Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go. It may have felt right at home in the mid-1970s, the time of Sc-Fi, synthetics and disco, yet it unmistakably belongs to the present. Its dynamic sturdy forms and angular tapering of some horizontal forms convey movement and edgy impatience for change, with a few re-imagined details, like the reversed slant on top of the lowercase t and the atypical round counter of the lowercase a, showing a new hope for the bygone optimism. Available in five weights in Latin and Cyrillic, supporting many languages, with stylistic alternates and two sets of figures. Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2020

Yee haw! Send me a shot of sarsparilla and let's celebrate a new cowboy font! This time we're pleased to introduce a new, more legible counterpart to Chank's Drunk Cowboy font. The resultant new font has a bit less of a drawl to it and is known as Dry Cowboy. Now you have a choice for smaller text setting when using Drunk Cowboy as the headline font. Wrangle the two together and put a little giddyup in your designs.

Now that we're done with the hipster stuff, the handwritten and the brush fonts, it is time for something new: Organa, a stylish geometric font family. Create a new feel for your designs. Organa is a unique and creative font that can be used for logo design and branding, posters flyers and book covers. Organa will help you to shake off the old feel and to create something new. It comes in three styles that are easy to combine.

Starting the new year with a new font. We present something different. The font this time has a straight-line theme. This font is inspired by the lamp style of the past few years. Elongated incandescent lamp. We combine aesthetic and elegant styles in the preview. Actually suitable also for styles in neon form. But we're taking a little dive into the style of today's design trends.

Miller, designed by Matthew Carter, is a “Scotch Roman,” a class of sturdy, general purpose types of Scottish origin, widely used in the US in the last century, but neglected since & overdue for revival. Miller is faithful to the Scotch style though not to any one historical example — and authentic in having both roman & italic small caps, a feature of the originals.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

This script font was inspired by the type called “Bastarde Flamande”, a much appreciated one in the Duke of Burgundy’s court at the end of 1400s for handwritten books. A book titled Histoire Romaine (Roman history), from Roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawing the lower case characters and many of the upper case. Each character was written by hand with a quill pen on rough paper so as to look like the originals as much as possible. This font includes “long s”, naturally, as typically medieval , also a few ligatures, final and initial characters but there aren't any abbreviations because the text was written in French rather than Latin. Instructions for use are enclosed in the file and identify how to keyboard these special characters. This font can be used for web-site titles, posters, fliers, ancient looking texts, greeting cards, indeed for many types of presentations as it is a very decorative, elegant and luxurious font. Large type size shows this font at its best.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Bloque is a heavy slab font family which contains six fonts. It has three layers for both roman and italic styles, including an inline and a shadow versions to make different color combinations

MYTHICA is a slightly condensed roman with spur serifs, derived from incised lettering on early twentieth century memorial stones and monuments. The typeface is available in 3 weights each with a complimentary italic.

P22 Mayflower is a classical Roman font taken from a Bible of 1610, the edition likely carried to America by the pilgrims on the Mayflower. Good for period reproductions, with its companion italic.

Shelf is a humanistic sans-serif font of cool and solid character. Its frugal, clean and organic drawing as well as its name were inspired by the ice shelf landscape. Shelf was designed as a universal tool for creating a coherent information and navigation systems with accompanying publications, such as visual identity of exhibitions including catalogues. It is suggested to set long texts in Roman and Italic, while the best combination for a wayfinding system is Roman and Oblique. Every weight, therefore, contains Roman, Italic and Oblique versions. The variety of over 1500 glyphs constitutes a rich set of Latin script characters. Shelf includes small caps, a broad set of figures, a wide set of alternative style variants, arrows and a number of OpenType features.

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

Introducing a new font called Hey Beibeh. As the name, Hey Beibeh comes with love and romantic themes. The theme of love and romance will be increasingly felt with the heart icon in the letters i and j. You can access OpenType features in Hey Beibeh fonts such as stylistic set alternate (SS01-SS02), ligatures set, and alternate. Hey Beibeh is PUA encoded and supports 17 languages. Live to love coz life needs love. Thanks, and have a nice day.

Hello! I'm happy to present you my new ethnic font family. I tried to create Latin letters font in Arabic style. Right now, you can type your text with Latin characters, and it can be read internationally. So, can you read this script? This font family consists of two font styles (regular and rough). Both of them will make an Arabic feel to every text you type using this font. I paid a lot of time for ligatures to provide flowing effect to every lettering. You can easily design Ramadan advertising, Islamic quotes posters, Arabic style greeting cards, Eastern brand logos, and others. You'll get: * Uppercase and lowercase * Mültîlíñgúãl Sùppört * Special Alternates and ligatures * Numbers * Symbols * Punctuation Please feel free to request to add characters you need: kaer.pro@gmail.com Best, Roman.

Cerulea is a unicase from the world of the sky. Drawing inspirations from Art Nouveau, Classical Roman, and Uncial styles, Cerulea's wide, spacious bowls, sharp points, and subtle wandering curves evoke airiness, flight, and fantasy. Seven weights, and true italics for each, range from zephyrous to thunderous. Vary the mood every time you choose between the serious capital form of a letter, the more fanciful lowercase form, or another variant in the stylistic sets. The more than 800 glyphs cover pan-European Latin, Greek, Cyrillic, fractions, circled numbers, planet and zodiac symbols, card suits, chess pieces, ornaments, and more.

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929. Middleton has created a transitional face linking the traditional thick and thin serifs of the times with the new Futura and Kabel design imports. With its slightly flared main strokes, Stellar predates in many respects Hermann Zapf's Optima by thirty years. Highly effective where an elegant and warm feeling is desired. This typeface is faithful to the original letterforms of the Stellar design. Stellar Classic is also available in the OpenType Std format. Some new characters have been added as stylistic alternates in this new version. Stylistic alternates and other advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Another stencil font? Oh, yes. Circular trip time of bus number 17 is so long and designer has one relaxation: look over the letters in the bus. So many tables with bus stop names in it! And now you can write it yourself - enjoy new Marshrut Stencil typeface.

Up until the late 1920s, it was a popular habit in American songwriting to use African Americans as the topic of compositions using denigrating themes, words and even exaggerated character illustrations on the covers of the published sheet music. One such example of what was considered "entertainment" for its time was a piece entitled "Little Black Me". While this now socially and morally unacceptable piece of forgettable tripe is collected by some only for the historical documentation of the times they reflected, one good "positive" came out of this negative chapter of our country's musical heritage: The beautiful floral ornamented letters in the song's title has yielded Fancy Free JNL. Originally hand-lettered on an arc, these spurred Roman letters have been re-drawn, and are offered in both the regular design and a companion version with the ornamentation removed for lettering that is less ornate.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. 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.""

Goudy’s Newstyle typeface was desiged in 1921 began as an experiment in creating a phoentic alphabet with different shapes for letters depending on their unique sound. The design is strongly influenced by the Venetian Romans of Aldus which Goudy believed to be the most readable letterforms. Steve Matteson digitized the roman faithfully to Goudy’s original and designed the companion italic in the spirit of Goudy’s style.

LP Bambus is another new handwriting script written with bamboo from German designer Peter Langpeter (lp-design.de). LP has been running his own design studio since 1995, working as a typeface and logo designer, as a calligrapher, cartographer and illustrator. During this time LP created a large number of excellent new typeface designs. Now, we are extremely happy that LP has chosen to let URW digitally produce and market his designs.

The Bitstream version of Trump Mediaeval of Linotype, 1954-60, by Georg Trump, a prolific German type designer. It seems to be his best typeface. It has a vigorous and assumed oldstyle roman and italic that is the sloped roman, except for the letters a, e, f. With its crisp angularity and wedge-shapes serifs, Trump Mediaeval appears carved in stone. It is a strong text typeface that is highly legible and especially useful for low-resolution output. It is useful in display work too. Cyrillic version developed for ParaType by Vladimir Yefimov and Isabella Chaeva and released in 2010. Cyrillic italics maintain the main feature of Trump Mediaeval to be the sloped roman, except for the letters г, д, и, й, n, т. There are old style figures, additional ligatures and fractions available at all styles and small caps at the Roman 55. Black style was added in 2011 by Vladimir Yefimov.

This roman face is suitable for text and captions. Designed for the graphic designer that is looking for a new and different text font as well as captions. It can be closely kerned.

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.

The productivity of the Berlingska Stilgjuteriet was made possible by the development of modern typeface art in Sweden in the 1950s. The typeface Berling was designed by Karl-Erik Forsberg for the Berlingska Stilgjuteriet in Lund. It belongs to the modern text typefaces and like most of these markedly shows the influece of the Neorenaissance. Berling Antiqua appeared in 1951 with a matching italic and by 1959, it was expanded to include five weights. Linotype offers Berling in four of them, roman and bold with their respective italics. In 2004 the Swedish publisher Verbum commissioned a complete redesign of Berling for the 21st century. Linotype assisted the designers of this new typeface, which came to be called Berling Nova.

Egon is a contemporary Slab-Serif typeface family built in ten styles—extra-light, light, regular, bold and black weights in roman and italic respectably. This is a refreshed (second) edition of Egon Serif, originally designed in 2008. The typeface has been updated—four new styles in ExtraLight and Black weights were added to the family and minor adjustments to glyph shapes (mostly italics) have been made.The typeface is designed with industrial and architectural flavor, as homage to Egon Eiermann, one of Germany’s great architects of 20th century. Egon is ideal as text and display font for publication use. Egon is released as OpenType single master with a Western CP1252 character set.

Bamberforth is a new take on the type of lettering that was often seen on Railway timetables, share certificates and anything else that needed a distinctive heading in the mid-19th Century. This sort of thing was used on both sides of the Atlantic and can carry us back to another time. Bamberforth aims to give a modern clarity to a style of lettering that, in all other particulars, harks straight back to Victorian times. Bamberforth is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.