Introducing Walnut—the graffiti typeface that packs a punch! This font was not designed for the faint of heart. It’s tough, rugged and unapologetic. Walnut’s gritty spray-painted look will add a raw edge to your designs that will have people taking notice. With its realistic style, Walnut looks like it just sprang off the wall, ready to wreak havoc on the unsuspecting public. It’s the perfect typeface for any design project that requires a touch of vandalism. From posters to album covers, Walnut will give your work that extra edge that will make it stand out from the crowd. But what really sets Walnut apart are its unique combos. With OpenType ligatures support, Walnut will create custom letter combinations that will appear like they were created on the fly with a can of spray paint. Each character has a distinct personality, making this font perfect for creating custom logos or headlines that demand attention. So why settle for a boring, predictable typeface when you can unleash the power of Walnut? It’s time to take your designs to the next level and make a statement with this tough and gritty typeface. Get ready to make some noise with Walnut! 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.

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

Welcome to the world of Galderglynn Esquire. This typeface is a celebration of the sans-serif types from the 1800s, with a unique twist that sets it apart from the rest. Galderglynn Esquire is not just a simple revival of a specific typeface, but rather, it’s a concoction of them all. With a bold personality and a distinct voice, Galderglynn Esquire is full of inconsistencies that make it stand out. It’s as if the letters have a mind of their own, dancing and shifting on the page. This typeface is perfect for those who want to add a touch of whimsy to their designs. And speaking of designs, Galderglynn Esquire has a variety of numerals to choose from. Whether you need standard, monospaced, old-style, inferior, or superior numerals, Galderglynn Esquire has got you covered. It’s a typeface that’s as versatile as it is unique. But don’t take our word for it, try it out for yourself. Galderglynn Esquire comes in seven weights and italics, giving you even more options to play with. And if you prefer a more well-behaved version of this typeface, check out Galderglynn 1884. With Galderglynn Esquire, you’re not just getting a typeface, you’re getting a piece of history. This typeface pays homage to the sans-serif types of the past. It’s a typeface that’s as timeless as it is modern, perfect for designers who want to create something truly unique. So why settle for the ordinary when you can have the extraordinary with Galderglynn Esquire. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

It all started with a simple idea back in 1998: do a digital version of a "lost" 70's typeface, and make up the missing letters that were not present in the only available example Jeff Levine had to work with. Jeff wasn't yet doing his own digital font creation, so he hooked up with Brad Nelson who owns a small foundry called Brain Eaters Fonts. Together, they collaborated on "Action Is"- a freeware font named after the source of the type example. This was a title page for a commemorative photo album of images from the 60's TV music show "Where the Action Is", formerly hosted by Jeff's employer at the time, singer-writer-producer Steve Alaimo. The free font took off like a rocket, being released just at the peak of the 60’s/70’s retro craze in the late 1990’s, and it was EVERYWHERE! It showed up on TV shows, packaging and web design -- and was even spotted on signage used on the side of a major amusement resort’s retro-themed hotel. From that point on, Jeff kept getting requests for a version with a lower case. Although they shared the copyright in the freeware version, Brad Nelson gave Jeff his blessing to re-work and take Action Is into the realm of commercial type. Newly improved and re-released as Groovy Happening JNL, it became one of Jeff's better selling type designs. A simplified, yet similar font was issued called Groovy Summer JNL. Now, after about a decade, Jeff had decided to clean up the 3-D (drop shadow) version that was originally freeware with many minute design flaws and re-release it commercially. Groovy 3D Caps JNL is an all-caps, limited character set font which ties in well with the previous releases, yet retains itís 1960s-1970s era charm. The font flag art is courtesy of Barbara D. Berney and is used by permission.

Milton Glaser’s Kitchen Typeface from the mid 1970s exemplifies the bold 3-D art deco revival genre that was a trademark of the Glaser style. This typeface resulted from his involvement in the design of the The Big Kitchen in the World Trade Center’s concourse in New York City. The new P22 Glaser Kitchen takes on the technical challenge of overlapping 3-D shadows by offering two styles. P22 Glaser Kitchen Regular is spaced out so that the shadows do not overlap the white spaces of the neighboring letters. Whereas the P22 Glaser Kitchen 3D Fill and 3D Shadow can be used layered on top of one another to achieve the tight spacing intended by Glaser. P22 Glaser Kitchen was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

Introducing Presicav, the sans-serif typeface with a wide and charmingly unique design. Its bold and straightforward approach brings personality and appeal to any design project. We’ve taken inspiration from mid-20th century broad gothic typefaces for our heavyweight versions of Presicav, while the lower weights have a modern and enigmatic finish that sets it apart from other wide grotesques. Presicav is not your ordinary typeface, unlike others that can appear poker-faced and ascetic. Presicav is the perfect choice when you want to add a subtle hint to your readers that something out of the ordinary is happening. With six different weights available, including oblique styles, there’s a Presicav for every occasion. Whether you’re designing a website, creating a logo, or putting together a poster, Presicav will bring a touch of attractiveness and individuality to your project. Its bold and wide design is perfect for catching your reader’s attention and keeping them engaged. So why settle for a boring and ordinary typeface when you can choose Presicav? Try it out today and add a little bit of charm to your next design project! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Nulshock, the name itself invokes images of a bold, industrial design, with sleek, precise lines and curves that scream of the latest high-tech advancements. This typeface is not for the faint of heart, as it delivers your message with an unapologetic, explosive impact that will leave a lasting impression. Designed with the utmost attention to detail, Nulshock’s precise mechanical curves and accurate optical adjustments make it a natural fit for even the most demanding of high-tech environments. Its ultra-modern design and wide, industrial style set it apart from other fonts, making it the perfect choice for headlines, labels, indicators, logos, product names, and titles. And with a range of seven weights to choose from, you can fine-tune Nulshock’s visual impact to suit your specific needs. From the lightest weight for a more delicate touch, to the heaviest weight for maximum impact, Nulshock has you covered. But Nulshock isn’t just a pretty face—it’s also highly functional. With a wide range of symbols, including mathematical symbols, monetary symbols, fractions, and numeric ordinals, Nulshock is a versatile tool for any design project. In short, Nulshock is a font that demands attention, and it delivers on that demand with an ultra-modern, wide design that is optimized for high-tech environments. So if you’re looking to make a bold statement with your next design project, Nulshock is the typeface for you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Snasm typeface is a versatile and futuristic typeface that incorporates modular letter shapes from the late twentieth century, with a focus on wide letterforms. This typeface draws inspiration from the instrumental typeface designs of Donald Handel, known for their clean lines and sharp angles. But that’s not all—Snasm also pays homage to the sleek, high-tech design strategy of the late 1970s through the early 1990s, as seen in logos for Pepsi and the Nintendo Super Famicom. The Snasm font is not just visually appealing, but it also includes a range of weights and meticulously constructed obliques, making it a valuable asset in any design project. With its stable, sparse caps and roomy lowercase, Snasm is perfect for conveying concepts of science, technology, and high-tech accuracy. This font keeps pace with the latest digital gadgetry and user interface trends, making it an excellent choice for designers who want to stay ahead of the curve. Using Snasm in your designs can add a futuristic and modern touch to any project, whether you’re creating a new website, designing a mobile app, or working on a digital marketing campaign. Overall, Snasm is a typeface that is as functional as it is aesthetically pleasing, making it a must-have for any designer looking to create high-tech designs that stand out from the crowd. 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.

Looking for a typeface that conveys a technical and austere vibe without sacrificing design flexibility? Look no further than Ultraproxi, the cutting-edge typeface that draws inspiration from the high-speed computer printers of the mid-20th century. Designed with the precision and clarity required for high-speed printing, Ultraproxi captures the essence of the IBM 1403 chain printer, with its metal type slugs linked in a chain that whirled rapidly over an ink ribbon. The result is a typeface that conveys both speed and accuracy, perfect for modern design applications. But Ultraproxi is more than just a nostalgic homage to a bygone era of computing. Its semi-monospaced design is uniquely suited to the needs of modern graphic designers, allowing for a technical demeanor without the drawbacks of traditional monospaced typefaces. With six weights and italics, Ultraproxi offers unparalleled versatility and flexibility. Whether you’re designing a sleek and streamlined UI or a complex data visualization, Ultraproxi is the typeface of choice for designers who demand both style and substance. So why settle for a boring, generic typeface when you can have Ultraproxi? With its unique blend of technical precision and design flexibility, this typeface is sure to impress even the most discerning design enthusiasts. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Attention all Space Marines! The battle for legibility in the galaxy is over! Introducing Battlemaze—the font that will help you obliterate any enemy with its heavy techno headline design. Inspired by the legendary Japanese industrial logo designs and fused with the futuristic 1980s computer printer fonts, Battlemaze is the ultimate weapon in your typography arsenal. With its tightly folded line treatment, this font is built to withstand the most intense space battles. Whether you’re fighting on a distant planet or defending your ship from alien invaders, Battlemaze will never let you down. And if you’re looking for an added advantage, check out its ligatures—the “B” flips when it comes before a “J” period, or comma. So gear up, Space Marines! It’s time to unleash the power of Battlemaze and conquer the galaxy with its angled “A” and “V” glyphs. Trust us, your enemies won’t know what hit them! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Introducing Ethnocentric, the typeface of the future. With its sleek, ultramodern design, Ethnocentric is perfect for those looking to inject a high-tech feel into their projects. The outstretched pod forms of this accelerated font suggest rapid horizontal movement, making it the ideal choice for anything from tech blogs to cutting-edge product labels. But what sets Ethnocentric apart from other typefaces is its non-traditional, scientific sensibility. Sharp diagonal cuts and anomalistic gaps inject your words with a sense of experimentation and innovation, perfect for companies on the cutting edge of technology. If you prefer a more rounded style, be sure to check out Ethnocentric’s sister typeface, Quadrillion. But if you’re looking for something with a bit more edge, Ethnocentric is the perfect choice. With six weights and italics available, you’ll have all the versatility you need to make your project stand out from the crowd. Don’t settle for anything less than the best. Choose Ethnocentric, and take your designs to the next level. 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.

Attention all designers and typographers! Discover the font that will take your work to the next level— Alphii. This sophisticated, angular typeface is the perfect blend of precision and simplicity. Its clean, straight lines exude elegance and sophistication, while its easy-to-read nature makes it the perfect choice for conveying serious technical information. Alphii is a typeface that means business. It’s the perfect choice for those who want to communicate with confidence and authority. With four weights and italics available, you can customize your message to suit your needs. Whether you’re creating a sleek corporate logo or designing a technical manual, Alphii has got you covered. So why settle for a font that just looks good when you can have one that performs? With Alphii, you’ll be able to communicate your message with precision and style. Don’t miss out on this incredible typeface—try Alphii today! Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Step right up, folks! Introducing Budmo, the font that’s always ready to party! This jubilant display typeface is inspired by classic light bulb marquee sign lettering and is perfect for all your festive needs. Whether you’re sending out dance invitations, announcing a gala, planning a parade, or just looking to add some pizzazz to your party, Budmo has got you covered. But that’s not all, folks! With Budmo Jiggler and Jigglish, you can really ramp up the carnival atmosphere. Layer the Bulbs, Honk, and Solid styles to create a truly carnivalesque effect. And don’t forget to try adding a glow effect to the Bulbs style for even more razzle-dazzle. But here’s the thing, friends. Even on its own, the Bulbs style is nothing short of snappy. Add your own special effects and watch it light up the night! So come on down and see Budmo for yourself. You won’t be disappointed! 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.

Allow me to share with you the exquisite and elegant font, Carouselambra. This magnificent typeface pays homage to the typography on Led Zeppelin’s Houses of the Holy album jacket, and is sure to transport you back in time to the late nineteenth century. Carouselambra is a beautiful and intricate representation of the Arts and Crafts lettering style that was all the rage in that era. The font’s interlocking Art Nouveau effect is truly a sight to behold, and can be easily customized with OpenType-savvy software such as Photoshop, Illustrator, or InDesign. With Carouselambra, you have the option to use standard ligatures, which your application can automatically substitute to create a stunning and seamless design. However, if you prefer to have more control over the ligature replacement, you can simply turn off this option. Whether you’re looking to add a touch of elegance to your design or simply appreciate the beauty of Art Nouveau, Carouselambra is the perfect choice. Elevate your design today with this exquisite and timeless font. 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.

Looking for a typeface that’s as unique as your personality? Look no further than Sui Generis, the rounded square sans-serif that’s unlike any other. With its technical letterforms and boxy curves, Sui Generis has an industrial character that’s all its own. It’s the kind of typeface that demands attention, without ever feeling pushy or obnoxious. In fact, its understated charm is part of what makes it so special. But don’t let its quirky personality fool you—Sui Generis is as practical as it is unique. With four weights, two widths, italics, and an outline style, it’s incredibly versatile and perfect for any project that requires a touch of character. So if you’re tired of bland, run-of-the-mill typefaces that all look the same, give Sui Generis a try. Its square letterforms and distinctive voice will make your design stand out from the crowd, and leave a lasting impression on anyone who sees it. 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.

Are you ready to elevate your design game with the unique counterless 21st Century Art Deco typeface, Pound? Pound is not your average typeface. Its bold, beefy design is perfect for pounding out meaty phrases with confidence and vigor. With its counterless design, Pound stands out from other typefaces on the market, making it the perfect choice for designers looking to make a bold statement. One of the key features of Pound is its letter pair ligatures, which interlock and break up the monotony of plainly repeating characters. You can turn off your application’s “standard ligatures” function to disable this effect. In addition to its unique design, Pound is also available in a simpler Web style for situations where less detail is required. So what are you waiting for? Take your designs to the next level with Pound, the counterless Art Deco typeface that packs a punch. Get ready to make a statement and stand out from the crowd. 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.

Introducing the ultimate indulgence in typography—Conceal. This gorgeous display typeface is inspired by the world of high-end cosmetics and premium beauty brands. It encapsulates the essence of luxury and glamour, as lipstick-like lines and elegant letterforms come together to create a breathtakingly beautiful font that exudes opulent splendor. Each letter has been crafted with precision and care, just like the art of makeup application. Its smooth, flawless lines will elevate any message to a level of pure sophistication, making it perfect for the beauty industry, high-end fashion brands, and any company seeking to exude an air of elegance and refinement. Conceal will draw attention to your brand and leave a lasting impression. It’s the perfect choice for any project that requires a touch of glamour and refinement, from logo design to magazine covers, social media graphics, and beyond. Experience the ultimate in luxury typography with Conceal—the font that delivers your message in the most exquisite way possible. Unleash your inner beauty with this stunning display typeface and let your brand shine like never before. 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.

Welcome to Jillsville, the charming slab-serif typeface that will give your message a delicate and sympathetic tone. With its lovely curls and unusual design, Jillsville stands out from the crowd and offers a contemporary and unique touch to your design. One of the most striking features of Jillsville is its slab-serif design, which adds a touch of boldness and solidity to your text while still maintaining a delicate touch. Whether you’re creating a logo, a title, or a piece of body text, Jillsville’s distinct and eye-catching design will help your message stand out. In addition to its elegant design, Jillsville also offers a wide range of symbols and numerals, including mathematical symbols, fractions, numeric ordinals, and monetary symbols. This makes it a versatile and practical choice for a variety of design projects. With seven weights and italics to choose from, Jillsville offers plenty of flexibility and options for your design. Whether you’re looking for a bold and impactful headline or a softer and more delicate body text, Jillsville has the perfect weight and style for your needs. Overall, Jillsville is a must-have slab-serif for any designer looking for a contemporary and unique typeface. Its charming design and practical features make it an ideal choice for a variety of design projects, from branding and marketing to editorial and web design. Try Jillsville today and see how it can take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Come one, come all, and see the beauty of Strange Alphabets. Inspired by the gilded book covers of the late 1800s and the iconic Siouxsie & the Banshees band logo of the early 1980s, this narrow Arts & Crafts typeface will transport you to another world. In OpenType savvy applications, the first and last letter of a word will receive a small diamond ornament, giving your words a touch of elegance. And if that’s not enough for you, words starting with M will have a single diamond that splits into three, while words starting with O will automatically use a tall O. But, if you want to force a tall O in the middle of a word, simply use a zero. Oolong lovers, rejoice! Words that begin with double O’s will receive a pair of tall O’s, while a pair of O’s in the middle or at the end of a word will be replaced by a linked ring ligature. But that’s not all! Accessing OpenType stylistic alternates allows you to change the A and H crossbars into small rings and remove all the diamonds from the M. And don’t forget about the hyphen, en dash, and em dash, which are replaced with ring ornaments. And if you’re feeling extra fancy, a separate diamond ornament ◆ is included under Unicode 25C6. Don’t let all these fancy features intimidate you. Play with your application’s OpenType features and see what happens. And if you want to disable the automatic OpenType substitutions, simply turn off your application’s standard ligatures feature. Experience the beauty of Strange Alphabets for yourself and let your words take on a life of their own. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Octin Prison font family is a veritable powerhouse of design, boasting seven different weights to choose from, each one exuding an air of rugged toughness that is sure to make a statement. Whether you’re looking to create designs for sports teams, schools, police departments, construction sites, or military units, Octin Prison is the perfect choice for projects that require a no-nonsense, utilitarian aesthetic. What sets Octin Prison apart is its ability to capture the essence of its namesake—the prison system—while also offering a versatility that makes it a great option for a wide range of design themes. The font’s thick, bold strokes and sharp, angular edges create a sense of solidity and permanence, while its sleek, modern lines give it a contemporary edge that is sure to grab attention. With weights ranging from light to black, Octin Prison is a font that can be used for a variety of design purposes. The lighter weights work well for smaller text, providing a clean, legible look, while the heavier weights make for an imposing headline font that demands attention. In conclusion, if you’re looking for a typeface that can capture the essence of ruggedness and durability, while also offering versatility and style, look no further than Octin Prison. It’s a font that is sure to make a statement and leave a lasting impression on anyone who sees it. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Stencil, Octin Vintage & Octin Spraypaint. 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.

Designed to be set in big, large and huge sizes in classic TNT (tight-not-touching) style, Benguiat Caslon is dynamite for a wide range of display demands. We also included outline and drop-shadow versions as well as numerous swash caps, ligatures, contextual alternates and automatically-shifting punctuation. Ed Benguiat originally designed this alphabet for the Photo-Lettering library during his tenure as the legendary type house’s art director. When we purchased Photo-Lettering in 2003, one of the first things we did was start picking some of our favorite films to digitize as fonts. Photo-Lettering partner Christian Schwartz chose this expressive serif specimen for its high contrast strokes that stand up to the most vigorous display typography demands without withering against pesky design limitations like screen resolution, ink spread and dot gain. FEATURES: Alternate characters, ligatures and contextual substitutions add an unexpected flair to words and phrases. We also provided a drop shadow to add depth and dimension. Shifting punctuation marks take care of those optical tricks so you don't have to. A delicately expressive outline version adds color even in black and white. BENGUIAT CASLON CREDITS: Typeface Design: Ed Benguiat Typeface Digitization: Christian Schwartz, Bas Smidt Typeface Production: Ben Kiel, Jason Campbell Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Castile is a central region of Spain that formed the core of the Kingdom of Castile, under which Spain was united in the 15th and 16th centuries. "Castile" is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. I adore Spain and the historical achievements of the Islamic civilization existed there in the past. By designing "Castile" Typeface, I wanted to refer to the Islamic civilization that Muslims had in Spain and especially in Andalusia. Today the name of Castile survives in two autonomous regions of Spain: Castile-La Mancha (capital city is Toledo) and Castile-Leon (capital city is Valladolid). The main characteristic of "Castile" Typeface is in its modern open-end style for some of its Arabic characters such as "Sad", "Dad", "Seen", "Sheen", "Qaf", "Faa", "Yaa" and others. The shape of the characters' "dot", "dots", and "point" is innovative; a triangle with a semi-circle shape. "Castile" Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its charactersí modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitionsí signboards and external or internal walls of malls or metroís exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

This typeface has been beloved throughout history. Bodoni used it to print his first masterwork, but it has never before been publicly available. Now available for the first time, CAL Bodoni Casale has been painstakingly crafted from hi-res scans of 4 original Bodoni printings. Unlike many Bodonis drawn from computerized straight lines, this Bodoni follows the original contours of the master himself. With small caps, old style numbers, special options for $, %, £, €, Bodoni Casale allows you to make elegant pricing, sales signs, or logos. Besides it's authentic origins, Casale's 21st century debut includes Features & Alternates never seen before, including Frankenfont (giving the font 6 fun alternative uses with 1 click!). Other alternates, such as the $ and €, give the user options when styling their work. Various word and letter spacing options are also automatically included so the user can choose to preserve Bodoni's original spacings or go with a more modern look. The Bodoni for White on Black Most Bodoni fonts will start to disappear on black. Bodoni Casale’s robust strokes don’t disappear, even when set to smaller sizes. The robust strokes of this Bodoni font also lend visibility and legibility at large sizes with dark background, such as on signage. What You Get ✓Bodoni's original font, Roman + Italic and small caps ✓Style Sets for quick and beautiful formatting ✓5 Unicase Options ✓An army of percentage signs, dollar signs, and money symbols. ✓Punctuation Options for any reading situation ✓A Realistic and Inky look ✓Designed by Bodoni Himself For a Full Tour of Bodoni Casale, here's a video!

Introducing Pupcat, the typeface that will take your design game to the next level. This display font is not your ordinary font. Inspired by the iconic movie posters of the 1960s, Pupcat’s unicase design is the perfect blend of whimsy and sophistication. With its unorthodox design, Pupcat will add a playful touch to any message you want to convey. Its flared strokes add an element of drama that will capture the attention of your audience. Plus, with its four weights and italics, you can create a hierarchy of text that is both visually pleasing and easy to read. Whether you’re working on a magazine spread, a movie poster, or a branding project, Pupcat is the perfect typeface for those who want to stand out. Its versatility and unique design make it an excellent choice for any project that requires a touch of creativity and fun. So, what are you waiting for? Get your hands on Pupcat and let your imagination run wild. With this typeface, your designs will never be boring again. Trust us, Pupcat is the missing piece you didn’t know you needed. 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.

Step back in time with Antihistory, the ultimate vintage typeface. Unlike other aged fonts that mimic designs from the early 1900s, Antihistory is inspired by typography from the late twentieth century and beyond. With its distressed look and feel, this typeface is perfect for adding an authentic, retro touch to your designs. Whether you’re working on a vintage-inspired logo, poster, or website, Antihistory will transport your audience to a future bygone era. Available in Regular and Italic styles, Antihistory is incredibly versatile. Use the Regular style for bold headlines and eye-catching titles, while the Italic style adds a touch of elegance and sophistication to your designs. Plus, with its unique look and feel, Antihistory is sure to make your work stand out from the crowd. So, why settle for boring, modern fonts when you can add a touch of alternate universe history to your designs with Antihistory? Get your hands on this one-of-a-kind typeface today and start creating stunning gonzo-vintage designs that will leave a lasting impression. Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Coolvetica is a sans-serif typeface, inspired by logotypes from the 1970s. This was an era where everyone was modifying Helvetica—not only logo designers but even font designers were into outlandish Helvetica mods. Phototype catalogs were loaded with playful variations of the already ubiquitous typeface. Coolvetica recreates that retro custom display lettering style with extra-tight kerning and funky curls. But don’t let the vintage feel fool you—Coolvetica is a true display typeface that’s ready to make a statement. Condensed, compressed, and crammed styles all use a flat-sided approach, an old-school strategy that’s rarely seen today. And with mathematical symbols, OpenType fractions, and numeric ordinals, this typeface is as versatile as it is stylish. So why settle for a dull typeface when you can stand out with Coolvetica? Try it out for your next project and see the difference a little typographical flair can make. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Ahoy there, folks! Have we got a typeface for you! It’s called Autoradiographic, and it’s inspired by those trusty old warning signs from back in the day. You know the ones…“Inflammable! Stay away!” And boy oh boy, does it have personality! Back in the post-WWII era, low waistlines were all the rage—but let me tell you, strict waistline alignment was not. No, sir! That’s where Autoradiographic comes in. It’s informational, sure, but it’s also neat as a pin and chock full of personality. And listen to this—Autoradiographic has everything you need to crunch those numbers like a pro. Mathematical symbols? Check. Fractions? Check. Currency symbols? Check, check, and check. And for those times when you really want to make an impact, Autoradiographic’s italics are narrow and loosely spaced. Now that’s what I call a typeface with some serious sass! So what are you waiting for? Grab a copy of Autoradiographic today—it comes in five weights and italics, so you’re sure to find just the right fit for your project. Don’t miss out on the chance to add some mid-century flair to your work—you won’t regret it! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Hey there! Are you on the hunt for a new typeface that’s cool and laid-back? Well, look no further because Soap is here to sweep you off your feet! This typeface is the epitome of chill, taking the classic Cooper Black and smoothing it out even more. Soap’s unicase letterforms are so soft and inviting, you’ll feel like you’re sinking into a warm bath. And let’s talk about the spacing—it’s so tight you could bounce a quarter off of it. And here’s the best part: Soap is versatile enough to use for both headlines and body copy. That’s right, this typeface can do it all! Plus, with an alternate lowercase-style T available in OpenType adept applications, you’ll have even more creative freedom. But wait, there’s more! Soap comes in not just one, but three unique styles: Clean, Soap Stamp, and Soap Spraypaint. The latter two are perfect for adding a touch of grime and edginess to your designs, with straggly letter variations that prevent any boring repetition. So if you want to add some laid-back coolness to your next project, give Soap a try. It’s the perfect blend of classic and contemporary, and it’s sure to make a splash! 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.

Introducing Galderglynn 1884, a font family that transports you back to the nineteenth century. With its refined expansion from the intentionally rustic Galderglynn Esquire, this typeface oozes old-world charm and sophistication. The condensed fonts are expertly squared off, paying homage to the typical condensed newspaper headline type of the era. Their weight and spacing are deliberately unrefined, just like the pre-twentieth century grotesques that inspired Galderglynn Esquire. Meanwhile, the extra-condensed “squeeze” fonts are completely flat-sided, reminiscent of the old wooden poster types and tight metal newspaper headline fonts. If you’re looking for a practical workhorse font family, Galderglynn 1884 is the perfect choice. It combines the pastoral design of Galderglynn Esquire with a polished finish that makes it easy to read and use. And if you’re after something extra special, you’ll love the three special effect fonts: all-capitals shadow, and engraved regular and condensed styles. Access tabular and lowercase (old-style) numerals with ease, thanks to the OpenType features available in this font family. Galderglynn 1884 is the perfect way to add a touch of old-fashioned charm to your designs. Try it today and transport your audience to a bygone era! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Listen up, partner! If you want to give your message some real grit, you need to saddle up with Stud. This ain’t no wimpy, delicate typeface that’ll have you tip-toeing around your message like a city slicker. No way, pal. Stud is a cowboy typeface with brawny serifs that’ll have you shouting your message from the rooftops. With wide characters and robust letterforms, Stud is the epitome of solid confidence. It’s the kind of typeface that’ll have your audience sitting up straight, paying attention, and hanging on your every word. And let me tell you, there ain’t no other typeface out there that can do that. But that’s not all, folks. Stud comes equipped with some serious firepower. Some character combinations are automatically swapped for custom pairs in OpenType-aware apps. That means your message is going to be more powerful than a bull at a rodeo. So if you want to make a real impact, make sure to turn off your application’s “standard ligatures” function to disable the effect. It’s time to get tough with Stud. Saddle up and let your message ride into the sunset with confidence, power, and a powerful style that’ll leave your competition eatin’ dust. 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.

It's a heavy and pop font that I imagined to be a naughty child. There are three kinds of "YanchaPop" which is easy to use with standards, "YanchaPopRounded" with a gentle impression which rounded the corner a little, "YanchaPopJitabata" of a cheerful image tilted randomly. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). This font is bold, recommended to use it for headlines and prominent places. It might be good for shop pop etc. I think it would be fun to make people around us happy like a naughty child. ＜「やんちゃポップ」紹介文＞ やんちゃな子供をイメージした、太めのポップ体です。 スタンダードで使いやすい「やんちゃポップ」、角を少し丸くした優しい印象の「やんちゃポップRounded」、ランダムに文字を傾けた元気なイメージの「やんちゃポップじたばた」の3種類がございます。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応。縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字（約6700文字）に対応しているので、使いやすいかと思います。 太めのフォントなので、見出しや目立つ場所に使うのがオススメです。お店のポップなどにもいいかもしれません。 やんちゃな子供みたいに、周囲の人たちを楽しくできるようなフォントになればいいなぁと思います。 ＜スタイルカテゴリー＞ ポップ体、角ゴシック

We are proud to introduce, Board of Directors. This striking, square display typeface is a true testament to the advancement of modern technology. Inspired by hi-tech logos of the 1970s, the tight curves and large x-height of Board of Directors truly set it apart from the competition. But it’s not just the aesthetics that make Board of Directors stand out. The stroke gaps were carefully crafted to lighten the perceived character weight, making it the perfect choice for scientific and technical applications. The flat sides of the A and V harken back to the dot matrix printer letterforms of the past, adding a sense of nostalgia and history to this otherwise futuristic typeface. Board of Directors is available in seven weights and italics, giving you the flexibility to choose the perfect weight for your project. From the lightest weight for subtle emphasis to the boldest for maximum impact, Board of Directors has you covered. We believe that Board of Directors is more than just a typeface. It’s a symbol of innovation, progress, and forward-thinking. With Board of Directors, you can take your message to the next level and make a statement that truly stands out from the crowd. 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.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Step right up folks and feast your eyes on the most authentic and pure font to ever grace the pages of your ad campaign. Bristles is the name, and it’s a font that speaks volumes of homegrown authenticity with every brushstroke. As you gaze upon this sun-bleached and weathered sans-serif, you’ll notice how the paint barely holds onto the substrate. It’s as if the letters themselves are just barely hanging on, like they were painted decades ago and left to weather the storm. But that’s what makes Bristles so special. Its wispy, textured lettering gives your message a voice of purity that simply can’t be replicated by other fonts. Each letter has its own unique character, telling a story that only a sign painter’s hand could convey. And with its letter pair ligatures, Bristles breaks up the monotony of blatantly repeating characters in OpenType-savvy apps. It’s a font that’s as versatile as it is beautiful, perfect for any project that needs a touch of old-school authenticity. So what are you waiting for? Give your message the voice it deserves with Bristles, the font that speaks volumes of homegrown authenticity. 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.