Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Kaytek™ Slab is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Slab’s details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Slab draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Kaytek Slab is robust and solid. Kaytek Slab comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Sans, Kaytek Headline and Kaytek Rounded, are also available.

Seravee was inspired by the significant style of Modern (Didone) Typography. The bolder they become, the more exquisite and stylish along with excellent legible at the same time. Designed by Stawix Ruecha, Bangkok based type designer. Rather than programing process, geometric forms as they were, each weight was well-crafted manually by hand as a result of humanistic sense. Through various weight ranges (Black, Bold, Regular and Light), to ensure that Seravee will perfectly cover all aspects of usability in every layout.

Exter is a geometric Sans-Serif font inspired by the work of Russian artist Alexandra Exter that combines geometric and angled forms. Exter has been designed for advertising, posters, web, branding, packaging or any place where you need a clean and forceful voice. This personal character of its forms is due to the variety of weights it has (Black, Ultra Bold, Bold, Semi Bold, Regular, Light, Ultra Light, Extra Light and Thin). All are fully The character set is robust, covering extended Latin.

I made this font using my index finger and Chinese ink. I thought the ink would come off easily, but I can tell you: it doesn’t. I have been walking around with a black stained finger for a week now and I do get strange looks from people every so often… Fingerfood, of course, is hand made. It is a rather playful font - all caps, but lower and upper case differ and like to mingle. Comes with a full diacritics palette.

Rebnick is a sans serif typeface where in the early design process, the adjacent stems and bars weren’t weld seamlessly and perfectly. You can actually find glitches which were carefully transformed into a custom language in it’s own and later became the coherent generic rule that keeps everything together. In display sizes, the ink traps give the font’s own character, while in small text sizes they create a good legibility and a well-balanced ratio between the black and white spaces.

Bamdad Extra Bold Condensed is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Bamdad supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Bamdad Font is available in Extra Bold Condensed. This font is designed to be used as advertising and newspaper headlines. Bamdad design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Bamdad is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bamdad's simplified forms may be artificial 'obliqued' in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bamdad was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Usually I prefer desserts that aren't overly sweet, but a week ago I lost my sense of tasting - due to Corona, and when I wanted something sweet...I preferred it overly sweet...of course because I hardly could taste the overwhelming sweetness! But now, I have my sense of tasting (and smelling!) back, and everything is back to normal. And since I completed this easy-recipe-inspired handmade font while suffering from Corona, I thought I'd name it Overly Sweet. And...well. because, the font is somewhat overly sweet (without being over the top sweet!)

A typeface of grace, power and exceptional versatility, the Slate collection is a truly beautiful design that achieves stellar levels of readability, both in print and on screen. Created by the award winning type designer Rod McDonald, this six-weight sans serif family is a rare example of sublime aesthetics meeting world-class functionality. The typeface’s legible letterforms embody an amalgam of the best traits of both humanistic and grotesque letterforms. “I didn’t want a face with an ‘engineered’ look, or with any noticeable design gimmicks or devices,” admits designer McDonald. “I wanted a pure design. I confess that I was ruthless with any character that wanted to stand out from the rest.” The Slate collection is available in six weights with complementary italics, with slight changes in structure from the light to the black weights. Its light weight is reminiscent of early American sans. Whether for use in display work or in longer-form settings, few typefaces possess the beauty and power of this design, leaving the Slate family an excellent addition to any designer’s typographic quiver.

Bommer project started in January of 2014 and I am happy to announce the first family - Bommer Slab - is now ready for release. This family includes 14 weights - being seven uprights and seven italics. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks.

A true north font of 152 characters, inspired by the black metal culture but more readable. UPPERCASE 
lowercase 
Numerals 
Punctuation 152 characters

The Icons developed to the font Only You Sexy make reference to hipsters concept a recurring nostalgia and a recovery of an almost forgotten romanticism. Bring all that romance back. Bring the sensuality in your works and projects. The font has more than 300 icons. Also available Only You Sexy.

This hand-lettered italic casual is another versatile font produced by Jeff Marshall, aptly named “Flick” due to its off the brush casual feel. This style was a work horse back in the day where it was used on cafe menu boards through to regulation lettering on trucks and aircraft.

Aryzena is handwritten, textured, artistic brush script. This font also has swash characters that make your design more attractive and natural, giving your text an authentic and laid-back characteristic. This font works well in designs for clothing, tittle books, quotes, branding, logos, packaging designs, posters, invitation, mural and more!

IxD is a modular, semi-futuristic sans serif that uses its geometry to evoke the kind of future we all thought we'd have back when we were kids: sleek, assertive, cool. Many of its deep cuts and unusual letterforms are strikingly out of the norm, but they still feel inviting.

Strings vibrating against wood. Counterpoints. Strong beated rhythms and smooth flexible melodies. Repetitive sequences and syncopations. Sweeps and slides. Folk and tradition. That's how Dobro sounds. Inspired by the spirit of bluegrass music and the aesthetic of its wood type gig posters,this typeface explores certain concepts of rhythm and seeks to translate a piece of this universe into writing. Meant to be used in large sizes, Dobro is a 6-font set designed to work nicely together. It comes in 4 different weights, one color font with miscellaneous and connectors, plus frames and borders that pay tribute to vintage wood type catalogues. As an old company motto used to say: "Dobro means good in any language!" ––––––––––––––––––– IMPORTANT INFO ––––––––––––––––––– When you license Dobro you will download a pack with OpenType fonts but also a Color Font version of Dobro Drunk. (To use color fonts Photoshop CC 2017 /2018, Illustrator CC 2018 or QuarkXpress 2018 is required). If you create outlines in illustrator you can also modify the colors! Dobro Drunk BW OTF font (works like any font but is black & white.) Web files are only black and white until browsers support color fonts.

New from Black Studio, presenting Aistoria is a typeface that is feminine, adaptable, aesthetically contemporary and creates limitless variety for your creative needs. Its striking contrasts and subtle details, together with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. Aistoria really helps you create unlimited variations for your creative needs in making your project titles: such as Books, fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. WHAT IS INCLUDED; • Aistoria – Regular This typeface of has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Aistoria! Feel free to use the #Black Studio tag and the #Aistoria font to show what you've done, I really hope you enjoy it! Thank you!

Informative is a typeface consisting of a whole family of sans fonts and a collection of thematic pictograms. This combination of two different types of communication reflects the current need for using text and images as means of conveying information in a complementary way. The family comes with a text version of 7 weights (with matching italics)—Thin, Light, Regular, Medium, SemiBold, Bold and Black, and includes 7 thematic icons sets which allude to elements related to alimentation, city, energy, people, politics, sports and work. Each set contains 88 glyphs and includes both outline and black versions. The text font contains a set of 423 glyphs that support 207 different languages. Informative is a clean, simple and versatile typeface well-suited for a wide range of graphic design and visual communication projects. This font has especially been designed for infographics, maps and digital applications.

Hammer & Tongs works great for all kinds of branding projects, advertising, websites, packaging, and posters – essentially anywhere you need bold, strong communication. Inspired by the lettering found on military vehicles, this font works great for headlines and is effective for short blocks of body copy. H&T also has a strong retro industrial/athletic vibe and works well for modern-vintage style designs. This font is available in two styles: a Hard version with sharp, crisp edges and a Soft version with rounded corners. Both styles include a complete set of numbers, punctuation marks, and extended characters.

Distorted fonts are great but are mostly not very practical - 360 is an attempt to create a simple distorted font that can be used far beyond a few logos or headlines. Each 360 character averages roughly half the number of sharp angles of a regular sans serif. This gives it an unusually fresh and timeless appeal and creates a dynamic presence across body text that is very legible and compact without looking overly condensed. 360 was chosen as a name because it can be used as an everyday font, all year round, and because 360 has so many unusual angles that don't conform to normal font conventions. 360 also happens to be a cool number: 360 makes a highly composite number. 360 is also a superior highly composite number and a colossally abundant number. A circle is divided into 360 degrees for the purpose of angular measurement. 360° is also called round angle. 360 is a convenient standard since, 360 being highly composite, it allows a circle to be divided into equal segments with each segment measured in integer degrees rather than fractional degrees. 360 is the sum of a twin prime (179 + 181). A year is roughly calculated as 360 days.

The Avenir Next Variable Set font is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Ultra Light to Heavy. The Width axis provides a range from condensed to regular width. 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.

DaBronx is an downright nifty condensed grotesque font family. It comes with 12 righteous weights. DaBronx is ready for a wide range of uses. It would look great scrolling across a screen and would give extra presence to titles and headlines in a number of different applications. DaBronx is like a finely tailored suit for your content, upright, spiffy and slick. It has been painstakingly tweaked to perfection in the Good Gravy lab to make it so easy on the eyes. It looks stellar in an ad campaign, logo design, apparel, or anything else that requires a sleek modern look. DaBronx would pair well with Koozie Script, another one-of-a-kind Good Gravy font!

Ornamental caps with scrolls and flourishes inhabited by satyrs, mermaids, Medusa heads, birds, cats, dogs, snakes, and other creatures, inspired by designs from Italian Renaissance artists dating back to 1730-1750. Beautifully ornate and perfect for the beginning of paragraphs in publications and texts conveying the feel of the Italian Renaissance, your own fairy tale stories, or religious texts to grab the reader's attention. Includes one set of A-Z ornamental caps conveniently assigned to both the upper and lower case alphabet characters.

"A capital titling face with numerals, erroneously labelled in Figgins specimen book of 1817 as an 'antique' or roman. With a very bold, nearly monoline construction and squared serifs as thick as the main stroke, this type surpassed even the fat face style in blackness, it was popularised by the advent of handbills and early advertising posters, which needed bold type styles to project commercial messages from a distance. A sign-writer friend of mine theorises that the Egyptian style originated with the North African campaigns (hence Egyptian) of Napoleon Bonaparte, and the type historian Ruari McLean also suggests that the Egyptian style originated with signwriters 'block' letters, just like the prototypical (and contemporary) sans serif of Caslon IV." (Ben Archer)

JulianaJoy is a condensed elegant sharp serif typeface for headline display and text use. Several alternate characters are included with this original font design.

Display Roman JNL is derived from examples of some vintage sign letters, and features a condensed style with somewhat square letterforms and slab serifs.

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, geometric slab serifs unbracketed, short descenders,condensed.

Auxilia is a geometric sans serif font with a bit of humanist feeling, comes with various weights and condensed width for all purpose design.

Framingham JNL is a widened version of Nostrand JNL that takes on a new look quite different from the original condensed wood type design.

History is always in sight; it is constantly being reconsidered and reformulated in the context of now. We see approaches to art, fashion, textiles, homewares, furnishings … not to mention music, graphics and everything else that culturally enriches our daily lives, revisited and made anew for today.    Address Sans indulges in the spirit and aesthetics of mid-century Modern – Italian industrial design, sleek coffee makers, stylish cars, seductive jazz pressed on vinyl – with a charm and charisma that defies time. It evokes history but is decisively created for today.    Its design, in reality, is rooted in the condensed structure and block modulation of early 1950s German lettering intended for use in street signage, but when we started to work on the various weights and widths, the result was a set of fonts in a style similar to the typographic work developed by Butti and Novarese in the 60s. The multitude of potential applications for Address Sans then became clear.    In a range of 3 widths and 8 weights each, Address Sans includes little verses, true italics, small caps and numerous alternative signs for a total of 48 fonts. The result is a functional typeface that is effortlessly seductive, with geometric features and design details that ooze cool, and take it away from mere reinterpretation towards typographic forms that adapt perfectly for contemporary use.

ZebraSkin is an exciting, contemporary display font, incorporating the distinctive markings of one of Africa's most striking animals. One style is available: ZebraSkin Aarde, based on the Aarde Black font. It is best used in conjunction with Aarde Black or Aarde Outline. The popularity of the "animal skin" look in contmporary clothing and soft furnishing design make ZebraSkin a must for artists on the creative edge of contemporary design.

Seasons Greetings is intended to bring Christmas cheer. It has a very limited character set, with all the letters being lower-case. One set of letters is white on black Christmas balls, while the other is black on white Christmas balls. The lower-case letters can be layered on top of the upper-case letters to give bi-colored lettering. The letters on the Christmas ornaments are from the typeface Cuthbert.

Opheline is modern display serif family of 9 fonts. The family consists of 9 weights, ranging from thin to black. The thin version reflects elegance and soft texture, while the black version represents modern and strong appearance. The vast range of Opheline family will help you to tackle your designs problem that need professional or classical touch; from the professional-look branding of law firm to classic-historical product branding.

Piano Keys is a musically-inspired font. It can be used for commercial as well as educational projects. In other versions, I tried to accurately replicate the pattern of black and white keys across the character set. Of course when used, the randomness of text and characters often produced less than realistic results when needed. This version allows black and white keys to be accurately arranged, if desired.

From the pages of the 1939 French lettering book “Modèles de lettres modernes par Georges Léculier” (“Models of Modern Lettering”) comes an attractive and unusual set of initial drop caps made from square letters adorned with multiple vertical lines. Originally designed as white letters on black backgrounds, an additional set with black letters on white backgrounds comprise Deco Drop Caps JNL; available in both regular and oblique versions.

Kevin King says: "When I started this font it was called Pestle... It didn't run - it didn't even walk. At some point I thought, Hmm! Looks a bit like Liquorice! And now... Voila! I remember being able to buy about a yard of Liquorice rolled round a central comfit - how fab! Tuppence worth of sticky afternoon! You could also buy bundles of Liquorice root - which looked like black twigs with bright yellow wood - they left my teeth full of black twiggy bits... The past is a strange Lady - Bless her! This was almost Kingthings Leechy... just another one of my bulbous shiny things - I have always liked letter-shapes with 'bottom', probably a 70's thing, as many a seventies thing did indeed possess it - including the fabulous Chaka Kahn... Oooh, Diva!" ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Haigrast Serif is a font that combines classic and modern design elements to create a look that is both tasteful and fashion-forward. This serif font is regular but with a very modern feel, making it the perfect choice for designers looking to add a touch of sophistication to their work. The sharp, crisp lines and swash alternates in addition to the decorative letterings add a unique touch, making Haigrast Serif a versatile font that can be used in a variety of projects. Whether you're creating a stylish magazine layout, a cool fashion logo, or a balanced design piece, Haigrast Serif is the perfect font to make your work stand out. Designed by Mans Greback in 2023, this font is the perfect choice for designers who want to make a bold statement in their design work. The Haigrast Script family consists of six high-quality fonts: Regular, Italic, Bold, Bold Italic, Black and Black Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Introducing Blonden: A condensed sans-serif font that fuses modernity with streamlined efficiency. Blending style and compactness, Blonden brings a dynamic edge to any design. Experience the sleek versatility of Blonden's condensed form, perfect for making bold statements in tight spaces. 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!

Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while it’s rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.