Rafigen is a thick and playful typeface . It comes in two different styles, plain and slant. Really great font to make it easier for you creative work such as — branding, film titles, packaging, advertising, posters, and web or app. Enjoy:)

Perfect Sketch is a classic Grotesk Typeface drawn with care by hand to imitate the way we used to sketch headlines before the ascent of computer based design. I sell 4 for the price of less than three. Yours Gert Wiescher

Berimbau is a whimsical narrow hand-drawn typeface. It’s stylish, versatile and loaded with amazing OpenType features that do their magic in OpenType savvy applications. Its sprightly swashes and twisting stylistic alternates (say that 3 times fast!) play together to deliver a really cool contextual feature that, in a push-button way, substitutes the first letter in a word with its left swash version and the last letter with its right swash version (please type a space before and after the words).The feature also applies stylistic variants to some of the intermediate letters. Which button to push? The Contextual Alternates one! If you're not a one-click-way-person you can pick your preferred glyphs through the glyphs palette. There you’ll find at least 4 variations for each letter: left swash, right swash and 2 regular forms that correspond to the upper and lower case keys. Some letters also have a 5th variation that acts as stylistic alternate. This font is conveniently packed with the ‘access all alternates’ functionality, so when you click on a glyph at the glyphs palette you’ll see all variations available for it, making it easier to choose the one that will fit better. A bold weight was made to provide that extra-strength when a bit of… boldness is needed. Please note that it doesn’t have the advanced OpenType features (but is still very charming!). Yet, both weights have a handy set of ornaments for added yumminess.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

The proudly present an elegant font that always outstanding in every your project design. Garlic font is a versatile typeface that perfect for designing a headline, title, wedding invitations, logotype, quotes, advertisements, and more. Garlic font offered 4 styles set such as regular, italic, outline regular, and outline italic so you can be combining to make a more elegant and beautiful design. What's included Garlic regular and italic (otf, ttf, and web font) Garlic Outline regular and italic (otf, ttf, and web font) Multilingual, support 17 languages If you have any questions don't hesitate to drop me a message. Stay safe, healthy, and have a nice day

Brovile, is a wedge serif font that is sure to stand out! A little bit retro and a bit modern, Brovile. is great for logos, editorial or web design. The unique sharp serifs mixed with thin strokes give off a bold mid century architectural vibe. This modern serif typeface features serifs. Perfect for gorgeous logos & titles, The Brovile. will pair beautifully with many fonts and work well with whatever project you're working on. Web font Uppercase Lowercase Numbers & Punctuation That's it! If you have any questions at all , feel free to pop me a private message , I'm always more than happy to help you along :) Happy creating! Hanzel Studio

Stripes is a caps only font and does not contain additional ligatures, because there is an easy way to create as many of them as you like. To form a ligature, convert your word or word string into vectors. Activate the corner points of the straight lines (not the round ones) of a letter and drag them over the next or the previous letter. This way you can create any ligature of your own. Beware of overkilling, it could decrease the legibility of your text. Besides the normal J, Stripes contains a stylistic alternate which should be used to avoid ugly gaps between critical letter pairs (see pdf document).

The Neue Frutiger Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Ultra Light to Extra Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

Say hello to GOTCHA! A versatile new marker font with bounce and vigor and a a super-sexy-casual vibe! The Gotcha fonts are incredibly versatile , from street urban, to styled fashionista, to hearty food branding - whatever the weather, Gotcha! has you covered :) Gotcha! comes with a set of alternate upper and lower case letters, and a second set of lowercase letters - this way you can write one word in a million different ways - and keep things ultra natural looking. A comprehensive set of double letter ligatures are also included. Gotcha! also comes with an “Extras Font” which include textured swashes and splatters/grit to add some pizazz to your design.

Created in 2009 by V.H. Fleisher, Monod is a geometric sans-serif typeface. The font has OpenType features that can be accessed in programs like the Adobe Creative Suite. These features include titling caps which are heavier & more tightly spaced than the regular caps, alternative punctuation marks, and arbitrary nut fractions (for single digit numerators & denominators). By clicking on the "gallery" tab above, you can see an illustration of the OpenType features. The "ff" tab on the "Sample Text" bar below allows you to test the OpenType features with your own text. Supported languages include: Albanian, Czech, Danish, Dutch, English, Faroese, Finnish, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish & Swedish.

Handcraft is a handwritten script font. This font is ideal for any design project that needs a more handmade look. Handcraft is a great way to add a touch of handcrafted charm to your next project. Central Europe is supported in the extended glyph set. Font contains 346 glyphs and includes some alternates, as well as others, all accessible via OpenType features. Remember to turn on contextual alternates and ligatures for the best experience. Handcraft /ˈhænd.krɑːft/ A skilled activity in which something is made in a traditional way with the hands rather than being produced by machines in a factory, or an object made by such an activity.

Is your character vibrating slightly or feeling shuddering feverishly, as if from fear or excitement? Is he or she a warm-blooded animal experiencing the early onset hypothermia? Is your protagonist experiencing a pleasurable sensation of anticipation or maybe he/she has a fragment or splinter of glass or stone in the tip of his/her finger. Any which way, Comicraft now has the font for you to effectively convey the way your characters are feeling to comic book readers everywhere... It'll be just like they're listening to a track by Coldplay while trying to shake off the flu in a haunted house. See the families related to Shiver: Shake.

Univers Next Variable Set is a single font file that features three axes: Weight, Width and Italic. The Weight axis has a range from Light to Extra Black. The Width axis provides a range of condensed and extended values. The Italic axis is a switch between upright and italic. Variable fonts act as a complete family of fonts in a single file. The new Variation font feature is supported by a growing number of desktop design applications, and more importantly by all the major web browsers. Variable fonts provide a variety of benefits to web and print designers and developers including flexible, responsive typography.

Future Concept is Sans Serif fonts inspired by future design concept great for product logo, technology, game, design, space concept, poster, headline, card logo, web, magazine, packaging, stationery and much more. Easily creates your own logo type with fonts. Future Concept has an Open Type feature to access a large selection of unique alternative letters and many ligatures to make it easier for you to create. Future Concept can be accessed perfectly on design applications such as Adobe Illustrator, Adobe Photoshop, Corel Draw, Affinity Designer but does not rule out the possibility that it can also be accessed using web-based applications such as kittl, canva, artboard studio and others.

Lumberyard Stencil JNL was inspired by the image of an antique brass stencil that was probably used for marking various wood products by a lumber company. It's available in both regular and oblique versions.

This font was designed for an identity project, but wasn't used, so now it's for sale. The idea was to develop something similar to Engraver's Gothic, but with a more informal and playful feel.

My intent in designing Young Gallant was to create as simple and elegant a formal script as possible. It was developed to illustrate my new book Learning Curves discussing the essence of formal script.

In the world of webfonts, Condensed proportions are key to maximizing your page's premium real estate while keeping your copy clean and catchy as you cut down to the essentials. Soon after the introduction of webfonts, I began to see Insigne's Le Havre used frequently for web headlines, not so much for its Art Deco look as for its more compact proportions. There seemed to be a need for a font that was designed to be used solely for the web's unique constraints. Enter Coegit Sans. Coegit is built specifically for web applications. Its highly Condensed forms range from thin--offering the greatest number of uses--to the attractive, accenting black. With three widths--Compressed, Compact, and the widest, Condensed --the family holds a total of sixteen fonts. The typefamily has also been hinted for excellent, onscreen display quality, even at small sizes. Overall, its lighter, humanist features provide the reader a more congenial welcome than its square, sans-serif counterparts can offer. Coegit is equipped for complex professional typography with stems, small caps and plenty of alts, including titling capitals. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The family also includes glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Coegit supports over 40 languages that use the Latin script, making the new addition a great choice for multi-lingual publications and packaging. While the advanced OpenType features of webfonts are not currently supported in many browsers, the near future promises wide support. As acceptance of these features grow, Coegit Sans will prove to be a versatile element for your wide range of web projects.

How many times have you seen lettering on a book cover, poster, or card and wanted to make something similar? Decorata’s eight intertwining weights finally make that possible in an intelligent way. The first major collaboration of its kind, Decorata pairs the talents of supreme lettering artist Martina Flor and masterful type designer Neil Summerour. Lettering was traditionally understood as using words in an artistic way, while type design created written language for easy reading, the one overlapping the other in several ways. For this unique project, Martina created several versions of the alphabet and its decorative layers in her eye-catching style. Neil then took those designs and created an enormous eight-style font family that respects the designer’s need for control and capitalizes on the artist’s expressiveness. Each style can work separately but, on top of the foundational styles, try placing the Lace, then Filigree in contrasting colors. Use any OpenType-capable program to turn headlines from blasé to wowza, make posters with some pow, and design your own cards with that just-right level of detail. Whatever idea you can imagine with the Decorata family, it promises to be a playful and precise wordsmith where the words themselves are the art. Decorata’s glyphs are bifurcated, have medium contrast to showcase their intricate interactions, and include Shadow, Regular, Outline, Filigree, Lace, Fancy, Intricate, and Dingbat styles — eight in all. The Regular style sets the word or phrase to begin the design, Shadow ensures it lifts off the background, and Outline attempts to restrain its ornate flair. Think of those as the foundation and use the rest of the styles for flamboyance. The Intricate and Filigree styles vary only in the thickness of the glyphs, with Filigree being thinner. Lace removes the external curls around each letter but keeps the internal negative space from those decorative lines. The Fancy style is a solid lettershape that includes its attendant elements, and the Dingbats are exactly as expected: borders, manicules, patterns, frames, and many stylized items to bring designs to life.

Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces were producing too much bleed of the individual glyphs...Cynapse was born. It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page, and in effect, reducing the appearance of bleed). The results was promising. The new OT version contains additional OpenType features that include expanded ligature sets, fractions, 5 sets of numerals as well as small caps and Central European diacritics.

The first version of Libris I designed in London in 1997 when I worked for Frank Magazine. Later Libris was used in the magazine for text and display. In 1999 Libris was chosen as the corporate typeface of Bally Switzerland. I also was involved in the design of the entire branding. NewLibris is the version that was published in my own shop. - What was the inspiration for designing the font? NewLibris is an elegant contemporary easy to read sans serif. It has a wide variety of weights and proportions that are easy to use in corporate branding and magazines. - What are its main characteristics and features? contemporary humanist legible sans serif - Usage recommendations: corporate branding and magazines and other publications

Once upon a time, in the days BC (that's Before Computers) there lived a very talented group of men and women whose job it was to render ads by hand. So skillful were these people that some say it was possible to actually identify the typefaces that the layout artists were emulating. Their renderings were swift and slick, no time for detail as it was necessary to do a whole bunch of variations, usually within ridiculous deadlines. Their only tools: bullet-tip markers and bond paper - often mistakes resulted but no time to re-do and white paint was totally unacceptable - just let the slipups be. Here's a simulation of their craft, we don't really know what typeface this was supposed to represent… any ideas?

Niccolo Niccoli (1364-1437) was a wealthy bibliophile and an acclaimed scribe, in Florence (Italy). He was one of the most important Italian calligrapher in this early time of rediscovering Roman script. Of rare accomplishment was his adaptation of the so called Italian humanistic minuscule script. We were inspired from his late work to create this present Font. We have added a lot of accented and other characters (U/V, I/J...) who was not existing in the original and replacing "long s" by a small "s" for a modern use. The OTF encoding was used for intelligent alternates, permitting to use different forms of the same lower case or capital in a single word, reproducing easily the charming variety of a real manual scripture.

To design a font Blezja, I was inspired by an old metal tin from 1907 from Potsdam, which was used to store earplugs. From a few letters I created whole typeface - lower and uppercase characters.

Grammatik was made in the end of 2004. This typeface is clear and simple hybrid between sans and serif styles, which was so popular late 90s. Use Grammatik as a display face for best results.

Hannah Joie was influenced by the early lettering that appeared on posters in Israel (e.g. the 1950s). The style of the lettering was bold, heavy, and prominent. Hannah Joie is an OpenType/TTF Unicode font.

Cooper Poster was inspired by showcard lettering samples featured in the book, Commercial Art Of Show Card Lettering, published in 1945. Although named ""Western"", the design was modeled after Ozwald Cooper's 1921 original Cooper Black.

German designer Erbar drew the Candida typeface for the Ludwig & Mayer foundry shortly before his death in 1935. The typeface was released posthumously in 1936. An italic designed by Walter Höhnisch was published the following year and a reworked version was produced in 1945. Bold weights followed in 1951. Thanks to its clarity and readability in small sizes, the Candida family remained popular in the digital age.

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

The Festival Titling font was cut by Monotype in 1950 as the official display face for the Festival of Britain which was staged in 1951. Used for all official Festival announcements, Festival Titling was made available for general use in 1952. The festive feel of this design together with the clean glitter and novelty make it a useful face for display and advertising use.

This set of initial letters was inspired from French renaissance decorated letters. Unfortunately, we don't know where they were in use, or who was the punchcutter, our models were coming from a late XIXth century copy. Note: The letters I and J, U and V are not different. It is not a mistake, but it is the exact reflection of what was customary during the period.

The Weidemann typeface's original name was Biblica, which was designed for the collaborative publication of a Bible by the German Catholic and Protestant Churches. The mass of text which the face was intended to set required that the design allow many characters to fit onto one line without rendering the words illegible. Thus, narrow spacing does not compromise the legibility or the elegance of Weidemann.

Flex Rounded display typeface was designed in 2000 by Vladimir Pavlikov as alternative 'soft' variant to the original Flox face. In contrast to Flox there are rounded stroke ends and curved shapes in most of Flex characters. The project was aimed to create a decorative vivid alphabet of geometric shapes. Cyrillic was developed in 2005. For use in advertising and display typography. Licensed by ParaType in 2005.

Goudy Type was designed by Frederic Goudy for ATF in 1916. He endeavored to create a lively design with some brush-lettering qualities. In his words, he believed he was still attempting to ‘find himself’ as a designer. Thirty years later he was shown the design and could hardly recollect its creation. Steve Matteson has digitized Goudy Type to preserve its place in typographic history.

Tatline Neue is a serif font family of 14 fonts encompassing a wide range of weights — from Thin to Heavy. Tatline Neue was modelled after the original Tatline display font, but this major overhaul resulted not only in updated and tweaked shapes and smother curves, but also in addition of 13 new weights, making Tatline Neue a perfect tool for designers and typographers alike. Each font contains 450 glyphs, multiple sets of numbers, stylistic alternatives for certain glyphs, ligatures, numerators, denominators, old style figures, and other symbols. Tatline Neue can be freely used across Western European, Central European, South Eastern European languages. Tatline Neue was designed from the scratch to keep glyphs consistent across all weights. Thinner fonts are more uniform, with little to no variation in the weight of the strokes. Bolder fonts, on the other hands, are chunky and somewhat comic —in a good way. Tatline Neue was born out of a display font, losing none of its original quirkiness and vibe. While serif fonts are often seen as vintage and orthodox, Tatline Neue strikes a livelier note: one of cheekiness, bizarreness, quirkiness, and expressiveness. Thanks to a wide range of weights, Tatline Neue is a great tool for a variety of projects: whether it's used for plain text in a larger body of text or as a headline font, or even as a key element in a logo creation or brand identity. Tatline Neue is a serif font for those who are tired of seeing the boring in the typography and design; it's a font for explorers, for adventurers, for those who seek to find their own voice.