Lakony Regular, italic and display serif lacony are combined into one into a modern serif, lacony pays attention to high readability and a soft font model so that readers feel comfortable. lakony font also has unique alternates, making it easier for you to design as unique a text as possible. However, this does not leave behind the function of the font itself, namely readability, so this font is suitable for titles, posters, branding, invitation cards and much more. Lakony Regular Lakony Italic Lakony Display Uppercase Lowercase 75+ Language Alternates Font

Wild Fat Font - playful handwriting experimental display typeface inspired by classic old cartoons. Wild Fat Font is available in 3 styles: outline, outline distorted, and regular. The regular style imitates writing with a fat marker. The Wild Fat Font works perfectly for bold titles, Festival posters, a graphic element for bright T-shit or hoodies, designs for Kids, graffiti concepts, modern aesthetics, fashion, any visual design project, and even backgrounds! This bulging and chunky font likes an experiment with spacing and different deformation. Please, don't hold back on your bold modern ideas!

Summer Days is a cute handwritten script font with ornaments and swashes, perfect for any design that needs an adorable handmade feel. Use this font family for signatures and logos, notes and quotes, social media posts, and branding and packaging. This set includes: 1 script font in two styles: regular and slant, with ligatues for a smooth handwritten font. 1 ornaments font, with 72 cute handmade drawings (fruits, animals, sweets, plants, etc) in two styles: regular and blackout, for easy layering. 1 swashes font, with lots of swirls and underlines.

I’m pleased to introduce my new handwritten floral font Gentle Whisper. Gentle Whisper comes in two styles: Floral and Regular. Gentle Whisper Floral is an elegant, decorative, feminine font. Floral uppercase letters are ideal for your wedding monograms and logos. Use this font for wedding invitations, branding, packaging, magazines, florist shops, social media, restaurant menus, greeting cards, headers and many more. Gentle Whisper Regular is a modern calligraphy font. It's perfect for wedding design projects, instagram, invitations, signatures, watermarks, logos, letterpress address, titles, birthday invitations, handwriting and more.

To tell you the truth, I don’t know what a juicy advice is - other than I guess it’s something positive and maybe even helpful. Well, what I do know is that this Juicy Advice is positive, helpful and playful. It’s a handmade comic font, with an outline version to compliment the Regular version. The outline version is also handmade, but not entirely sticking to the boundaries of the shapes of the Regular version. This leaves the outline somewhat off, but deliberately in order to keep the authentic feeling.

Introducing, Selino Family Typeface. An elegant, classy with artistic touch family typeface. Selino Family Typeface is perfectly suitable for layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations. logotypes, and much more. Don't wait to add this luxury font family to your collection and start designing straight away. Features : · Font Family totals 4 fonts (Bold, Bold Italic, Regular, Regular Italic) · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded Hope you enjoy with our font!

Decize font is a classic “Didona”, characterized by extreme contrast in thick strokes and thin strokes, by the use of very short serifs, and by the vertical stress of the letters. This version, designed by Carine de Wandeleer, is slightly condensed and is also enriched by a full set of OpenType features of tails, ligatures, alternates and swashes. Decize Italica is a true "italic" This font was designed and carefully drawn to combine with Decize Regular, it has 652 glyphs and the same OpenType features than the regular version.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

The Generic Typeface Collection is a series of sans-serif typefaces inspired by the craftsmanship of graphic design, typesetting, and printing in the analogue era – before Adobe, Macintosh computers and desktop publishing – when dinosaurs ruled the earth. With the use of various typesetting apparatuses or dry transfer type, photo copiers, and shooting layouts and paste-ups to film, the printed results was not as exact, precise and predictable as it is today. When examining old prints, it is difficult not to like the way that characters in over- or underexposed film have a special type of vibe to them that is often sadly lost in today’s pursuit of total perfection. Encouraged by this, I saw a need for a collection of typefaces that are non-clinical and non-conformist, and some that are coarse, rough and distorted – errors that might come from poor exposure when put on film, enlargements from small point texts, or maybe quality loss from successive generations of photocopies. Or all of the above. This is an attempt to incorporate spirit and personality into a set of typefaces without losing distinction. You might call it a homage to non-perfection. I call it human. The Generic Typeface Collection consists of 11 fonts divided into four series. The three standard series – the Formal Release series, the Coarse Copy series, and the Rough Display series – all contain three fonts each. The Extra Splendor series contains a couple of shadow fonts for that little extra sparkle. Formal Release – Handcrafted & Clean The Formal Release series features sans-serif typefaces for everyday use. They are handcrafted and clean, human and uncomplicated. The Formal Release series contains three typefaces that add tons of personality to any text. G10 FR ‘Slim’ – a slightly under-exposed and clean typeface in a regular weight (228 glyphs - 1 alternate) G20 FR ‘Classic’ – a properly exposed clean typeface in a bold weight (228 glyphs - 1 alternate) G30 FR ‘Bulky’ – a heavily over-exposed clean typeface in an ultra weight (228 glyphs - 1 alternate) Coarse Copy – Dirty & Rough The Coarse Copy series features non-conformist typefaces that are worn and rough, maybe after going through that bad copier a few times too much. The Coarse Copy series contains three sans-serif typefaces that add tons of spirit to any text without compromising too much on legibility. Try them on in poster-sizes and everyone will know that you mean business. G40 CC ‘Slender’ – an under-exposed coarse typeface in a regular weight (228 glyphs - 1 alternate) G50 CC ‘Typic’ – a properly exposed coarse typeface in a bold weight (228 glyphs - 1 alternate) G60 CC ‘Huge’ – a heavily over-exposed coarse typeface in an ultra weight (228 glyphs - 1 alternate) Rough Display – Faded & Decorative The Rough Display series features attention-seeking decorative typefaces in three feature-packed fonts. Faded and gritty like the image distortion and degradation from successive generations of photocopies, they are eye-catching typefaces intended to stand out in bigger point sizes. Use these typefaces for signage, headlines and similar situations were a strong typographic statement is desired. We have packed no less than 1,334 alternate characters and 212 discretionary ligatures into this series for a greater chance of not having characters that look exactly the same more than once. G70 RD ‘Slinky’ – an under-exposed rough and decorative typeface in a regular weight (741 glyphs – 448 alternates – 66 discretionary ligatures) G80 RD ‘Standard’ – a properly-exposed rough and decorative typeface in a bold weight (748 glyphs – 448 alternates – 73 discretionary ligatures) G90 RD ‘Swollen’ – a heavily over-exposed rough and decorative typeface in an ultra weight (748 glyphs – 448 alternates – 73 discretionary ligatures) Extra Splendor – Sparkling & Extraordinary The Extra Splendor series features two shadow typefaces for that little extra sparkle. One clean shadow to be used with G20 FR ‘Classic’, and one rough shadow to be used with G80 RD ‘Standard’. Having the shadows separate from the main typeface adds another layer of expressiveness in that you can try out color combinations for that extra splendor. Tips for matching (applies to both the base font and the shadow font): Set the kerning to Metric, not optical. Increase tracking to accommodate for the shadows extra width. G25 ES ‘Classic Shadow’ – a clean shadow to be used with G20 FR ‘Classic’ (228 glyphs – 1 alternate) G85 ES ‘Standard Shadow’ – a rough shadow to be used with 80 RD ‘Standard’ (227 glyphs) OpenType features – alternate characters and discretionary ligatures – can be accessed by using OpenType friendly professional design applications, such as Adobe Illustrator, Adobe InDesign, and Adobe Photoshop.

Great ultra bold sans serif font and demi bold wonderful for display.

A sans serif with rounded features that softens its strong geometric outline.

An elegant san serif type for headlines to your next formal invitation.

An all new rounded type family with Sans, Serif, Geometric and Blackletter!

A sans serif headline font with full Latin plus Cyrillic character sets

Snuggles began as a set of hexagons and hour-glass shapes that fit together. Letters were formed from these shapes with effort made to preserve as much as possible the original outlines. The result is two sets of letters that by themselves are awkward and misshapen and that only look good when mixed together. The OpenType contextual alternatives (calt) feature automatically alternates the sets in computer programs that support this feature. Snuggles-Lower replaces the letters of Snuggles-Regular with lower-case shapes, but without ascenders or descenders, and the results are jarring. Several of these lower-case shapes (D, N, T, W, and Y) are available as OpenType stylistic-set alternatives in the Snuggels-Regular font. Both Snuggels-Regular and Snuggels-Lower have light versions. Snuggels loves to be noticed so it likes to be large and it considers foolish anyone who would use it as body text.

The impetus behind Felbridge was both ambitious and highly practical: to develop an ideal online" typeface for use in web pages and electronic media. Robin Nicholas, the family's designer, explains, "I wanted a straightforward sans serif with strong, clear letterforms which would not degrade when viewed in low resolution environments." Not surprisingly, the design also performs exceptionally well in traditional print applications. In 2001, to achieve his goal, Nicholas adjusted the interior strokes of complex characters like the M and W to prevent on-screen pixel build-up and improve legibility. Characters with round strokes were drawn with squared proportions to take full advantage of screen real estate. In addition, small serifs were added to characters like the I, j and l to improve both legibility and readability. "The result," according to Nicholas, "is a typeface with a slightly humanist feel, economical in use and outstanding legibility - even at relatively small point sizes. Most sans serif typefaces have italics based on the simple "sloped Roman" principle, but italic forms for Felbridge have been drawn in the tradition of being visually lighter than their related Roman fonts, providing a strong contrast when the italic is used for emphasis in Roman text. The italic letter shapes also have a slightly calligraphic flavor and distinctive "hooked" strokes that improve fluency. Felbridge is available in four weights of Roman - Light, Regular, Bold and Extra Bold - with complementary italics for the Regular and Bold designs. The result is a remarkably versatile typeface family, equally comfortable in magazine text copy or in display work for advertising and product branding. As a branding typeface, Felbridge works in all environments from traditional hardcopy materials to web design, and is even suitable for general office use. As part of a corporate identity, this no-nonsense typeface family will be a distinctive and effective communications tool." Felbridge™ font field guide including best practices, font pairings and alternatives.

Quite Animated JNL is based on hand-lettered Art Deco titling for a 1930 advertisement promoting a group of Columbia Pictures cartoons featuring George Herriman's "Krazy Kat". Available in regular and oblique versions.

A sample of monogram lettering entitled "Style 204 - Modern Block" (probably circa 1940s) yielded the thin Art Deco alphabet model for Dress Shirt JNL, which is available in both regular and oblique versions.

Retro Sanderia, Inspired by 70s Advertising Design With 2 Style : Regular & Shadow Retro Sanderia offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Lettering Lesson JNL is a bold serif alphabet found within the pages of the 1922 instructional booklet from the St. Louis Show Card School, and is available in both regular and oblique versions.

Tasty Joke was made with a slightly bulgy pen, and by using a loose touch.The result: two fine kinds of naive and lively letters. Combine the Regular and Line versions for cool results.

GroteskRemix monospace is the monospaced version of the GroteskRemix - Grotesk revisited, notably used for the (Latin) communication of Typojanchi 2019. It availabe in 3 different weights: light, regular and medium. Language: latin glyphs

Cerulean echoes the elegant lines of an Old English typeface, but is pared down for versatility. The alternative characters, available in the swash version are intended to compliment the more legible regular style.

Retro Styla , Inspired by 70s Design Era , With 2 Style : Regular & Shadow, Retro Styla offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Introducing Retrochips Fonts with a vintage touch reminiscent of past designs, making your design look unique and classic. Retrochips has 2 variants, Regular and Line, as a perfect blend in your graphic design.

The hand lettered Art Nouveau title on the sheet music for “Why Don't You Try” (1905) served as the inspiration for Tryout Nouveau JNL, which is available in both regular and oblique versions.

Quaint 235 is a regular and slant font with a modern concept with a bold typeface, good for products and very suitable for use as a display font and also as a header.