Courtside is a casual all caps handwritten font. It's easy to read and it has a playful feel to it at the same time. Get inspired by its simplistic charm and use it to brighten up any creative projects

Belhampton is a lively display family, full of the spirit of the Edwardian era. Six typefaces are offered: regular, bold, light, oblique, embossed and outline. All include an extensive range of stylistic alternates and discretionary ligatures, as well as lining and old-style numerals. Belhampton is ideal for poster and display work, or just the thing for any piece of Belle Epoque design.

Hideko is a visually unique font that has the essence of both serif and san-serif fonts through integrating the body structure of san-serif while retaining the calligraphy from serif. Hideko was inspired by synthesizing Japanese calligraphy and western letters. During the process of creating Hideko, I attempted to make a font only for oriental use, but the result is a font with versatile uses. This multicultural font is most effectively used for oriental restaurants but is also ideal for western cafes, posters, books, etc. Along with the cultural synthesis of Japanese and western letters, Hideko features various ligatures, stylistic alternates, fractions, and languages as well.

Type designer Hannes von Döhren created Brevia, a soft sans-serif type family consisting of seven weights plus matching italics. The fonts have a hint of a brushed feeling and come across as casual and friendly. Nevertheless Brevia’s architecture is straight, making it perfect for longer texts. Because of its large x-height, it also performs well in very small sizes. Brevia’s heavier weights are slightly more curved and have an eye-catching appearance. They unfold their strength especially in greater sizes. This contemporary type family is intended to be used in applications like Cosmetics, Service, Food and Advertising–basically everywhere a pleasant feeling should be conveyed. Brevia is equipped for highly professional use. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

ITC Chino is a type family (Display & Text) designed by Hannes von Döhren and Livius Dietzel. ITC Chino Pro brings legibility and distinction to text copy. It is also a friendly design that will invite readers into content at large or small sizes. It is a melding of soft brush stokes and crisp edges. This is readily apparent in the bolder italic weights where the straight stems provide a counterpoint to the cursive terminals. The Typefamily is highly legible in a wide range of sizes. The text side of the family contains five weights of roman, each with an italic companion. Ranging from Light to Black, ITC Chino Pro provides a rich typographic palette. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures and a set of arrows.

Lenga is a kind of beech originally from South America. The explorers who discovered this beech in Tierra del Fuego, thought it looked like a tree from their home country and named it 'Lenga'. Like many of southern hemisphere beeches, the Lenga beech is fast growing and hardy, making it an ideal timber tree. It regenerates easily after fires. The wood has good quality, moderate durable, and easy to work. The Lenga fonts were inspired in the nobility, robustness and flexibility of those trees. They have a distinctive personality within contemporary atmosphere. These fonts are quite appropriate for headlines, subheadings and with its text flow works very well for long texts. Their legibility is suitable for editorial purposes mainly in newspapers and magazines. Lenga comes in 16 styles carefully done in OpenType format. All styles contain standard and discretional ligatures, proportional lining figures, lining old style figures, scientific superior/inferior figures. The complete set supports Western European, Central and Eastern European languages.

“Sympathetic Font” multi-purpose use is an open designed font. It is possible to produce unlimited designs using this font. “Sympathetic Font” is made up of 24 different forms. Hearts, square, triangle, circles, moon and stars, horizontal and vertical lines, sloping inner lines and wavy lines. Shading and decorations are also available. Ideally suited for advertising and packaging, logo, branding, slogans and creative industries, poster and billboards as well as web and screen design. You can create unique designs using fonts in layers. TECHNICAL: Sympathetic provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Sympathetic” has 24 different forms and italics total 48 types. The family contains a set of 321 characters. Stylistic Alternates, Localized Forms and Old Style Figures just one touch easy In all graphic programs. Sympathetic is the perfect font for web use. You can enjoy using it.

Looking for a way to add a touch of bold, retro charm to your designs that evoke the fun and creativity of the 70s, 80s, and 90s? Look no further than our collection of classic and modern fonts that are perfect for logos, posters, and all kinds of design projects, whether you're going for an old-school vibe or a fresh new twist on retro design. With our carefully curated selection of fonts, you'll have everything you need to create eye-catching and memorable designs that capture the essence of classic design from the past. Whether you're looking to add some vintage flair to a modern design, or you want to create a throwback look that's right at home in the 90s, our fonts are the perfect tool for the job. From bold, geometric designs that harken back to the 80s, to playful, colorful fonts that embody the fun-loving spirit of the 70s, our collection has something for everyone. And with our easy-to-use design tools and resources, you'll have everything you need to bring your creative vision to life in no time. So why wait? Start exploring our collection of classic and modern fonts today, and discover how easy it can be to create stunning logos, posters, and designs that are truly one-of-a-kind. Whether you're a seasoned designer or just starting out, our fonts are the perfect way to add a touch of old-school charm to any project.

GHEA Aram is a super family font. It has 10 upright weights and their Italics. GHEA Aram supports Central European, Armenian and Cyrillic language systems. The weights from Regular to Bold and their Italics can be used as text fonts. The weights thinner than Regular and thicker than Bold can be used as Display fonts. It is an easily readable two side serif high contrast font but the eyes don't get tired while reading.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Gluck family is based on sans serif font. It fits to product design, any commercial and decorations. Glück family supports european languages. It includes 5 styles: • regular • stroked • bold • bold stroked • stripes

Vogue is extrapolated from some words in a 1930s brochure from Western Union called The Vogue of the Social Telegram.

Snoofer is a modern font that works for both display and text. It comes in 4 weights(Regular, Italic, Bold, Bold Italic). Snoofer was inspired by a character in stories my dad told me as a kid. Somehow they always ended with "... and they never left home again." Enjoy!

Introducing Brskovo is a modern uppercase serif, use this font for any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature - Uppercase & Lowercase - Number & Symbol - International Glyphs - Multilingual support - Alternative - Ligature Feel free to drop us a message any time and follow my shop for upcoming updates Hope you enjoy it.

Angel Script is a light, contemporary monoline script. There are approximately 695 individual glyphs complete with Stylistic and Contextual Alternates, Titling Alternates, Swashes and even Old Style Numerals. Needless to say, there’s a lot ‘under the hood’, and the typographic flexibility I wanted with earlier concepts shows in grand style with this release. The single weight font includes a complete Central European and Western diacritic set as well.

Chipa has all the advantages of OpenType technology that allows a variety of combinations: Swashes, old style numerals, standard ligatures, contextual alternates, discretional ligatures, word ending and tails. These fonts were specially designed for creating logotypes and packaging design, can also be used in advertising, flyers and posters, for its good legibility and accurate kerning. Chipa support the Central European character set as well as basic Western languages.

Introducing Neuborn Font Family Neuborn is a Sans Serif Font Family (Light, Light Italic, Regular, Regular Italic, Regular Hollow, Regular Italic Hollow, Medium, Medium Italic, Medium Hollow, Medium Italic Hollow, Bold, Bold Italic, Bold Hollow, Bold Italic Hollow). This Font Template contains Modern, Formal or Non Formal, Classy, Elegant, Strong, Readable, Stylish, Cool, Bold, Minimalist and easy to use. FEATURES - Uppercase and Lowercase letters - Numbering and Punctuations - Multilingual Support - Works on PC or Mac - Simple Installation USE Neuborn works great in any branding, name card, logos, apparel, produk pagaking, flyers, magazines, label, films, stationary, posters, etc. and any design project that requires a formal or informal touch.

Alton JNL is an ultra-bold sanserif design that's perfect for any headline application.

Ravensara Serif - elegant high contrast classic serif. Style of the typeface originates in a classic Didone but took a step to simplify some letter forms and make Didone feel more contemporary. Ravensara Serif is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Stencil. Ravensara Serif, despite its ancient roots and due to simplified and smoothed forms, can be used in a variety of different styles. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc. It is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Ravensara Serif extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

Based on the character shapes of Atria Bold, Blocksta is a bullish rough cut sans with extensive language support. Hopefully it won’t start another cold war.

A heavy blackletter; Rudolf Koch’s first type from 1909. On an old page full of type specimen from the 1930s, the type is described as ”Schwabacher (used by the Deutsche Reichsbahn [German Imperial Railway]).“ As a matter of fact, it is the first print of the Offenbach script master Rudolf Koch, who came out with this typeface in 1909. At that time, it was given the name ”Neudeutsch“ (New German). Later, it became very popular under the name Koch-Schrift, and was at times the official typeface of the Deutsche Reichsbahn (German Imperial Railway).

In 1994 I took a picture of an old movie marquee in Times Square, New York City. 7 years later, I decided to design a typeface based on the big plastic letters found in those old marquees. I scanned in the picture I took and began to draw the letterforms. Like most of my font designs, the initial inspiration came from an urban environment.

Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn’t bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that “old-timey” effect in graphic designs. It looks best in large sizes for titles or initials.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Saddle Hitch JNL is a Western font inspired by a few words set in a decorative typeface from an 1887 publication.

There is something fun about western type. And there is something fun about hand drawn type. Put them together and.... Tada.

Quadrim - Serif Font Family - Multilingual -12 Style (2020) On the basis of Quadrim, it is a mix of the old-fashioned Roman serif family. The old style serif combination combines, modern aesthetics with fantasy and Art Nouveau serif fonts, making Quadrim a versatile family that can be used in many different design projects. This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to large titles, from classic styles to modern and bold styles. It is very suitable for book and magazines, magazine covers, editorial, titles, websites, logos, invitations, branding, advertising and more. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Mid Century Sans (MCS) is composed of high-geometric shapes. László Moholy-Nagy —professor in the Bauhaus— said “Typography is a tool of communication. It has to be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” As same as you can see in modern typefaces in the early twentieth century, MCS has very efficient, clear and minima letterforms. There are not any decorative parts in the skeleton of letters. At the same time, Mid Century Sans has one more feature. In the middle of the twentieth century, one big movement which was called Mid-century modern had occurred. The Mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements and it was slightly more organic in form and less formal than the International Bauhaus-style. In other words, it was friendly and stylish. We added Mid-century-spices to the Bauhaus-modernism. The basic letter form is geometric yet it has very friendly strokes and human touch. Mid Century Sans consists of 8 weights and their matching Italics for a wide range of usages. Farther, Mid Century Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also MCS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternates for advanced typography.

Crillee is a family of our styles that was originally produced by Letraset. In 1980, Dick Jones designed Crillee Italic. Jones also designed the family's second style, Crillee Extra Bold Italic, in 1981. Peter O'Donnell designed Crillee Bold Italic in 1986. The fourth style, Crillee Italic Inline Shadow, was completed by Vince Whitlock. At the time of Crillee's development, Jones, O'Donnell, and Whitlock were all employees of the Letraset Type Studio. Crillee's slight lean to the right and geometric forms create a feeling of power and speed. Crillee should be spaced closely in word settings and is perfect for anything which should have a cool, modern appearance.

Inspired from the bold and loud visual statements from the 90s poster and graphic design trend, makes Strippy can’t hold itself to be born in this universe. A clean, square, and bold form of body, makes Strippy is the simple way to go to shot your statement louder and wider.

Introducing Tequila Sunrise, access your OpenType features to access the large selection of alternate letters and ligatures. Use this font for any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature 7 Weight Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time Hope you enjoy it.

Woliu Maners is a Modern Sans, use this font for any branding, product packaging, invitation, fashion, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time and follow my shop for upcoming updates Shoot me on email at: dedukvic@gmail.com Hope you enjoy it.

Introducing Casty, access your OpenType features to access the large selection of alternate letters and ligatures. Use this font for any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature 7 Weight Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time Hope you enjoy it.

Introducing Supremely Luxurious, Access your OpenType features to access the large selection of alternate letters and ligatures. Use this font for any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time Hope you enjoy it.

Rhein is named after the German river that runs through the western border valley. Rhein is a sans-serif typeface family for titles, editorials and graphic design pieces with high impact needs. Rhein was not only conceived as a font design with rounded corners, but its intersection points have been also smoothed. In addition, the wide range of 8 weights that vary from Thin to Black allow relatively long continuous reading (Regular, Medium, Semibold), and short reading designs (Black, Bold, Thin). On the other hand, the "Inline" variant is extremely provocative to fit into any branding project. To add dynamism and to expand the typeface range of use, it was designed as a family of alternatives. Together, the 18 styles of "Rhein" provide a range of options that adjust to the needs and current design and advertising trends.

Letraflex is a bold retro-inspired typeface with a slightly futuristic style. The family is based on old computer lettering and Magnetic Ink Character Recognition, with a little contemporary twist including ink traps. Letraflex layered fonts provide users with a wide range of choices for any design project. This family is an excellent pick for eye-catching designs, including Headline, Poster, Branding, Logos, Concert, and any other heavy design! Take a look at this video to see Letraflex in motion!

Introducing Poespa Indah - Old Type, created by ikiiko. Poespa Indah was inspired by vintage store signs in the classic era of indonesia around the 60s. In particular, this typeface is designed to give a formal yet old style look. Poespa Indah has a sans serif typeface with bold to light contrast. This typeface is perfect for an formal layout, newspaper, magazine cover, and also good for vintage product, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Analisa is a special modern style font. Crafted with pinpoint accuracy with beautiful curves. with alternate characters and bonds that make your work very special. Analisa is perfect for use in watercolor designs or bold handwriting styles, such as blog headers, branding, t-shirts, Great for branding designs, logos, greeting cards, title packaging, weddings, social media, product design, stationery , advertising, clothing, book covers, business cards, greeting cards, branding, merchandise, handmade invitations and quotes, and more. Immediately use our fonts to make your work more amazing. Feature analisa of OpenType style alternatives, International binders and support for most Western Languages ​​included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Analisa are coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Petras Script, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Now the font is complemented with an alternate character set, which gives designers more flexibility and adds a personal touch to the font. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because Petras Script became such a huge success, she decided to release Casanova Script Pro.