The letters of Bihext fit into the trapezoids formed by bisecting hexagons from the top corner to the bottom corner. Because these trapezoids have two orientations, there are two sets of characters and the typeface was designed assuming that the user would want to alternate these two character sets. The alternating of characters is done automatically with the OpenType feature of contextual alternatives (calt) in applications that support it. The typeface is monospaced with very tightly letter spacing. If the letter spacing seems too tight, consider alternating colors to make the individual letters stand out as an alternative to loosening the letter spacing. Almost certainly the user will need to adjust line spacing if more than one line of text is used. The family includes an outline style that can be used in a layer above the filled style. A decorative, display face, Bihext is too difficult to read to be used for long text.

Fun. Fun isn't it? But sometimes you can have too much fun, and things can get out of hand. Revla Sans is, in certain situations, too much fun. So, without further ado, let me introduce the straight man to Revla Sans's buffoon - Revla Sans Text. It represents a complete overhaul of Revla Sans. The bounciness has been removed and details reined in, all for the purpose of optimizing the fonts for use in longer runs of text. 'Text' is perhaps a strong word here; you're not going to be setting novels in this typeface. It still retains the charm of the original, and could well be used in display settings. Think of it like this - Revla Sans would be a great choice for the logo and branding of a board game, no? Revla Sans Text, then, would be good for setting the instructions, or body copy on the website. Revla Sans Text is not as feature-rich as Revla Sans, and is priced accordingly. Enjoy!

Sadness is based on some experiments during Felix Braden’s stay at the Trier College of Design: "I played around with Fontographer’s blendfonts-feature (a type design tool to interpolate fonts and to minimize effort and expenditure of large families) with some files from a close designer. Since the basic elements derived from extremely varied fonts without any similarities, the concluding shapes first turned out to be rather fragmentary. From those fragments I chose the most characteristic elements and drew a whole new font." For a detailed type specimen have a look at: http://on.be.net/1CdAZlC

ITC Musclehead is the work of type designer Timothy Donaldson, a robust, densely packed handwriting typeface. It almost looks like brushwork but was in fact made with a ruling pen which Donaldson had bought from a company in Salem, Massachusetts. He says, The world's gone ruling-pen mad at the moment [late 1990s] and I was beginning to tire of all the skinny splashiness of the letters that most people were making with them. I wanted to do something heavy and robust with the tool, so that's what I did.""

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

This font is inspired by the samples of the booklet "Caligrafía inglesa" published in Madrid in the late nineteenth century by the spanish calligrapher Vicente Fernández Valliciergo. Hundred of new glyphs have been added, taking advantage of Opentype features. Ligatures, decorative figures, initials and final forms, inspired in the samples of English Calligraphy as shown in "The universal penman" by George Bickham have been added to the font. The result is Valliciergo, a font with more than 1000 glyphs, meant to be a useful tool to simulate the master strokes of the great calligraphers.

Linotext was designed by Morris Fuller Benton in 1901 and first appeared with the name Wedding Text with American Type Founders in Jersey City, where its metal forms were cut by hand. The font was so popular that its forms soon began appearing with other font foundries under different names, Elite Kanzlei with D. Stempel AG, Comtesse with C.F. Rühl, etc. Its ornamental forms are not considered very legible by today’s standards and Linotext should therefore be used for headlines and short texts in point sizes 12 or larger.

FREIBEUTER NR is a typical Western font but this is based on a FAMOUS Motorcycle Club from the television that everyone knows. The word FREIBEUTER is the German version of pirate. FREIBEUTER did in earlier times what pirates do, but they do it with the government togetherness. NR stands for NIEDERRHEIN, this is the area where I live and work. The PATCH Version is the best way to make fast a nice Banner or Patch with this font. You can use the WrapTEXT tool in Illustrator or Photoshop to wrap the banner in al forms!

The inspiration for this font (as well as the name!) comes from a London cafe I visited years ago. I was fascinated with the handwritten menu - irregular and awkward, yet refreshingly charming. I did my best to recall that particular look by adding 4 slightly different versions of each lowercase letter. The name of the font comes from the speed of the waiter...or the lack of it! But luckily he took his time, otherwise I wouldn't have had the time to really look at the handwritten menu! :)

A casual and stylish serif and handwritten typeface called TwoOne is now available! Along with numbers, punctuation, and multilingual letters, it also contains distinct lowercase and uppercase letters, seems really at work among the vintage designs, logos, and brands. The Alternate and Ligature typefaces will be useful for anything you can think of! 2 Styles Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... OTF file format Free updates and feature additions Thanks for looking, and I hope you enjoy it.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible, pan-european multilingual (Latin, Greek and Cyrillic), well shaped. Bandera Pro has six weights with original italics, alternatives, small capitals and three sets of digits. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera Pro shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

DIN stands for Deutsche Industrienorm, German Industrial Standard. In 1936, the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration, and business. The committee chose a sans serif font because of its legibility and easy-to-write forms. This font was not seen in advertisements and other artistically oriented uses, and there were disagreements about its aesthetic qualities. Nevertheless, this font was seen everywhere on German towns and traffic signs and hence made its way into advertisements because of its ease of recognition.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

The first Antique Olive fonts were produced by the French type foundry Olive, in 1962-1966 and designed by poster designer Roger Excoffon (1910-1983). All Excoffons fonts are flamboyant, elegant and highly stylistic. They include the Banco, Mistral, and Calypso fonts. Antique Olive was launched to rival Helvetica and Univers, but the shapes it took were totally refreshing. Antique Olive is probably the most striking Sans Serif since Futura and Gill, and more refined than either. It is perfect for posters and display material as it works well in larger sizes.

The 1930 Geneva Motor Show (Salon International De l'Automobile Et Du Cycle) showcased a lot of new cars, but one item in particular took my interest: the amazing art deco poster announcing the show. Lokomotiv font was based on this poster. It is a very deco-ish font, futuristic, angular, with bold squares, rounds and triangles. As I had to work with just a handful of glyphs, and needed to fill an entire font, I made up the missing ones myself. Lokomotiv, by the way, is German for Locomotive.

Slab-serif typeface, with pulsating and flexible forms, which gives the font its humanistic character. Ye Carbon crystallized into its forms in search for graphic language that would represent a sense of matter, of letters written by hand. The delicate finishes at the edges of the letters, and the flexibility of the of shapes, gives a feeling of matter, and bring the font to life. Ye Carbon will be a wonderful tool for variety of uses, thanks to its neat nature, and its forms in motion vibe, a rare and winning combination.

Squidwod it's retro, bold, and playful, really ties together your piece to give it that retro feel. This is font perfect for designers who are looking to add a psychedelic acid graphics contemporary hand-done touch to their projects. be it posters, magazines, Instagram, online, or branding. whatever you want to spice up with a little liquid text squidwod is the tool. Features : - Lowercase & Uppercase (ALL CAPS) - numbers and punctuation - Ligature - multilingual - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget to try Medium and Medium Italic faces for free. Bandera Text works well with Bandera (slab serif), Osnova (sans serif) and Bandera Display (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Mesh Stitch has a hand-stitched look, with the capital letters/numbers being nine cross-stitches tall (+ about 3 stitches for accents). To make the font look authentic, I stitched some characters using wool and took photographs which were turned into glyphs. As a result, none of the cross-stitches are symetrical and some are at a slightly at an angle, because I didn't want the font to feel mechanical. As a result, the font has a cute, homely character to it. It is particularly good for large displays/headlines.

Trapstyle is a handwritten face made with a Ruling Pen. This tool is usually used in calligraphy for expressive lettering. This font will tear through your text with unmistakable energy, dynamic and spontaneous flow, to help you create the look of stunning custom hand-lettering. Trapstyle comes with alternate characters, ligatures, upper and lowercase characters, punctuation, numerals. Also included is a bonus extras swashes, handmade designed to perfectly for headlines and short texts. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc.

Introducing a series of decorative initials with a twist: each font contains two complete alphabets, A-Z, and numerous border elements in the numeral and shift-numeral positions. Classic, ornate, quaint and exotic, these fonts are essential tools for adding style and charm to your next project. Kudos Kaps Five features Jakob Erbar’s eponymous Initials in the uppercase slots, and Aldo Novarese’s Fontasi in the lowercase AND numeral slots. The font also includes three complete eight-piece borders, a two-piece accent set, two single border elements and an elegant penman dingbat.

A casual semi-connected script, Eubie Script’s letterforms rise and drop to create surprising word shapes, helped by position-specific ligatures and contextual alternates. With tenacious rhythm and dynamic connections, Eubie Script gives power to your headings and overlays. To meet its design goals, Eubie Script draws from the many lettering styles of Harry Knorr, an artist at Globe Poster for over 50 years. The script’s contours are drawn (impossible to write with any tool) like the work of Knorr, who occasionally cut his captions directly into the printing linoleum backwards without preliminary sketching.

Linea 72 is a typical seventies display typeface that was designed by Roland Hirter back in the phototypesetting days, when typefaces were really drawn by hand. In this static environment each work step took its time. With the decision to digitize this typeface his son Thomas Hirter also chose to develop it further with todays technical possibilities. That’s why the font now includes over 600 glyphs and ten stylistic sets, offering different stylistic alternates of several letters. Linea 72 comes in the two original styles Regular and Kontur.

Redoneta™ is a contemporary geometric sans serif family of 6 weights with its matching italics. From a refined Thin to a solid Regular and a forceful Bold gives us multiple voices and uses according its multipurpose vocation. Also, its smooth and clean shapes gain more personality with his alternates: from rounded to square and angular forms across 7 combinable stylistics sets. Dozens of Latin languages supported and other OpenType features as fractions, superscript, subscript, tabular figures, arrows and more give useful tools to the user for editorial design, web or others intensive uses.

Grinder it's retro, bold, and playful, really ties together your piece to give it that retro feel. This is font perfect for designers who are looking to add a psychedelic acid graphics contemporary hand-done touch to their projects. be it posters, magazines, Instagram, online, or branding. whatever you want to spice up with a little liquid text Grinder is the tool. Features : - Lowercase & Uppercase - numbers and punctuation - multilingual - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

Ryo is a Japanese kana typeface design composed of hiragana, katakana and some punctuation marks. Available in four weights--extra light, light, regular and medium, Ryo Text has been specifically designed for use when producing text settings. Supplied in the cross-platform OpenType format, this special kana font can be used to supplement or replace the existing kana designs in existing Japanese fonts that contain full character sets. Creative professionals using the Japanese version of Adobe InDesign may use that program's Composite Font tool to easily combine Ryo Text with other typefaces.

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget try Medium and Medium Italic faces for free. Bandera Text Cyrillic works well with Bandera Cyrillic (slab serif), Osnova Cyrillic (sans serif) and Bandera Display Cyrillic (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Elida JNL was modeled from an image of some wood type for sale online. Although the type design most likely has its roots in the classic Bodoni, there were a few characters in the original wood type that had a bit of a square or block shape to them. Those characters were modified in order to keep with the overall roundness of the other characters. The name Elida JNL comes from a small town in New Mexico. Available in six styles: Regular, Oblique, Extra Condensed, Extra Condensed Oblique, Ultra Condensed and Mega Condensed.

The hand-lettered title, cast and crew credits for 1943's "Presenting Lily Mars" (starring Judy Garland and Van Heflin) inspired Pocatello JNL, but the name of this typeface has another Judy Garland connection. In the 1954 remake of "A Star is Born", Judy sings of being born in a trunk in a theater located in Pocatello, Idaho. The name of this Midwest town had such a great sound to it, so it was the perfect choice for the font's name. Available in regular, oblique, bold and bold oblique versions.

I'm always experimenting with new ideas for display fonts. I took the inside counter of a capital 'O', divided it into quarters, and applied an outline stroke to all the elements. By removing two quarters of the inside counter I had the beginnings for an interesting new design. Of course, the hard part was getting all the other letters in the alphabet to work well together using this approach. It's often a labor of love trying to shape an idea into a new typeface. I find the entire process stimulating and rewarding.

It is difficult to classify a typography that is made from different line fragments but precisely that is what makes it stand out from the rest, a construction that took months and multiple corrections that now make up a set of glyphs with is own identity based on the game between blacks and whites, standing out especially in large formats, posters, headlines, logos and titles. Playmax is a typeface with which you can find endless forms of customization, from its basic structure to the number of effects it supports.

Povetarac Display font family is part of Povetarac Superfamily together with Povetarac Sans and Povetarac Didone. Available in 6 weights and one variable font file, Povetarac Display relays on lively uppercase proportions that took inspiration from vintage typefaces. It is well balanced, elegant and fully recognizable high contrasted sans serif family. One of its characteristics are straight and wide terminals. With sharp overhang, Povetarac Display works pretty well in all situations – from editorial use to branding, websites or just titles. Comes with 3 Stylistic Sets, SmallCaps and Fractions and extended Latin character map.

Snooker is a playful and rounded low contrast type family with sans and script styles. The styles work great together or alone, making Snooker a versatile typographic tool. There are four weights in both sans and script, from the elegant Extra Light to the attention grabbing Bold weight. The exceptionally long ascenders and descenders give Snooker it’s distinct personality which helps your designs to stand out from the crowd.  The script styles are packed with opentype alternates for customising your design. The family is perfect for branding, packaging and advertising purposes.

The starting point for CA Slalom was the aspiration to create a contemporary interpretation of classics like Gill and Antique Olive in terms of aesthetics, flexibility and usefulness. The outstanding S soon became the visual hook and starting from the extra bold extended weight, CA Slalom evolved into a huge family with four widths. It’s rather round instead of squarely with stroke-ends pulled deep and a relatively low x-height. This gives CA Slalom a taste of its own, and although it is clearly contemporary, it has the potential to become a classic.

Creating the condensed version for the Brandon Text was the missing project to complete the Brandon series. Brandon Text was created as a companion to Brandon Grotesque. When we started to designed Brandon Grotesque Condensed we felt that there should also a condensed counterpart for small sizes; so we made Brandon Text Condensed. While a condensed typeface is not just a squeezed original, we took the Grotesque Condensed as a starting point for the Text Condensed version simultaneously we also kept an eye on Brandon Text to find the perfect missing variables.

Lovelyn Font is an elegant serif font that offers a wide range of possibilities, especially for a lot of alternative. Lovelyn Font offers an attractive tool for producing elegant decorative lettering, for example, for book covers or for posters and packaging. You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, wedding font, pop vintage design, retro design or any purpose to make your art / design project look Elegant and Classy? Feel free to play with this font!

“Mayari" is an elegant and expressive display typeface that is inspired by the characteristic and vibes of female warrior in Filipino Mythology named: Mayari. Mayari is the “goddess of moon”. This typeface holds the perfect balance of expressiveness as a display whilst also holds well of being a body type. This typeface is best used when you want to express elegance, class and sophistication in your designs. *This font includes letters, numbers, multi-language, and all essential marks needed. * Two(2) weights are currently available for this typeface: Regular and Italic

Le Brond is a sporty, strong and elegant typeface, in a college style. Inspired by design styles that are currently popular, and this is the answer to every need for ideas that you will pour in this modern era, with a thick and sturdy style in each letter as if this font has a soul in it. It excels in posters, social media, headlines, headlines, large format print - and anywhere else you want to get noticed. What are you waiting for get Le Brond soon. Let's play basketball!

Modern digital typography pushes many designers to try and achieve visual perfection with their lettering. In the days of wooden type, the premise was more in creating a font that "sold" the message (possibly, in part due to the lack of advanced tooling to achieve uniformity). In many styles of wood type (such as the one used as a model for Broadletter JNL), there are vast differences within the character design, weight and symmetry from letter to letter. This is now looked upon as "old fashioned" and "charming" - part of the appeal of this typeface.