Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

Iconic Conjuring memories of chunky typefaces from the late-60s and early-70s, and named after the world’s greatest footballer of that and probably any other era, FS Pele is one of a set of Fontsmith fonts designed specifically for headlines and other prominent applications. “We wanted to create fonts that could be integral to the design of posters, album covers and magazines,” says Jason Smith. Welcome to FS Pele, iconic, like its namesake (though, perhaps, a little less nimble). Big Pele, little Pele There was only one Pele. But there are two sizes of FS Pele. FS Pele One, with the finer counters and details, adds considerable weight and style at large sizes, especially in big block headlines on posters. FS Pele Two’s thicker “slots” make it a better choice for smaller-sized text. A load of blocks FS Pele began as an exercise by Phil Garnham in turning squares into legible letters, via the least means necessary. The idea extended his ideas about logo-making, and the search for a stamp-like brand mark that lends authority, stability and instant identification. “The thought that the type was a 2D/3D jigsaw of slotted, architectural pieces was almost an after-thought. I wanted to create a strong, stacking, block aesthetic for the most contemporary poster design. “At the time there were a lot of designers creating their own versions of the same thing but I wanted to take the blocker forms to the next step, and infer a more legible text without sacrificing the idea.”

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

Tremida is a handwritten font with irregular trace.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

I'm happy to present you my new Romanesque font from the Codex Gigas. The manuscript was created in the early 13th century in the Benedictine monastery of Podlažice in Bohemia. The codex was written in a handwriting atypical for the 13th century, which is actually a late version of the Carolingian minuscule. Texts about repentance and exorcism were written in large Majuscule (Square Capitals (Imperial Roman capitals written with a brush)). Majuscules first incised in stone more than two millennia ago, married to minuscule letterforms that evolved from manuscript hands of the eighth and ninth centuries. Majuscule font is the name given to a type of decorative upper-case letters used in inscriptions and, typically, at the start of a section of text in medieval manuscripts. They are characterized by their straight forms unlike rounded in Lombardic capitals with thick, curved stems. Majuscule capitals were also used to write words or entire phrases. The text is divided into words, punctuation marks are used consistently – periods indicate the end of a sentence and the middle of a phrase. You will get: * Uppercase glyphs * Numbers and symbols * Multilingual support * Ligatures * Free future updates Thank you!

Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!

Humanist 521 is a Bitstream digitized version of Gill Sans typeface. The font was designed by Eric Gill and released by Monotype circa 1928-1930. Gill’s design is based on the typeface of Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. However, it has more classical proportions close to those of old style serifs, and thus is more suitable for text setting. With distinct roots in handwritten scripts, Gill’s typeface is classified as a humanist sans serif and is very legible and readable in text and display work. Having been released more than 80 years ago, it’s still very popular and in fact is an icon of British typographic style. The Cyrillic version of Ultra Bold weight was designed by Tagir Safaev in 1997. Six text styles and Extra Bold style in Cyrillic were designed later by Vladimir Yefimov and Isabella Chaeva. The Cyrillic version, in addition to the original Bitstream implementation of Humanist 521, has an alternative numeral 1 with the traditional shape and a set of old-style figures. Rereleased by ParaType in 2013.

Trigomy is a proportional pixel font designed on a 5 pixel grid. It is intended for either very small text or as huge display font for posters and the like. To get a crisp look this font should be used at 10 pt or multiples of 10 pt. (A tip for Adobe Creative Suite applications is to change the standard anti-aliasing method from “sharp” to “crisp” and to align the text to whole pixels. Also avoid centered text.) To get started with type design I thought it was best to start with a pixel font because you don't have to focus much on the design itself, but rather have to focus on how kerning and spacing works and the various features you can implement with OpenType. And of course I wanted to have a pixel font that had all that I was missing from other pixel fonts. We were learning trigonometry at the time I started designing Trigomy, and most of the time I misspoke it “trigometry”. So, when I had to come up with a name for my first font I thought: "Why not go with Trigomy?"

Sprig is a dynamic font that combines in-your-face chutzpah with contemporary brushstrokes. The character shapes are contained, yet give a feeling of casual, off the cuff ease. In some, subtle ways it pays its respects to the sign painters of the 30s and 40s The font comes in three styles: - Display, with extravagant upper case characters and some opentype features - Text, with more contained upper case characters (suitable for "all caps" use) and some opentype features - Professional, where OpenType features include alternative upper case characters (both the TEXT the DISPLAY caps), as well as a number of ligatures. (For use in applications that access OpenType features.) What this means is that Sprig Pro combines all the characters of Sprig Text and Sprig Display in one font and it also has additional ligatures. Sprig Pro contains over 283 characters, while all styles of Sprig contain a full upper and lower case character set, punctuation, numerals, symbols and accented characters for both all characters that they contain. It has all the accented characters used in the major European languages. The Sprig User Guide provides you with more information on how to use Sprig Pro.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

OPEN SERIF - answering the question “what font pairs well with Open Sans?”. Designed by Steve Matteson for extraordinary legibility and comfortable reading on screen and in print. Open Interpretation: Not quite Veronese – not quite Egyptian. A dash of panache in an otherwise sturdy serif typeface. Open Serif is an elegant text and display typeface family. Open Interiors: Visually open and legible at text sizes just like its cousin Open Sans. Open Serif reads smoothly but has an energetic texture. The chancery style italic contrasts nicely to the roman in a full bodied nod to Italian Renaissance forms. Open Type: Open Serif is full of OpenType features including Small Capitals for the Roman, Italic Swash Capitals and Old Style Figures for both. Open Translation: Supporting all the languages available in Open Sans, Open Serif completes the translation capabilities of international companies. Extended text is more pleasant to read in a serif typeface so go global with a unified typeface family! Open Face: Open Serif Titling is an elegant companion to round out the family. These ‘open-face' capital letters are ideal for initial letters, mastheads, titles and decoration.

At first glance, Quigley might look like any ordinary font. Take a closer look. Quigley is reminiscent of an art deco font with a "twist", having unusual and amusing character shapes. Ideal for signage and as display type, but works nicely for body text as well.

Kinglard Modern Display Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Zeminous Modern Display Retro Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Anouk Modern Display Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Bavery Modern Display Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Louna is an elegant, multi purpose serif font. This typeface is perfect for projects with a beauty, elegant, expensive theme, Louna also has many discretionary ligatures to enhance the prestige feel in your project. You can use Louna for display, logo, headline, titling, and even text.

Display Ardent is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Display Ardent has the lowercase alphabet only, there is no uppercase alphabet. For convenience, the lowercase alphabet characters were repeated in the shift set.

Thornback is a hand-drawn font that uses quick, scribbled strokes to create it's slightly messy sans-serif characters. The detailed letters make it a good choice for headlines but it's also bold enough to add a homemade touch to smaller text blocks while keeping things legible.

This font was specifically created for my husband. He teaches 5th grade and wanted a font that was legible enough for students to read but still playful enough to add a touch of whimsy to his classroom. Legible enough for body text but fun enough for titles.

Nevia BT is a four weight text family loaded with subtle design nuances. These OpenType Pro fonts support many OT features including smallcaps, oldstyle figures, contextual swashes, ornaments, discretionary ligatures, fractions and much more. The extended character set supports both Western European and Central European languages.

Based on the text on architect's plans. The designer asked friends and relatives for the plans for their house extensions, and he studied plans in the public library, then blended the best features of all the characters he could find. Architect was designed originally in 1999.

This is a block font style really dynamic. The blocks have a good harmony between them, every letter have the same width, this is comfortable when work on poster or on a big text. The rounded final of letter give a dynamic effect than a square final.

Quirthy is a textured brush handwritten font. This fantastic font is best suited for headlines of all sizes, as well as for blocks of text that have both maximum and minimum variations. Whether it’s for web, print, moving images or anything else – Quirthy will look spectacular.

Gaykin Modern Display Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Figuratika with its cut out letters is a bold geometric Art Deco inspired stencil font with a retro 1920 1930 feeling. It was designed as a display font and is best for shorter texts, titles, logos, posters etc. Figuratika has multilingual support for most European languages.

Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister font is a contemporary design based on Garalde types. The letters have an oblique stress, capitals are wide, serifs are prominently concave. Minister font has obvious calligraphic overtones, making it a good informal text face.

Inspired by 15th century Venetian italic book texts and based on examples from volumes on the history of type. Fourteen64 has a rugged charm and lots of character featuring 'Roman' capitals with italic lowercase. Includes alternate characters, extra ligatures and a small selection of medieval ornaments.

AZ Placid font is basically a rough outline that lends well to other Serif fonts. This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

A new take on the classic typeface used at Oxford University Press. Carefully crafted from original sources and updated for the modern times. Size specific weights and meant to act as a work horse for longer texts. A joint venture between Stefan Hattenbach and Johan Ström.

Shining Glory is a new modern & fresh calligraphy script with natural script style. This font will make your design look elegant, natural and stylish. Shining Glory calligraphy script font is great for quote design, branding, wedding, photography, simply design with stylish text overlay to any background image.

A tasty typeface inspired by the classic ads poster with a funny touch of handmade strokes. Ideal for food ads with a traditional feeling. Its tiny body is great for use on packaging as a secondary font, to fill descriptions or, editorial design in short bullet text.

Realico is a serif display made carefully and gives a unique impression to your text. This font is suitable for titles, logos, and other formal forms such as t-shirts, labels, magazines, books, greeting cards, packaging, fashion, makeup, stationery, novels, labels, or whatever—type of advertising objective.

Rosestone is new signature script. This will give your text a unique and natural look. It is ideal for signatures, postcards, greetings, websites, blogs, and more. Includes: Uppercase and lowercase Numbers and punctuation Foreign language support Ligatures Check out my blog: https://www.instagram.com/zloillev pinterest.com/dmitriychirkov7 Enjoy

Created Modern Display Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

SF Kitab is An Arabic typeface for desktop applications. The font is dedicated for printing diverse books and publications. SF Kitab is clear and the reader feels comfortable reading long texts. It is contains two weights: normal and bold. This font supports Arabic, Persian and Urdu.

Beron Modern Display Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

ITC Slimbach font is the work of California calligrapher and type designer Robert Slimbach. Inspired in part by German fonts and the work of Hermann Zapf, Slimbach created a "contemporary text font with a progressive look", combining clean serif shapes with the warmth of calligraphic forms.

Fiorella Modern Display Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.