Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Unique and decorative signage for many drive-ins, motels, food stores and other businesses of the 1940s had what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblem on a decorative panel, the remainder of the sign would carry the desired message of the storekeeper (such as “Drive-In”) in prismatic, embossed metal letters. Inspired by the Art Deco sans serif style of those vintage signs, Privilege Sign Two JNL recreates the type design in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses. This is a companion font to Privilege Sign JNL, which recreates the condensed sans serif lettering of other privilege signs from the 1950s and early 1960s.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

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.

Mantika Book was originally conceived and drawn parallel to the first Agilita drawings. *[images: pencil drawings] It took several years before having a chance looking at these designs again. But then, my first impulse was to turn this alphabet into a new sanserif, which was to become Mantika Sans. This was the starting point to conceive a super family consisting of different design styles and corresponding weights. The initial drawings of Mantika Book were refined and an Italic was developed to go with it. The aim was to create a modern serif typeface which is reminiscent of humanistic Renaissance typefaces, yet without following a particular historic model. Its large x-height for one is far away from original Renaissance models. Mantika Book was designed as a companion serif typeface to Mantika Sans that can be set for lengthy texts as in books, hence its name. It shares the same x-height with Mantika Sans but has longer ascenders and descenders, making for better word shapes in long, continuous reading. The approach of an ›old-style‹ looking typeface with large minuscules makes Mantika Book also a choice for magazine text settings where one often needs smaller point sizes to fit in a multiple columns layout. The unique details of Mantika Book are the asymetric bracketed serifs in the upright font and its higher stroke contrast than usual in a Renaissance style. The stems are slightly curved inwards. Also, the Italics have a low degree of inclination, which makes longer passages of text set in Italic rather pleasing to read. Another feature Mantika Book shares with Mantika Sans is that all four weights take up the same line length. It covers all European languages plus Cyrillic and Greek, is equipped with lots of useful scientific symbols [double square brackets, angle brackets, empty set, arrows] and the regular weight has small caps. There is a kind of an old-style feeling to Mantika Book, yet these citations were turned into a contemporary serif typeface with a soft but sturdy character.

Sunset Imaginary is a captivating duo of fonts that brings together the charm of a handwritten style and the timeless elegance of a serif typeface. This combination creates a harmonious and versatile typographic pairing, perfect for a wide range of design projects. The first font in the Sunset Imaginary duo is a beautiful handwritten font. Its letterforms are intricately crafted, with each letter seamlessly connected to the next, creating a flowing and cohesive script. This handwritten style exudes a sense of warmth and authenticity, as if each word was lovingly penned by hand. The connected letters add a touch of fluidity and rhythm to the text, enhancing its visual appeal. Complementing the handwritten font is a refined serif typeface. With its classic and elegant characteristics, the serif font provides a sense of stability and sophistication to the overall design. The carefully designed serifs and balanced proportions give the text a timeless and polished look. The combination of the handwritten font and serif font in Sunset Imaginary offers a versatile typographic palette. It allows you to create striking contrasts and establish hierarchy within your designs. Enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sunset Imaginary fits in invitation posters, branding materials, packaging, editorial layouts, or any project that demands a balance of personal touch and timeless elegance Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Gullywasher is distinguished by its unusual letterforms and “pineapple” serifs. The font takes its name from a Texas term for a heavy rain. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

ITC Ironwork is the work of Serge Pichii, who was inspired by a piece of decorative lettering done by Jan Tschichold in the early 1920s. Tschichold had interlocked a series of rough sans serif letters and embellished them with scattered decorative elements. The original was of only capital letters, touching and overlapping like an ironwork gate made of letters. Pichii completed the typeface with lowercase forms and smoothed the edges. The scrolls of the capitals were extended to the lowercase and Pichii based them on iron scrollwork he found in Vienna and Prague. A lot of attention was paid to the elements of the typeface in order to 'smooth out' and balance proportional relations between the elements," says Pichii. ITC Ironwork is great for signage and display but also works well in short texts."

Introducing “Balbek” – A modern “condensed” sans serif ligature typeface. Designed by graphic designer Martin Katibi. The balbek font is an eye catching heavy and condensed sans serif type face. The inspiration for this font were other condensed sans serif such as Gabo Drive and Impact. The Balbek font is great for use on headlines, advertisements, product packaging, newspapers and posters. Balbek fully supports multilingual characters, it also come with a full set of alternative uppercase letters, ligature and small cap. All these features will make your next project standout. The font comes in eight styles, which are Regular, Cut, Outline and Soft. Each of these font styles comes with an oblique version. If you are looking for something modern and eye catching for you next project, Balbek is the font for you. WHAT YOU GET: Balbek Regular.otf Balbek Oblique.otf Balbek Cut.otf Balbek Cut Oblique.otf Balbek Outline.otf Balbek Outline Oblique.otf Balbek Soft.otf Balbek Soft Oblique.otf BALBEK INCLUDES A FULL SET OF: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternates. Small Caps. Multilingual symbols. Here is a short list of some of the unique ligatures: AB AD Æ AF AH AK AL AM AN AP EH EK EM ET FT HE LH LK LM MB MD ME MM MP NE NN Œ TE TH TT TU THE Th ZH ZK ZM æ ? fj ? ? ft ? œ tt ty We hope you enjoy using the Balbek Font.

Every font designer has their own favorite font type, which you do not need to find as it takes too much time to figure it out for you until you can match it with a perfect font. Ringtail has the best answer to your needs. Ringtail is a font containing two font types to use together or separately: sans serif and script fonts. Sans serif font has firm, modern, simple looking lines without curvy edges. Meanwhile, the script font has curvy lines in water paint or ink textures. The textures are extra lines added to each letter and to the background letter patterns. A textured script font looks more artistic and more detailed than the other ordinary script fonts to show elegant, romantic impressions in your designs. Additionally, script font can be applied for adding extra visual contrasts to designs with sans serif font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Ringtail fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

Naïve Inline is a layered serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. We designed three weights to assure a good readability whatever the size. They can be enhanced with five different interior patterns and three shadows to improve your designs and bring a charming and unusual feeling. To do so, you can simply superimpose the layers with a compatible software like Photoshop, the weight above and the pattern(s) below, then choose a color for each. This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all! We hope you will enjoy our work. Merci beaucoup!

Aure Nox inspires the chill whimsy of a haunted forest. The roughhewn forms of this decorative, sans-serif font engage the reader with a subtext of rakish charm. Surprisingly legible, Nox adds a bit of rebelious sass to text and titles, and a daring stance to astrological expressions and chartwheels. Nox is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Though Nox stands well on its own as a text font, the more traditional sans-serif forms of Aure Jane pair well as an innocuous foil to Nox's brazen presence. Give Aure Nox a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

Introducing Camelin sant display is a complete typeface that is modern, simple and clean. As a typographic display it is useful for posters, logotypes, titles and short text in general. This font is easy to read and bold, easy to play. the embellished serif of the hat is slightly different from the usual hat to create an alternative glyph. We also designed an attractive uppercase set inside, to enhance your design. Enjoy!

Glastone is a modern serif typeface that seamlessly blends beauty and a feminine touch, infusing a sense of class and contemporary sophistication. Its graceful lines and modern aesthetic make it the perfect choice for projects seeking a balance of elegance and modernity. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

A stalwart vintage serif, Master Press displays rounded features and a resolute character in its design. Ideal for book covers, posters, labels, and any application requiring a sense of sturdiness and safety, Master Press delivers precisely that. Master Press boasts a generous x-height and slightly exaggerated proportions, situating it in the realm of "intellectual pizza" on the cultural spectrum. Enhanced with 46 Swash, Stylistic, and Titling Alternates, Master Press offers a versatile typographic toolkit.

Introducing Asthetic: A nostalgic serif font that channels the essence of bygone eras. With its timeless lines and vintage charm, Asthetic evokes a sense of nostalgia in your projects. Infuse your designs with the allure of the past using Asthetic's classic and enduring style. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Prepare to be entranced by the unparalleled allure of Grivas, a serif display font that redefines typographic elegance. Each letter of Grivas is a work of art, meticulously crafted with two distinct outlines that harmoniously coexist. One outline boasts a refined delicacy, evoking a sense of timeless sophistication, while the other exhibits bold strokes that command attention and add a modern twist. For the best legibility use this font in the bigger text sizes.

The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans (derived from the serif) is an excellent compliment and works together harmoniously with Gilman on the page.

Prototype is a typeface with a very contemporary identity crisis—is it old or new? uppercase or lowercase? serif or sans-serif? Prototype tries to be all things to all people. There have been many attempts at creating a universal typeface, one that rationalises the alphabet and removes the inconsistencies of upper and lower case, applying an unreasonable logic to something that has grown organically ...and is already perfectly usable! Prototype was the same experiment carried out at a time when design was experiencing an identity crisis of its own—letterforms that try to be all things to all people but end up being something else entirely.

Malsheta font is designed by combining an elegant script font with a simple and charming serif font style that makes this font look different and unique. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

The original plan for Atlantic was to design a typeface in the Venetian syle of the Renaissance, with handwriting character and large ascenders. There is a wave-rolling unevenness in both the x- and cap-height caused by the strong ductus pointing to the upper right, together with heavily curved serifs, resulting in a very lively image of text on a page. Atlantic – its name reflects the ocean, ships, carriers and loads, tourism and so on. These are the themes Atlantic is best suited for. The extended family includes a serif, a sans, and a special variant – a SeaWashed. Atlantic was designed for the URW++ SelecType collection.

I am pleased to introduce Brixton Pro, a sophisticated yet approachable typeface that combines the elegance of a suit with the comfort of sneakers. This typeface is designed to make a bold statement while remaining friendly, inviting, and playful. The Brixton Pro collection includes both a serif and a sans-serif typeface (with oblique, and condensed styles available in 4 weights each) that work harmoniously together, providing versatility and flexibility for a wide range of design purposes. These fonts are particularly well-suited for marketing, branding, packaging, and other designs that aim to capture attention and stand out, whether in corporate or non-corporate contexts.

ITC Malstock is the work of Czech designer Frantisek Storm. The idea is based on a sign painting technique that uses a flat brush and a Maalstok, a long bar with soft padding which is used as a rest for the painter's hand and a guide for vertical lines. The strokes of this font end with a split stem which recalls the traces of the writer's brush. ITC Malstock is a narrow typeface which is ideal for headlines, invitations and advertisements. The designer recommends combining his typeface with others, to create harmony with sans serif typefaces in text sizes or contrast with serif typefaces.

Amora is a messy, feminine, carefree script that is perfect for logos, posters, signage, and more! Fonts I paired with in the samples are Adobe Caslon, Proxima Nova (both available through www.typekit.com) and Bebas Neue. Comes with 79 ligatures for a totally unique hand-written feel! Includes: Upper + Lowercase Letters w/ alternates Non-English support 79 Ligatures Best for: Logos Branding Large format writing Feminine look + feel Paired with sans serifs (Proxima Nova, Bebas) and classic serifs (Adobe Caslon, Baskerville) Web headers Signage Wedding invitations and decor (table numbers, signage, balloons, etc.) Not best for: Small printing Long quotes (generally flows better with just a few words) Patterned backgrounds

On first impression, Venis is a traditional text typeface: clean, simple and elegant with nice contrast. On closer inspection, you'll notice nuances that add charm and wonder, much like its name (rhymes with "tennis"). Is this font a serif or sans serif? Hmmmm, it never really commits. Further design liberties were taken to create unique qualities in its characters, which are best exemplified by the signature lowercase y. This font family is optimized for print, and has worked beautifully for letterpress projects including wedding invitations and birth announcements. Venis will also work well in newsletters, brochures, proposals, magazines, books, and other text-heavy paper products, bringing creative elegance to your designs.

Holografik is a Neo-Grotesk sans serif font inspired by scientific progress, existential wonder, and social oneness. With its wide structure and light airy weights, Holografik is an optimistic take on a Grotesk font. The stark Swiss style of the characters is softened with playful curved details, such as a bowed descender in the lowercase y, connected descenders in the alt lowercase g and y, and the curved bottom serif in the alt uppercase B and D. Featuring three weights and italics, it is ideal for use at larger scales like headlines, packaging, editorial, branding, and posters. Includes punctuation, glyphs, diacritics, numerals, icons, and multilingual support.

Young Baroque was designed by Doyald Young, and the font first appeared in the ITC library in 1984. It is a delicate and elegant typeface, whose basic forms are those of baroque script. The generous spirals adorning the capital letters give the font its temperament and contrast beautifully with the small, heavily slanted lower case letters. The flowing, graceful characters create an overall image of aristocratic elegance and dignity. This font can be used advantageously for labels, invitations and certificates and its capitals as initials to contrast harmoniously with both serif and sans serif fonts. Young Baroque is best used for headlines or short texts. Featured in: Best Fonts for Tattoos

Linotype Minos is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This fun font was designed by Swiss artist Christian Goetz, who named it after King Minos of Crete of the Bronze Age. Typical of scripts of this time were the ornamental borders around the characters, found on palaces of Knossos, Phaistos and Mallia. These borders surround every character of Linotype Minos, making it exclusively for headlines in larger point sizes. Single characters can also be used as initials mixed with other alphabets, especially with constructed sans serif and modern serif fonts.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera Cyrillic shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Cyrillic Text and Bandera Cyrillic Display sister families as well. Please check also Pro verion for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for 'flag'. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Primot is an upright script heavily influenced by italian gelaterias . After releasing 3 sans serifs , we were looking for an opportunity to design a display type with less constraints for legibility and expression. We started playing with brush lettering and looking into vintage scripts from different eras. Some cool things that made it into Primot were some unusual vertical connections and the sweet brush flairs in the letter endings. From that point on, we set out to create a beautiful looking vertical script – something we don’t see that often – in which each word set could would make a nice piece of graphic design (think logos, video game titles, shop windows etc.). We also made it smart by including hand-lettering inspired features such as initial and final forms for letters, contextual alternates and swashes. The result is a versatile 900+ glyphs display typeface, suitable for a wide range of applications. We hope you have as much fun with it as we had designing it! And while we’re here, you may like that it also pairs beautifully with our sturdy sans-serif family Motiva Sans .

Introducing Magent – Display Typeface A Fusion of Style Magent sets itself apart as a striking Display Typeface that seamlessly merges the timeless elegance of serifs with the contemporary allure of sans serifs. This extraordinary fusion not only shatters monotony but also injects a vibrant energy into your designs. Fun and Playful Typography Magent exudes an unmistakable aura of fun and playfulness. It’s the font to choose when you want to infuse your projects with a touch of whimsy and character. The result is content that not only stands out but also leaves a lasting and memorable impression. Endless Creative Versatility An outstanding attribute of Magent is its sheer versatility. This font effortlessly adapts to a multitude of design contexts, spanning from posters to branding and beyond. Its adaptability makes it a true chameleon in the world of creativity. Memorable and Engaging Magent’s dynamic blend of serif and sans serif elements guarantees that your content remains not only memorable but also engaging. It captivates your audience and leaves them with a vivid and enduring impression, ensuring they keep coming back for more. In Conclusion In summary, Magent – Display Typeface is a font that defies conventions. It’s a design masterpiece that harmoniously combines aesthetics with a playful spirit. Whether it’s branding, posters, or an array of creative projects, Magent is a one-of-a-kind font that captivates your audience and infuses your content with vibrancy and charm.

A modern sans serif with open round forms. The ”round“ letters emphasize the condensed open oval; the light counter forms provide the rhythm of the typeface, causing the typeface to appear gentle and pleasing. The ”modern“ design of a and g being especially contributive here. All of the letters are recognizably narrow, almost ”condensed,“ the forms being very functionally shaped. The construction of the ”triangular“ upper case letters A M N V W as well as v and w, especially catches the eye with the shafts joined together as beams are stacked upon each other. With this construction Hedwig displays a down-to-earth touch. Contrary to the classical sans serifs, a few letters were given light echoes of serifs which promote fluency: a d l are displayed below the line in a reading direction and end in a compressed but also very short serif style; on m n p r the upstroke is gently displayed and on u the downstroke. For all the typo-maniacs among you designers there are alternative forms for a number of letters in Hedwig: A B D G I M R W and a d f g j l ß u. Even an antiquated ”long“ s and an upper case ß is available. Plus, Hedwig includes numerous ligatures which can save that little bit of space where required and which allow the typeface to appear more variable: ch, ck, ct, fi, fj, fl, ff, ffi, ffl, ft, mm, ti, tt, tz.

Prosper Rules is a distinguished serif font that exudes sophistication and refinement. With its timeless serifs and carefully crafted extended lines, this typeface brings an air of elegance to your designs. The defining feature of Prosper Rules lies in its extended lines, gracefully integrated into select letters. These extended lines add a touch of distinction and visual interest, elevating the font's overall composition. Each letter is meticulously designed to strike the perfect balance between tradition and modernity. Inspired by classic typographic elements, Prosper Rules captures the essence of timeless beauty. The serifs, with their subtle flares, provide a sense of stability and sophistication. The extended lines offer a contemporary twist, infusing the font with a touch of creativity and uniqueness. The uppercase letterforms of Prosper Rules are meticulously crafted, showcasing clean lines and well-balanced proportions. The extended lines, thoughtfully placed in specific letters, create a sense of flow and purpose. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Prosper Rules fits for headings, titles, logos, and any design project that seeks to make a refined and memorable statement. Whether you're working on editorial layouts, branding materials, invitations, or any project that demands a touch of sophistication, this font will lend a sense of timeless beauty. It is particularly well-suited for applications related to luxury, fashion, fine arts, and high-end products. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Violety Dreams is a serene and elegant serif font that will transport your designs to a realm of beauty and sophistication. With its timeless letterforms and delicate swinging strokes on select letters, this typeface evokes a sense of tranquility and grace. This serif uniqueness in its graceful swinging strokes, which adorn certain letters, adding a touch of whimsy and charm. These elegant extensions create a sense of movement and fluidity, capturing the essence of grace and elegance. Inspired by the ethereal nature of dreams and the delicate beauty of violet flowers, Violety Dreams embodies a sense of tranquility and enchantment. The serif letterforms are meticulously crafted to exude elegance and sophistication, while the swinging strokes add a unique touch of whimsicality. This font strikes a perfect balance between classic charm and imaginative flair. The letterforms are designed with precision and clarity, ensuring legibility and readability. Each letter retains its distinctive shape, while the swinging strokes create a visual interest and draw the eye. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Violety Dreams is well-suited for headings, titles, invitations, wedding stationery, luxury branding, editorial layouts, branding materials, and any design project that calls for an elegant and dreamy typography. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

Fabular is our serif font family with 12 styles. Inspired by vintage typefaces, but designed for modern purposes, Fabular comes in 6 weights with matching Italics. Short, thick and rounded serifs, spiced by specific terminal endings and finial bring gentle visual softness to Fabular's design. Tightly spaced by its serif's design, Fabular packs paragraph easily with great balance and rhythm within the sentences. It is decorative and serious font family at the same time which gives wide range of possibility for designers to use it: on posters, packages, labels, magazines, websites and many more situations. Contains Fractions, Oldstyle Figures, Denominator and Numerator as OpenType features.

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

The M XiangHe Hei Simplified Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and Seol Sans (Korean). M XiangHe Hei is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Simplified Chinese.