Taurunum Ferrum is a version of Taurunum family, made to feel like it’s been cast in iron or cut out of steel plates. It is meant to be used in a bold display setting where raw and strong look is a priority. The Iron style has an medieval (blackletter) flavour, while Steel has more of a contemporary look. Taurunum Ferrum has a character set to support Western and Central European languages.

Miraversa is a display font inspired by calligraphic capitals. It's a typeface with characters of remarkable width, delicate serifs, and beautiful contrast. Most of the letterforms are round, with generous curves. It works as charming drop caps, beautiful titles, and nostalgic compositions. You can use this font on book/cover title designs, product labels, logos, posters and stationery. Features: Basic Alphabet All Uppercase and Punctuation Numbers and Symbols Language Support

Drunken Hour is not your everyday-ransom-note font! It has autoligatures for both double numbers and letters, and a good handful of the most common letter combinations...even the accented characters has got their own unique look! Well, that means you can make your next punk-grunge project look like YOU actually did all the cutting of letters! :) You will need to use OpenType supporting applications to use the autoligatures.

Angelviews a sans serif font with over 80 variations in the lower case, including Latin and Central European diacritics. Alternates in the lower case can be involked in ONE FELL SWOOP with the the Contextual Alternate Opentype feature (calt), or by selecting each single Alternate (aalt). There are some faint differences in the lower case glyphs but enough to give the designer a creative choice in texts or small captions.

Astromonkey - here he is, all new, all excited to be alive! Astromonkey comes from outer space, where he has rubbed shoulders with the Star Trekkers, the aliens and Major Tom, who is still floating in his tin can. The font is a squarish all caps, with a different set of glyphs for upper and lower case (so they mingle quite well) and Astromonkey himself - disguised as the paragraph glyph. Enjoy.

Foxglove is a playful, minimal brush font designed to add a personal, charming quality to quotes, branding, promotional images and product designs. Foxglove contains two sets of uppercase characters, you can switch between these simply by turning your caps-lock on & off. Contains language support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Stonehill is a bold handpainted sans serif typeface for display or packaging use. Stonehill has 3 glyphs for each letter and with contextual alternates activated in apps that supports this it will cycle thru these alternates to keep the same glyphs from repeating too much. Or, you can always pick and choose from the alternates manually to keep it fresh! Stonehill is available in two cuts - regular and oblique.

Newt Juice is a funky hand drawn font comes in both Outline and Fill styles. Put them both together in your favorite application and you can get some really organic looks. Newt Juice is perfect for kid stuff or grungy graffiti. While it is an all caps font, the upper and lower case characters are position differently to create more randomness. Be the first on your block to juice the newt!

Sweet Farm Story is an informal and friendly handwritten font that can be used for all chalkboard quotes or teaching material! Its authentic look and feel will add a personal and realistic feel to your designs. This font supports Multi-Languages, including Afrikaans Albanian Catalan Danish Dutch English Estonian Finnish French German Italian Norwegian Portuguese Spanish Swedish Zulu. Features : Basic Latin All Caps Numbers, symbols, and punctuations Thank you

Byzantus is a versatile blackletter-inspired font that was designed primarily with legibility in mind. Byzantus can be used in many situations that could use a bit of style, whether it be an informal concert poster, or a more formal wedding invitation. Its versatility allows Byzantus to shine in many applications. Byzantus also works well not only as an uppercase/lowercase font, but also as an all caps font.

Santanelli is a rounded all caps display typeface. It is intended to be used in posters, editorial headlines and logotypes. It comes in three weights: Thin, Medium and Bold. Each letter has been designed with two different styles or flavors: decorative and clean. You can access each of them by typing uppercase and lowercase respectively. These two styles fit perfectly when combined within the same word or message.

An online image of a grid page [circa 1930s] showing teachers how they and their students could create cut-out letters and numbers inspired Poster Project JNL. The typeface is available in both regular and oblique versions. A crude, yet charming simplicity to the lettering can help replicate old time school bulletin boards and posters, or simply provide a less formal typographic approach when that is needed for a project.

Chicago Ornaments is a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of 139-141 Monroe Street in Chicago, Illinois. This collection was shown in their 1890 Price List. According to William E. Loy, at least some of them were designed by William F. Capitain. Chicago was one of the innovative Midwest type foundries, introducing the American Point System. These designs represent the late Victorian period. After 1890, with the posters of Jules Cheret taking Paris by storm, Art Nouveau gradually began to displace Victorian style. In type design, both styles competed against each other until about the end of the century. Designers may want to consider using these ornaments when using Victorian style typefaces, like our Cruickshank, Edison and Freak - as well as faces by others such as Karnac, Kismet and Quaint Gothic. Included in the font are a set of Dormer-inspired caps, numerals and a few other glyphs - also from the Victorian period.

Mondia is a modern serif font family with 18 fonts inspired by transitional and contemporary typefaces. Mondia has been designed with high-contrast character ratio to give an elegant touch, and high x-height to give sentences more legibility. Ranging from thin to fat with its matching italics, Mondia offers many possibilities to be applied in many graphic or editorial projects. Also thanks to the extended latin character set so that Mondia supports 200+ latin-based languages. Mondia also has a complete set of true small caps that integrate beautifully with lowercase letters to give more emphasis to the highlighted texts. Mondia has OpenType features built in, such as stylistic alternates, standard ligatures, special ligatures, oldstyle figures, localized letters, automatic fractions, sub/superscripts, and ordinals. Mondia also has a complete set of proportional and tabular numbers. With those features, Mondia is a great choice for headline, branding, titles, but can also perfectly be used in small articles. For full presentation please visit me Behance post.

Scissors cuts paper, paper covers rock, rock crushes lizard, lizard poisons Spock, Spock smashes scissors, scissors decapitates lizard, lizard eats paper, paper disproves Spock, Spock vaporizes rock, and as it always has, rock crushes scissors. If you're familiar with this theory, you already Speak Geek, and now you can download a font that has 250 friends in the Comicraft Font Library but has never met one of them. Take it to Comic-con this weekend and take photos of Wonder Woman cosplayers together then post them to your tumblr account... Or head down to the basement for D&D and debate the merits of George Lucas fiddling with his trilogies. Yep, GEEKSPEAK shoots first -- put that on a t-shirt! And gimme some Spock. GeekSpeak features Western & Central European, Vietnamese & Cyrillic support, worldwide currency symbols and Crossbar I Technology™ * Comicraft fonts are created by actual comic book letterers for actual comic book lettering

Scan is literally a barcode font, made of actual barcodes, shaped in De Stijl style. It is a monospace, all-caps font with two different barcodes per letter. These offer the user a choice of a heavier look with the upper case and a lighter look with the lower case. Numbers and letters each have their own distinct barcodes. Also included are an alternate K and R. This font offers numerous ways to create artistic presentations with its unusual design. In certain contexts it has a foreboding look of impending doom, or a cool, cutting edge futuristic look, which lends itself to artwork for album covers, video games, movies, television, novels, and more. It can even have a whimsical look with the use of different colors for its individual bars. Some renderings reveal a ridged or textured look, even a 3D or three dimensional look. Scan gives the user a very high degree of creative potential! Digitized by John Bomparte.

Palatino Sans Informal was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans Informal a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. In comparison with Palatino Sans, Palatino Sans Informal offers eccentricities that are somewhat artistic and more individual looking. The fonts in the Palatino Sans Informal family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans Informal can be mixed well with Palatino and Palatino Sans.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

Well lookee here: an authentically distressed "rough" version of our best-selling Cornhusker font! Standing tall as an Illinois cornfield in September, Cornhusker Rough is a faux-printed, condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & inky characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Rough is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Rough includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. Please note: Cornhusker Rough features a highly detailed, realistic inkplate texture. This font may render slowly in some applications. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

ITC Hornpype is the work of California freelance designer Mott Jordan, a cheerful display face inspired in part by the cartoons of the 1920s and 30s. According to Jordan, the typeface's name and three-dimensional quality can be traced to an early cartoon in which a cat blows on a horn with such force that the instrument bulges out. For the three-dimensional look, Jordan added highlights to the thicker strokes to create letters that look as though they were, in his words, squeezed from a toothpaste tube". Jordan suggests his eye-catching font for shorter words in larger point sizes. ITC Hornpype is a lively font perfect for anything needing a "fun, goofy" look."

Witch Hazel has been quite a while in the making; a fun font with slightly flared serifs, lots of ligatures and alternates, and over 1150 glyphs! This font is great for holiday designs, from Valentine's Day to Halloween to Christmas! It also bridges modern and vintage styling, so you can use it for fairy tales and pirates, or for your company's branding and logo! I just couldn't stop adding more and more to this font. Witch Hazel includes: - The usual A-Z, a-z, 0-9, and tons of punctuation; - Greek uppercase letters; - Cyrillic uppercase letters; - Over 430 extended Latin characters; - Small caps; - Decorative alternates for all letters (some letters have up to 8 alternates!); - Numbers and uppercase letters with pointy spurs; - Numbers and uppercase letters with rounded spurs; - 40 two-letter ligatures! All characters are OpenType coded and PUA-encoded, so they can be accessed by all design programs. And I'm including a PDF with the full character list; you can use it for reference, or you can copy/paste directly from the PDF into your project!

Woodford Bourne PRO is the evolution of my original Woodford Bourne typeface that was inspired by the iconic stone cast letters on the façades of the 19th century Woodford, Bourne & Co. buildings in Cork City, Ireland. Woodford Bourne PRO has matured with numerous improvements to make it an even more versatile font family. The fonts have been completely redrawn and spaced, there are now an additional 500 glyphs for you to use across 9 stylistic sets. The additions include underlined caps, small caps, petite caps, catchwords, discretionary ligatures and more. Please view the specification sheet before you purchase to see all the glyphs and features. Key features: • Woodford Bourne PRO is a vintage geometric sans, optically adjusted for improved aesthetics and legibility 2 FONTS IN 1 – Use the default contemporary character set, or switch to vintage style with stylistic sets 9 Weights in Roman and Italic Thin | ExtraLight | Light | Regular | Medium | SemiBold | Bold | Black | Ultra Underlined Caps, Small Caps, Petite Caps, Catchwords, Discretionary Ligatures Full European character set 1000+ glyphs per font UPDATED JULY 2021 (v.3) Woodford Bourne PRO v.3 update includes numerous improvements including rebalanced /S/s/ glyphs to make them less ‘top heavy’. Italics have been redrawn to smoothe out irregularities. Improvements have been made to diacritics and glyph coverage now supports all Latin European languages.

Welcome Amica Pro, a workhorse sans designed to give your branding a friendly, approachable look. What is it that makes a typeface friendly? Eclectotype undertook extensive research* in this and the results are in! To cut a long story short, friendliness in sans serif fonts can be summed up in two words – short and fat. Basically, think Danny DeVito in letter form. The shortness in Amica Pro is achieved (somewhat counterintuitively) by pushing up the x-height. This, coupled with short ascenders and descenders, gives the text a squat appearance. For the fatness, that's easy in the bolder weights, but how to carry this through to the lights? Here, the fatness equates to roundness, so the letterforms, even if the stroke weight is light, have a rotund appearance from the wideness and roundness of the circular glyphs. When thinking about friendliness, we think about inclusiveness. To this end, Amica Pro supports a super wide range of latin-based languages, as it uses Underware's Latin Plus character set, as well as extra support for Vietnamese. Amica Pro is best used for branding, logos, infographics etc. It will give your UI a friendlier feel, but that doesn't mean it's not serious. There are many useful typographic features, including alternates, numerous figure styles, automatic fractions and case-sensitive forms. The italics are carefully optically corrected "sloped romans" and as such they are the same width as their upright equivalent, so changing your copy to italics will not mess around with the spacing. *I looked at a few fonts and drew some lazy conclusions.

TT Drugs useful links: Graphic presentation | Customization options Font family TT Drugs—fonts that are specifically designed for the pharmaceutical industry and for household chemicals. Then to make a text layout for package of any medicine, toothpaste or laundry detergent? The answer is—Drugs. Font family has a range from thin to black font and can be used on any surface: paper, cardboard, metal, glass and others. We offer you to have a look at this font’s narrow version—TT Drugs Condensed. FOLLOW US: Instagram | Facebook | Website TT Drugs OpenType features: Case Sensitive Forms, Tabular Figures, Fractions, Numerators, Denominators, Superiors, Scientific Inferiors. TT Drugs language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

TT Drugs useful links: Graphic presentation | Customization options TT Drugs Condensed—a modern font family which consists of 5 condensed sans serifs with a special contrast formula of lines and stems. TT Drugs Condensed is a condensed version of the TT Drugs font family. These fonts are perfect for design in the pharmaceutical industry: packaging, posters, blissery. However, those fonts can also be used in any other design, for example, in printing, logotypes and websites. Font family includes 10 most popular typefaces: thin, light, regular, bold, black and 5 appropriate italics. TT Drugs Condensed—a versatile tool for any design tasks. FOLLOW US: Instagram | Facebook | Website TT Drugs OpenType features: Case Sensitive Forms, Tabular Figures, Fractions, Numerators, Denominators, Superiors, Scientific Inferiors. TT Drugs language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Many current poster artists like to reference the graphic type styles that were popular in the ’60s and ’70s. Zaftig is a contemporary font that takes the geometric and blocky inspiration from that era but then steps off in a modern direction. At first glance, it may appear that the capitals of Zaftig all take up the same amount of space, but certain letters have been designed proportionally for a better flow. However, if the designer would prefer to stack the capital letters in even columns, like blocks, then one can use the Titling Alternates feature. In this feature the metrics of all the capital letters are the same, and certain letters have been designed narrower, allowing for seamless stacking. The space, bullet, asterisk have also been given the same monospaced metrics in this feature to make stacking easy. The Small Caps feature in Zaftig is designed so that the small cap glyphs are the same height as the lowercase. This allows the graphic designer not only the option of small caps, but also the ability to mix and match both kinds of letters to create a distinctive style. There are also alternate numerals in the Small Caps feature that match the height of the small caps. In Stylistic Alternates 1 you will find alternate designs for the Q, A, I, J, L, n, and u glyphs. Or you can find alternates in the Glyph Pallet of your favorite OpenType savvy application. Zaftig is more than it appears on the surface. This OpenType font contains over 1200 glyphs and language support. That makes it an international font which contains letters for most languages that use Latin, Central European, Cyrillic, and Greek scripts.

The ten font Turbinado™ Set was designed to be clear and easy to read with a friendly personality, ideal for advertising and packaging in both text and display settings. Included are three weights of brushed casual script, each with a dry version, two condensed all caps faces, another hand printed caps face and an Elements package with 100 brushed elements that include swashes, botanicals, shells, arrows, repeatable patterns and a few other doodads that play well with the fonts. Like our most recent release Fave, all of the fonts use the OpenType standard ligature feature to automatically differentiate consecutive lowercase letters and numbers, using separate glyphs rather than a single ligature so they can be set on a curve or colored separately, etc. They also automatically differentiate like characters that are separated by another letter when standard ligatures is enabled. The script fonts have alternate characters like swash glyphs for ends of words and a few ligatures too; single crossbar to unite the At and Att letter combinations etc. The two condensed faces also have a third set of less uniform glyphs that can be used to create a more quirky, fun and bouncy effect (see the ‘she sells seashells’ graphic above) when the discretionary ligature feature is on. The script fonts have 10+ lowercase t (and double t) crossbar alternates that can be selected from the OpenType glyph table manually, or you can enable the contextual alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. Hello? Are you still there? :) And for those intrepid typographers who would rather fashion their own lowercase t to custom fit a specific design, all of the lowercase t ascenders and crossbars are also available separately in the glyph table, and can be combined manually.

The Monotype Janson font family is based on types originally cut by the Hungarian punch-cutter, Nicolas Kis circa 1690. Named after Anton Janson, a Dutch printer. The original matrices came into the hands of the Stempel foundry in Germany in 1919. New type was cast and proofs made; these were used as the source for Monotype's version of Janson. The original hand cut Janson types have a number of small design irregularities which give the typeface its unique charm. These have been carefully incorporated into the new version. The overall effect is of even color and an easy readability that makes Monotype Janson most at home in book and publishing work.

Aint’ nuthin but the Thang. Thang is a street cred script family with big initial caps and tight flow. Thang is great for flashy headlines or as a logotype. Thang family comes with three weights. Thang Extras is a pack of strokes and dots that can be used to decorate your texts typed with Thang. Thang Extras can also be combined with Thang letters for custom Swash. Thang is packed with several OpenType features: keep on Standard Ligatures and Contextual Alternates for smooth flow. Try Swash, Stylistic or Titling Alternates for alternate characters to create customised lettering works. Check out Glyph Palette for even more alternate characters and go wild the Thang.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Introducing Bradrock, a vintage slab serif typeface. Inspired by old-school cowboy design, and circus-style. Bradrock has a more decorative typeface by adding bold bifurcated serif on the letterforms. This font is a perfect choice for vintage or old-school themes. Bradrock is an all-caps font, which represented strength, confidence, and an old-school aesthetic. You can use this font for many purposes such as vintage logos, mugs, embroidery, prints, display, short text, packaging, cards, emblem, signage, and many more! Equipped with special characters to get your design more powerful. TTF & OTF in a zip file including : Uppercase Small-caps Numbers & punctuation Accented characters Stylistic alternates Stylistic set 01-03 That's all, folks! Thank you for visiting.

Aquus is a contemporary all-caps display font that refines the elegance of a classic Didone with experimental interventions. Geometric elements and subtle details are found in its letters, many of which connect to ligatures. Most alternate glyphs can be switched automatically by use of the Stylistic Set function in OpenType-supporting applications, others you can access manually via the glyphs palette. You may try Aquus Linearis as a fashionable outline variant, which reveals its beauty especially when combined with imagery. Use them best for concise strings of characters, such as logotypes, packaging or magazine titles. Aquus Simplex is their sober companion, based on the same letterforms, minus the geometric ornaments and conjunctions.

Gastella Night is a handwritten font family consist of script, casual handwritten, and unique all caps font. In other words you can get four styles of fonts at once, all styles in this family is well matched to each other. Gastella Night Script font comes with few ligatures to make it looks more natural, also comes with slant style named Gastella Night Script Italic to make it looks more delicate when used as signature. Gastella Night Regular is a casual handwritten font, so it will be suitable to all kind of design, as tagline, quotes, etc Gastella Night All Caps consist the uppercase only, add this font to beautify your design with it's unique style.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

I admit: I had a bit of a crazy week when I thought up an drew this font. I broke my arm during kickboxing training on monday, leaving me in a cast - unable to do most everyday things, like getting a good night's sleep (try sleeping with a humongous cast on your arm). Thank goodness, it is my left arm, so I can still draw letters and use my laptop. So… this font has been made entirely using one arm! It is a bit of a horror font - it sort of sums up my mood right now. Glyphs have very little spacing, adding to the evil look of Plague Master. Comes with a lethal amount of diacritics.

It is up to you how big and voluptuous statement you will be making with this font, as Hinzatis is about old Hollywood glamour and attitude. With lots of options encoded in handy open type files you can easily fine-tune your text for best visual effect. Looks perfect when placed as: titles, headers, labels, names, business cards, just to name a few. Open-type Pro version features 1200 + characters including initial and terminal letters, numerous caps styles, ligatures and alternates. Other versions feature over 1000+ characters and focus mostly on foreign languages with accented letters (incl. Vietnamese); So depending on option you choose you can create realistic and multilingual hand-calligraphy on all of your creations!