Michael Script - a casual handwritten style font with a range of ligatures, opentype stylistic ends, decorative swashes, perfect for any awesome projects that need handwriting taste. Suggested for logos, titles, body texts, branding, invitations and also when used along other fonts with strong and bold styles.

These font can be used in web design and apps as well as in booklet, posters, or any other printed matter. Halloween, is a display spooky feel font. It’s suitable for dark and Halloween theme. Such as a Poster, Logotype, Social Media Promotion, Merchandise or Crafter.

Salvatore is the neo-grotesque younger brother of Nutmeg type family. It comes with 36 weights that have been separated in two flavours. The first half is Salvatore normal, which has more neutral features; and the second one is Salvatore Roman, which has more versatility at the end of the characters. The name comes from the Mad Men character Salvatore Romano, who was a publisher in the mid 60s. In that period, grotesques typefaces ruled advertising, nevertheless, there wasn't a typeface that represented publishers as Salvatore Romano, that’s why we gave birth to this project. Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for graphic design and any display/text use. The 36 fonts are the first part of a larger Salvatore family. We’re proud to introduce: Salvatore.

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

While I was developing this font, my mother kept feeding me something she calls "Dream Cake". This indescribably delicious confection fueled my inspiration (there's nothing like a constant sugar-high to keep you going!) and the result is this cute little font. Dream Cake is casual in nature and as with all of my fonts, you'll find some quirky little twists to make your type projects interesting.

Dogfight is a hand-crafted brush font which created from scratch by using a brush pen on a paper. It is not too sharp with sharp edges, but rather with a softer rounded shape. It is suitable as a display font for printed or digital products. Mainly as an advertisement or video production. It comes with Regular and Italic Multilingual characters AllCaps Ligatures Alternate characters

For a pulp magazine called Spicy Western Stories, it was unusual that the January 01, 1939 issue had its cover title hand lettered in an extra bold Art Deco style rather than Western influenced lettering. This did not stop the lettering from being used as the design model for a digital type revival. Pulp Magazine JNL, is available in both regular and oblique versions.

Inspired by show card lettering and the more human side of art deco, I wanted this font to retain the casual unevenness of informal hand lettering. As decorative as the font looks, I do envision it being used for text more than display. Obviously not a workhorse, but rather a quirky niche font. I find it makes dense philosophic texts more friendly to read.

Eurostile Display Caps The Eurostile font family was designed (by Novarese and Butti in 1952) to complement the titling font, Microgramma, by offering a lowercase alphabet. Issued by the Nebiolo foundry, the rather square sans serif Eurostile became popular for display and advertising use. The linear nature of Eurostile suggests modern architecture, and its attraction is technical and functional. Eurostile is commonly misspelled Eurostyle.

There is not much I can tell about Isolde. It is a plain typeface, rather wide and with dominant serifs. Its italics are more slanted than usual. In fact only Caslon's italic can compete about that. Its width makes it more suitable for decorations than for larger amounts of text. The name comes from the medieval tale about Tristan and Isolde. Isolde was released in 1993.

Mehriban Outline is a revisit of Mehriban, Michael Browersí most successful text face that was originally released in 2006. Mehriban & Mehriban Outline are deconstructivist revivals inbred from Michael Browers' previous work: Formasi and Disjecta. Formasi characters were morphed with their Disjecta counterparts, and in some cases with previously unpublished letterforms from Disjecta's concept stages, resulting in a grunge font with its own unique swagger.

ITC Veljovic was designed by Jovica Veljovic and displays an obvious calligraphic heritage. The designer was strongly influenced by German designer Hermann Zapf and Israeli designer Henri Friedlander. ITC Veljovic exhibits a crisp precision, as if the letters were cut in stone rather than drawn with pen and ink. In 2014 Veljovic revised this family and ITC New Veljovic was released with many more weights and styles

Beckinslade is a lovely elaborate blackletter face, released just in time for Christmas, but useable at any time of the year. It is in the best traditions of Victorian Gothic revival, drawing inspiration from a range of sources and marrying them into one homogenous whole. The emphasis is on aesthetics rather than historical accuracy. Great fun though for anywhere ‘ye olde’ look is desired.

This font set was developed for the Albright-Knox Art Gallery and their 1999 Monet exhibition, Monet at Giverny: Masterpieces from the Musée Marmattan. Monet Regular is a fairly straightforward script font with an undulating thick and thin stroke. Monet Impressionist is a semi-legible script which can be used for decorative rather than communicative purposes. Monet Sketches features 26 icons related to Monet's imagery.

This rather quirky typeface is based on a design by Collette and Dufour, originally called "Independant", for the Maison Plantin foundry of Belgium. Ultramodern (by 1930s standards, at least) and ultrabold, it takes up a lot of real estate, and commands a lot of attention while doing so. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Rustika is a rather rough Oldstyle typeface. The roughness is seen in larger points only. In smaller points it is not easy to see that I tried to imitate characters cut with a chisel. The characters themselves follow otherwise totally the classic models. The name, in this spelling taken from Esperanto, refers to the rustic nature of the characters. Rustika was released in 1995.

Punch Tape JNL emulates the old-style pin-punched paper tapes that were used in everything from ticker tapes to moving electronic signage to early digital typesetting equipment. Pin punch characters were also used in the early days of banking as a secure way of canceling a check so that it was rendered useless if re-submitted. In this version, the "dots" are square rather than round.

JY&A’s most distinctive calligraphic font, Yan Series 333 is usable at all resolutions and remains legible. Even though it has a strong calligraphic influence, the Yan Series is ideal for text settings that have to appear special. Designed by Jack Yan, the family was developed between 1987 and 1993. Yan studied the effect of a nylon-tip, rather than steel-nib, pen on paper.

Acarajé is a grotesque font that stands out thanks to its versatility. Its personality blossoms through its particular modulation, which grows with weights; making it a rather jovial typeface that does not abandon the characteristics of more classic grotesques. With two styles available: normal and italic, and a variety of 7 weights that range from "Black" to "Regular", this font offers incredible flexibility for your designs.

Incorporating a certain Gallic ‘je ne sais quoi’ Galerie is a chic & stylish sans serif, though you'll notice some short tails with angled terminals acting rather like serifs, lending a sophisticated characteristic to its balanced proportions. Galerie’s large x-height makes it a very legible font family, available in 4 weights: Thin, Light, Medium and Bold. See also the condensed sister family Galerie 2.

The letterforms for this typeface are pretty much standard block gothic, but its prismatic treatment features a twist: the letters appear to be lit from below rather than above, which is usually the norm. The result is a perfect choice for dramatic headlines. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

The Chromium Yellow family is based, very loosely, on Electro-type Serif, designed by John Wu of Hong Kong’s Archetype foundry. The rather quirky serifs have been removed and a few odd letter treatment have been amended to produce a smooth, techno-friendly family of faces. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Americana is a transitional typeface with very rounded, open characters. It was designed in 1967 by Richard Isbell for American Type Founders. Americana is a wide and open face with short, wedge serifs and a rather large x-height. Typical uses for this typeface are advertisements, short pieces of text, such as greeting cards and leaflets. The Americana font family is also ideal for headlines.

Hello Everyone, introduce our new product Thugolatz - Ligature Extended Sans, inspired by the title of the sports poster and We make it very energetically, taking into account the thickness and density of each gliph, along with a ligature that makes this font look unique. Thugolatzs font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

Bovid ready to clash Following the ancient Adriatic history and natural shapes of the ram horns, Bovid typeface connects sports and tradition in a fearless and reckless way. It empowers players as soon as they put on their jerseys, making them ready to clash for the highest score. Bovid typeface has low contrast and high legibility with priority on numerals. It has capital letters in two sizes and is suitable for sport jerseys, posters, brochures, flags and tickets.

Hello Everyone, Introduce our new collection, Bristone – Expanded Sans Family famous logos of Technology and brands that have very strong characteristics, Bristone has 6 Fonts that allow you to get a job with satisfying results. very suitable for posters, t-shirt, packaging, branding, logotype and more. Bristone font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

Polaris is a rounded sans-serif family with four styles designed for easy reading. Perfect for print - brochures, posters, newsletters and stationery. For signage, Polaris comes with a variety of compatible arrows. Polaris is also great on-screen: use it on your website as an alternative to the over-used standards. Polaris works in the background, creating an atmosphere of harmony and modernity while your words deliver the message and your graphics and images achieve the prominence they deserve.

Hello Everyone, introduce our new product Thealiens - Ligature Condensed Sans, inspired by the title of the sports poster and We make it very energetically, taking into account the thickness and density of each gliph, along with a ligature that makes this font look unique. Thealiens font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

Salin is a modern sans serif font family with a geometric and humanist touch. Salin has totally 20 fonts with 10 weights and their appropriate italics. It contains rich opentype features. Includes extended language support, fractions, table figures, arrows, ligatures and more for each weight. Ideal for corporate identity, poster, brochure, orientation signs, and all kinds of graphic design works. “Salin News" and "Salin News Italic” are specially made for long paragraph texts which are written with small sizes.

Hello Everyone, ntroduce our new collection, Choxr Font is inspired by famous logos of shoes and brands that have very strong characteristics, Choxr has 4 styles that allow you to get a job with satisfying results. very suitable for posters, tshirt, packaging, branding, logotype and more. Choxr font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

Meysha was created with stylish and authentic handwritten characters. This font is PUA encoded and contains an extended Latin Character set. Meysha comes with 281 glyphs and 52 alternate characters as OpenType features (supported with contextual alternates mode). Meysha also includes 11 extended ligatures, allowing you to make you designs look more exclusive and pro standard. Meysha works perfectly for logos, display, product branding, wedding invitation cards, stationary, packaging, clothing, flyer, apparel, magazines, brochures, labels, posters, badges, and more.

Thirsty Cream is my handmade and slightly curly font. I had birthday greeting cards, invitations and products for kids. But I guess that it is useful for a good handful of other things. While the lowercase has it's curly moments, the UPPERCASE is quite steady and super legible

Big bangs font is made with letter anatomy that looks very unique with a characteristic bulging shape and very large weight size, inspired by explosions, this font looks big and dangerous as well as unique, suitable for use in graphic designs such as stickers, posters, covers, labels, and others.

Geometris Semi-Condensed is a modern versatile sans-serif typeface. What differentiates Geometris Semi-Condensed from the other fonts is its exceptionally distinctive design. Brilliantly suited for graphic design and display use and perfect for logotypes, t-shirts, packaging, brand identity, books, magazines, newspapers, posters, billboards, and advertising.