Linotype Mateo is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Jürgen Ellenberger included three styles in his font, roman, bold and outline. The characters of Mateo consist exclusively of lines, giving the font an extremely angular look. However, Mateo retains a certain handwritten style somewhat reminiscent of the graffiti left on wooden grade school desks by previous classes. The bold and outline styles have emphasized stroke contrasts but keep the angular, consciously irregular look. The roman style is best for smaller texts and the bold and outlines styles for headlines.

Introducing the stunning "Soft Mouth Victorian Typeface," a font that encapsulates the essence of Victorian elegance. This font style exudes an air of refinement and opulence, perfect for adding a touch of grandeur to your design projects. The "Soft Mouth Victorian Typeface" offers a versatile range of options with its four font families: Regular, Hole, Ornament, and Serif. The "Regular" font family serves as a reliable choice for everyday text, providing legibility and clarity. The "Hole" font family adds a unique twist, featuring intricate designs with hollowed-out letterforms, creating an intriguing visual effect. The "Ornament" font family boasts exquisite decorative elements, allowing you to embellish your designs with ornate flourishes. Lastly, the "Serif" font family offers a classic and refined aesthetic, perfect for evoking a sense of tradition and sophistication. This typeface includes a comprehensive set of ligatures and alternates, enabling seamless connections between letters and enhancing the overall flow and visual harmony of your text. With an impressive collection of 666 glyphs, you'll have an extensive range of characters and symbols at your disposal, allowing you to unleash your creativity and experiment with various typographic compositions. Whether you're working on elegant invitations, branding projects that require a touch of vintage sophistication, or creating elaborate typographic artworks, the "Soft Mouth Victorian Typeface" is a must-have resource. Its Victorian elegance, extensive features such as ligatures and alternates, a rich collection of 666 glyphs, and the added bonus of frames and floral embellishments, make it an invaluable asset for bringing a sense of timeless charm to your creative endeavors.

GEOspeed, a typeface that redefines design standards, this typeface goes beyond conventional, fusing robustness with elegance. Ideal for advertising use, posters or banners, GEOspeed is the very essence of modern visual expression. The typography includes 28 geometric icons accessible through the Open Type Functions: smcp and c2sc. Regular and Versalite: Two Styles, One Powerful Visual Identity: GEOspeed features two unique styles to meet all your creative needs. The Regular version provides solidity and clarity, while the Versalite adds a bold and distinctive touch. Together, these styles allow you to explore an unlimited range of visual expressions. 22 degree inclination: Movement and modernity in each letter: With a 22-degree incline, GEOspeed is not just about movement, it also has an avant-garde feel. Each letter is an expression of dynamism, capturing attention and carrying your message into the future. Each letter is a statement of progression and avant-garde. Sans serif geometry. GEOspeed's sans serif geometry sets a new standard for modernity. Each character is a geometric masterpiece, creating a contemporary look that highlights strength and elegance. Readability is guaranteed with meticulous metrics and kerning. Advanced OpenType features. GEOspeed's advanced Open Type features give you precise control over the appearance of your text. From sophisticated ligatures to typographic variations, your creativity is the limit. Explore an infinite range of possibilities with GEOspeed's numbers and letters set. From striking figures to expressive letter combinations, each design is unique. Includes dynamic fractions that maintain readability without sacrificing style. Every detail has been perfected to ensure a flawless typographic experience.

Introducing Bubbble Gum - sans serif typeface - 9 fonts Bubbble Gum is modern, rounded typeface with 9 fonts, regular, italic and multilingual support. It's a very versatile font that works great in large and small sizes. Bubbble Gum is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, Lowercase numeral, punctuation & Symbol Hairline Light Regular Bold Black Italic ( Hairline, light, regular, black ) Ligature glyphs Multilingual support Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Pial fonts Family includes: Pial Regular that is totally hand-designed, casual and youthful, with lines that sometimes swell extremely, contain 546 glyphs with many stylistic variations, swashes and ligatures. Pial Sans Regular and Expanded, also hand-designed, and Pial Serif Regular and Condensed to add a little seriousness. We have added also, a font of ornaments, extras and catchwords in the family. Using this font you will achieve a very elegant and warm work. Pial Family is very versatile and ideal for logotype design, magazines and book covers, children's material, fashion, headlines, cards, posters, websites, packaging and, basically, anywhere you want.

Brother XL & XS is an expansion of Brother 1816, one of the best sellers of 2016: myfonts.com/fonts/tipotype/brother-1816 We decided to add new widths to the type system, designing a condensed version (XS) that is perfect for narrow spaces without loosing legibility, and an expanded version (XL) with a lot of character for display uses but without abandoning funcionality. Both typefaces where created to adapt in diverse design languages being able to be “retro” or “modern” making it very flexible and working well in texts or titles, in print or screens. Brother XL & XS mixies Geometric shapes with Humanistic strokes at the same time. You can choose between a pure geometric or humanistic style, condensed or expanded, or even mix between XS, XL, or its alternate characters to create the feeling that you need for your projects. Its humanistic nature makes it easy to read, legible in small sizes; perfect for branding, editorial and signage. It has a total of 32 fonts, which are divided into 2 groups: XS (16 condensed weights) & XL (16 expanded weights). Each weight has +460 characters, +20 alternates, angular and straight edges, swashes, fractions, ordinals and much more.... Brother has also been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions.

The typeface Hand of Hannah is designed from 2021 for the font foundry Typo Graphic Design by Hannah Englisch & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Regular, Bold, Heavy & Icons) with 732 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand of Hannah ■ Font Styles: 4 font-styles (Regular, Bold, Heavy, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 732 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 80 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician German Gusii Hungarian Indonesian Irish Italian Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Manx Morisyen North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Zulu ■ Design Date: 2021 ■ Type Desi­gner: Hannah Englisch, Manuel Viergutz

Thirdlone is a handmade typeface with monoline script and sans. This font is perfect to be used as t-shirt designs, logo/brands, signatures, headlines, lettering quotes, and more. It also comes in uppercase, lowercase, punctuation, symbols, numerals, stylistic set alternate, ligatures, and multi-lingual support. Thirdlone Script includes 3 different styles: Regular, Stamp, and Ink. Thirdlone Sans includes 4 different styles: Regular, Stamp, Ink, and Edge. Regular styles are a regular style that have clean look on it. Stamp styles give you aged texture on the font that will push out the vintage feel. Ink styles will give the font a little bit of an ink feel. The Edge style give this font a rough feel on its edge. You can choose one of the styles mentioned above that match perfectly for your style, or just mix and match it.

Introducing, A NEW POWERFUL BOLD FONTS WITH ALTERNATES, Point Panther! Point Panther is a headline font with super bold style that contains up to 6 Alternates each characters! You can make a unique branding with this fonts. this powerful bold fonts also included italic and outline style! This fonts suitable to use for poster, branding, merchandise, and any street art style! Also support multilingual. What will you get: Point Panther Regular (Regular, Italic ) Point Panther Bold (Bold, Bold Italic) Point Panther Outline Regular (Regular, Italic ) Point Panther Outline Bold (Bold, Bold Italic) How to access the alternates! If you use PS/AI you can see the tutorial in this : https://helpx.adobe.com/illustrator/using/special-characters.html You can use the PUA for software design that not support Opentype. For another questions, please send a mail to saridezra@gmail.com. Thank You!

This is a unique approach to calligraphy if you're looking for deep and sharp style. Skylligraphy Regular.

Brutal is a not stencil calligraphic typeface designed in light, regular and bold. language: all latin glyphs

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

LaFemme Vibe is a conceptual serif font that exudes a modern and elegant aesthetic, tailored specifically for women. Featuring uppercase characters with distinctive curly signatures, LaFemme Vibe combines the following elements to create a unique visual experience: Classy Serifs: LaFemme Vibe boasts serif characters with soft, graceful serifs that add an element of sophistication to each letterform. Asymmetrical Charm: This font is intentionally imperfect in its symmetry, as if crafted by a gentle, artistic hand. It radiates an inviting and charming quality. Curly Signature Flourish: The curly, signature-like embellishments that adorn the letterforms in LaFemme Vibe infuse a personal and artistic touch. This imparts the sense that each word written with this font is a unique work of art. Modern Harmony: Despite its classical elements, LaFemme Vibe maintains a modern sense of harmony. The letters appear assertive yet gentle, making it perfectly suited for contemporary women seeking timeless elegance. Elegance and Chic: LaFemme Vibe embraces an elegant and chic aesthetic that is particularly fitting for products or designs targeted towards women who aspire to exude luxury and style. LaFemme Vibe is a typographic masterpiece created to bring a modern and elegant sensibility to women who appreciate beauty in every detail. It’s a font that effortlessly blends classic charm with contemporary allure, making it an ideal choice for a wide range of design projects aimed at celebrating the essence of femininity.

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

ITC Farmhaus is the work of British designer Tim Donaldson and is, in his own words, Neil Young meets Paul Renner." Donaldson borrowed the perfect circles and clean lines of Renner's drawings for Futura and gave them jagged edges and uneven, thick strokes. Farmhaus contains one set of capitals and two sets of lower case letters."

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Bismuth is a simple versatile multi-purpose display typeface with nine weights. Both the upper and the lower case are capitals -- the paired letters (e.g. Aa, Bb) differ in construction but keep the same width. The width is also consistent across all weights, making the fonts easily interchangeable. The nine styles are accompanied with a free font Bismuth Symbols which contains more than one hundred various arrows, symbols and patterns for even more striking display typography. Learn more about the typeface and its OpenType features at http://www.urtd.net/fonts/bismuth.

Ryman Gothic is inspired by American Wood Types and Gothic Typefaces, mainly in the work of Edwin Allen and Morris Fuller Benton. The result is a hybrid combining gothic proportions with the contrast of wood types. While drawing consonants guided by gothic proportions, vowels were designed slightly wider, making them not only more legible when it comes to long text designs, but also more attractive. Ryman Gothic comes in 8 weights plus its matching italics, ranging from Thin to Heavy. Each weight includes extended language support (Latin + Cyrillic + Greek), ligatures, arrows and more.

Ruth Pro is a creative work horse primarily designed to be used for typographic design of magazines, posters and books. Though roughly inspired by fonts like Mendoza and Stone Serif, it has its own distinctive look, carefully crafted following all the classic ideals of typography. If you are also looking for that special display font, you will be surprised by all the great details of Ruth Pro, including dingbats, arrows, alternative characters, special designed ligatures and small caps characters—and much more! Ruth Pro also includes a vast selection of Slavic and Scandinavian characters.

Gilroy is a modern sans serif with a geometric touch. A younger brother of the original Qanelas font family. It comes in 20 weights, 10 uprights and its matching italics. The Light & ExtraBold weights are free of charge, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support (+ Cyrillic), fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design.

Carnas, a new monoline sans with a light, slender and informal appearance. It is however forceful and strong enough for headlines and signage. Despite the reduction in its shapes, it is pleasantly readable for both shorter and longer text applications. The Carnas family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Niveau Serif - the companion of Niveau Grotesk - is a type family of six weights plus matching italics & small caps. It was designed by Hannes von Döhren in 2013. Influenced by classical nineteenth century engravers faces, the fonts are based on geometric forms. Niveau Serif has a contemporary feel and combines the clearness of a Sans with the elegance of a typeface with serifs. Niveau Serif is equipped for complex, professional typography with alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

Roag is an industrial geometric sans paying homage to mechanical designs of the 1930s. A precise balance of modern geometrics, with a functional yet sparing style that effectively communicates without distraction. Roag is a straightforward, unadorned type family with efficient construction. Details include seven weights with matching italics and over 950 characters per style. Opentype features consist of eight variations of numerals, including inferiors, superiors, fractions, case figures and circled figures. Additional features include small caps, case-sensitive forms, stylistic alternates, ligatures, game symbols, arrows and language support covering Western, South, Central Europe and Vietnamese.

In the DR Krapka Square typefamily, the pixel has a square shape. The font supports OpenType features and contains small capitals, ligatures, oldstyle figures, terminal forms, historical forms, stylistic sets. The dingbats, arrows, emoji are also present. For small texts, it is recommended to use DR Krapka Square-FontSize10px in the font size 10 px. DR Krapka Square typefamily supported European languages based on Latin, Cyrillic and Greek scripts. If you want to use fonts with a different shape of pixels, there are also typefaces from DR Krapka family: DR Krapka Round, DR Krapka Rhombus.

A modern squarish sans inspired by machine-readable typefaces of the 1950s, including OCR-A and B. Smooth curved contours with a humanist touch sit in harmony alongside pure straight lines. Contrasting shapes create a modern aesthetic pleasing to the eye and pixel perfect execution for modern-day scenarios. Details include seven weights with matching italics, six variable widths and 445 characters per style. Opentype features consist of five variations of numerals with stylistic zero’s, inferiors, superiors, fractions, case sensitive forms, ligatures, arrows and language support covering Western, South and Central Europe.

Hello! I’m SideNote. I specialize in annotations, headings and friendly dialogue. I’m perfect for descriptions and explanatory text. Use me to deliver tricky information in a helpful, reassuring manner. I look friendly and relaxed but professional enough to make you look awesome. I add personality to otherwise dry information making it fun and easier to understand. Whether you’re pulling some slides together or explaining your work, think of me as your friendly assistant I come with all sorts of useful features, like emoji, arrows and underlines. See my webpage for more details: https://www.jamieclarketype.com/SideNote

Designed primarily for editorial use, Silva is a superfamily ideal to typographically complex environments requiring a highly versatile typeface. With slightly condensed proportions, generous x-height, moderated ascenders and descenders and robust serifs, it is an extremely readable and economic type. Subdivided in two optical sizes, the family has a total of 26 fonts including italics. Silva has an extensive character set — with extensive language support — that provides both old style and lining figures as well as their respective tabular versions, fractions, various ligatures, small capitals, arrows and a number of different symbols.

Xanthine… is a purine base found in most human body tissues. Yes, you can forget that. I don’t even know what it means, but I suddenly realised that I was running low on fonts with an ‘x’ in the name. Xanthine font is a messy brush: it is all caps, but upper and lower case mingle freely. It comes with a whole bunch of diacritics and some interesting ligatures as well. I have included a very handy shapez pack and a truckload of arrows - anything to make you happy…

Arona is a modern geometric sans typeface tailored to elevate all your design projects, from UI and app design to web design, branding, posters, magazines, infographics, packaging, and beyond. With its sharp yet rounded strokes, Arona effortlessly radiates both professionalism and friendliness. Boasting 12 font weight variations, Arona excels in delivering a multi-level content hierarchy in your design, ensuring your value is communicated clearly and easily. Key features: Extended language support Small capitals Mathematical symbols Currency symbols Alternate stylish letters Directional arrows Fraction support Special ligatures Numerator and Denominator support