the hippie era of the 1960s and 1970s, I can find nothing quite like them. My inspiration for them is older, in a newspaper from 1932 that led to the typeface family PoultySign. Caltic (and Lentzers) are the result of seeing what else I could do with the inspiration that sprang from that 1932 newspaper.