DM PopCap is the third typeface released by DM Founts. It was created to accompany a 2013 LEGO-based project, which itself was inspired by the music video for Scream by Michael and Janet Jackson. I had to create the typeface in order to make title cards, as no such typeface appeared to exist. Although the resulting typeface looks similar to the text appearing in the music video, I also set myself the challenge of creating the remaining characters of the alphabet, as well as others that some would find useful. As suggested by the music video, the typeface would be ideal for a futuristic or technological setting, particularly concerning space travel. In the project I had paired this typeface with Myriad Pro. As with my other offerings, this font is intended for use heading or standalone title use - but it also appears to work on its own for small paragraphs of text.

Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.

Say hello to Simplicity Angela! Simplicity Angela is an elegant modern calligraphy font inspired by delicate inky hand lettering, a gorgeous wedding calligraphy for trending minimal branding designs. This beautiful font is for those who are needing elegance for their designs and is particularly well suited for wedding invitations, cards and feminine branding. I have wanted to create such combination a long time and can’t believe that it is here. I’m super excited and hope you’ll like it too. Now all you need for perfect wedding invitation design is in one product. I think this decision will help you to save your time What's included? - More than 100 beautiful swashes in this font - Works on PC & Mac - Simple Installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters - Fully accessible without additional design software. Multilingual Support : ÁĂÂÄÀĀĄÅÃÆĆČÇĊÐĎÉĚÊËĖÈĒĘĞĢĠ ÍÎÏÌĪĮĶĹĽĻŁŃŇŅÑ ÓÔÖÒŐŌØÕŔŘŖŚŠŞŤŢÚÛÜÙ ŰŲŮẂŴẄẀÝŶŸỲŹŽŻ áăâäàāąåãæćčçċďđéěêëėèēęíîïìīįĺľļłńňņñóöòőōøõŕřŗśšşßúûüùűūųůẃŵẅẁýŷÿỳźžż I hope this font is suitable for your project.

Woodford Bourne is a brand new 19th century grotesque typeface. The design is a tribute to the historic stone cast type in the building façades of the former Woodford, Bourne & Co. in Cork City, Ireland. For many years I had admired the type’s simplicity and strength, so I decided to faithfully reproduce those letters and expand them to a fully working font with 500 glyphs per case. A key feature of Woodford Bourne is the ability to change the feel of your typography with just one click. Switch from contemporary to vintage style by selecting “Stylistic Set 1” – this gives Woodford Bourne a unique versatility which I am sure you will enjoy playing with in your designs. It is a solid, reliable “workhorse” font family that reproduces well at all sizes… it’s also great for branding and identities. These font files (v2) were redrawn and updated in April 2021 (v1 created 2015).

This handwritten font is inspired by the cholo calligraphy of graffiti artists. It has a scary design, which is suitable for horor film posters and at the same time for signs and tattoo designs. It has an original style an effect font also available in a color version with drops of blood or paint to give a more lively touch. Try using it for your halloween party invitations or for your tattoo designs, for scary greeting cards. I used the word "Cholo" because this lettering in inspired by cholo-graffiti culture in Los Angeles in 70's years. The one of the best rappresent is Charles "Chaz" Bojorquez the father of cholo-lettering. Cholo because i think that in 70's in Los Angeles neighborhoods where graffiti-culture grow up there was a persons whit a mixed multicultural connexion and Chaz is one of them. Cholo-graffiti or Cholo-lettering is a specifing style o lettering. I think this is a good keyword for this lettering.

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

To start with one personal fact: I really like to listen Rahsaan Roland Kirk. He was a multi-instrumentalist, real grandmaster and unique jazz virtuoso. The way he improvised and walked through variety of different music influences are admiring. One of things he liked is to modify instruments, so he modified soprano saxophone and got an instrument called manzello. When I was looking for good name for this typeface, it came on my mind that Manzello could be the perfect one. It has the symbolic background from the instrument and theoretically in my head, it's imagined as typeface that rely on stable classic examples, but graphically designed and modified to match modern standards. Manzello contains a dose of characteristics of display typefaces with terminals that aren't perfectly rounded, high contrast between stems and good balanced Italics with elements of fine calligraphy. It's a small font family, something what I was always looking for to have as first text solution in my web and graphic projects.

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Shopping Script is designed after and inspired by my handwritten shopping list that was originally a lot less stylish, I have written each words multiple times to achieve the organic and natural flow with a bit spaced out style. This font is an existing work of mine that came in only one weight. Now I added multiple weights I as well as expanded and condensed instances, along with a weight and width variable font file that can be set to anything in between Thin Condensed to Heavy expanded. There are standard ligatures for it, jt, ll and tt, stylistic alternates for uppercase "A" and lowercase "e". For lowercase r and s there are contextual/initial variants when they are first letter of a word. A guide of open type features and how to activate them is available at https://drive.google.com/file/d/1q4j4X8ZntqgEUB8gUmflUNtmlX4IVQBq/view?usp=sharing Most latin based languages are covered from Western European to Eastern.

Inspired in the world of the fast-food, my aim with Burger was to achieve a sexy slab serif font. Since it's not very common to see slabs with swashes I consider this project as an experiment with interesting results. In order to mantain an even weight on the written word, all the glyphs including the swashy ones had to look like compact blocks: This makes the font work much better used with almost no leading, as seen in posters above. Despite the formal look of its genre, this slab serif is also very playful and unique. (Maybe unhealthy food deserves better fonts already, right?) Taste Burger, come on, give it a try! On a more personal note: Why I made this font? Some months ago I started the gym and with it, an strict diet to see some results faster... Maybe my temptation is being, in Lacanian terms, "sublimated" by making delicious and unhealthy fonts.

This font was created while looking at the various shapes my handwriting consistently took, especially in the ways that letters would have breaks in them. Over the course of a few months I continually tweaked the letter forms and shapes, and lo and behold, I developed Deco Sans. This family currently only includes a thin weight, as I'm only one person, and very busy with college. I'm continuing work on a regular, bold, and possibly a future italic weight, but these may not be released for many months to come. As this is a very thin font, it should be used at sizes no smaller than around 16 or 18pt as it tends to get lost in whitespace, and looks best at large sizes. As such, this weight should be considered more of a display font than a text font, however, I predict a regular weight to be very readable and much more useable for the everyday.

ITC Abaton, by Argentinian designer Luis Siquot, is an exercise in geometry and simplification. “It is done,” says Siquot, “with few elements, with modules of only straight lines (horizontals, verticals and diagonals of almost 45 degrees). Drawing the I and the O, I got the basic elements, and so started the fight between strict geometry and optical impression, until I obtained the rest of the characters.” The basic rectangular form is characterized by wedge-shaped serifs, almost like caps on the heads and feet of the letters. “Abaton has the 'spirit' of 19th-century faces used on money bills or postage stamps, but the realization is totally different,” Siquot explains. Abaton is a “shaded” typeface of caps and slightly smaller caps, upright and slightly condensed in form. Although the letterforms are legible at small sizes, the shading tends to clog up if it gets too small, so Abaton is happiest as a distinctive display face.

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

Here's Brasley, a geometric sans. Brasley is available in six weights - bold, semibold, medium, regular, light and thin - each with matching italics. It also includes contextual alternates, ligatures, fractions, arrows and shapes.

Based upon H. Broedel's Hogarth Script, Gillray Pro, an RMU design, comes with two weights: Light and Medium. This formal script font is ideal for invitations, diplomas, certificates, book titles, ads etc.

Albeit Grotesk Caps is a graphic geometric all caps display font family of four weights (Light, Regular, Medium and Bold) with slightly exaggarated diacritics for better readability making it ideal for headlines.

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/

FG Elias is an all caps font from handwriting which looks a bit angry I think. It has a size variation between the caps and lowercase. Works great for headers or text you want to emphasize.

Radical Brush is a rather radical font: I made it with a really wild brush and Chinese Ink. I’d probably use it for revolutionary posters, packaging design for extreme products or for R-rated movie posters.

Scrolls A are a set of pictorial scrolls like signs of the zodiac, animals, dishes, flowers, symbols, decorative and Americana. They are beginning of last century American. Your I-found-them-somewhere type-designer, Gert Wiescher

Manga Master, the classic Blambot font, is now Manga Master Pro! It has been updated with new spacing, kerning, and hinting as well as new autoligs, manga translation glyphs, CAlts, fractions, barred-I correction and more!

Scribblex is a new generation of handwritten sketch fonts. It was originally designed with a ballpen and a sketchbook. After scribbling the characters, I scanned, edited and aligned them. So Scribblex is truly a ‘sketchbook font’.

The sight refracted through glass is mysterious. The san serif font was designed to look like it is visible through glass. Try using beautiful fonts. I put a lot of effort into each and every letter.

Fun packed comic style font. Especially made for commercial products such as all kinds of packaging, cereals, video games, candy, kids toys and alike. I added ligatures for double letters to avoid a repeating look. Enjoy!

The hand lettered sans serif title on the sheet music for the 1930s song "I'm Alone Because I Love You" was the inspiration for Radio Singer JNL, which is available in both regular and oblique versions.

Gluster Serif Display Font Typeface is a single weight black serif, modern casual typeface perfect use for headline, logo, magazine, and any editorial design needs also readable body text. I hope you like it, keep awesome!

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

Hercílio is a typographic family without condensed serif, modern and geometric inspired by the architectural forms of the Hercílio Luz Bridge in Florianopolis | Brazi Comprising eleven (11), weights of which ten (10) business are: Five weights Romans: Light, Normal, Regular, Medium and Bold Five Italics weights: Light, Normal, Regular, Medium and Bold And a weight (FREE) Hercílio Decorative Comprising 430 glyphs in each source, brings support for 56 languages (Latin and West, Central and East European) still has features Open Type, ligatures and tabular figures. http://www.cort9.com/wp-content/uploads/2016/05/Specimen_Hercilio.pdf

Designed by Hans Samuelson in 2023. With two weights and many variations Klip Klop offers a large set of characters for playful lettering. The flavouring is strong avant garde and the build is strict geometrical with even stroke thickness throughout. One unusual feature is that the bottom and top horizontal strokes are centered on the baseline and capital height. This renders the same optical size between the thin and the medium but different actual heights and baselines. Use it for Headlines or signage in any medium! Klip Klop!

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget to try Medium and Medium Italic faces for free. Bandera Text works well with Bandera (slab serif), Osnova (sans serif) and Bandera Display (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Revans is a strong serif font with medium contrast. Inspired by the High Octane Rock genre and modern-classic fashion. Carefully designed with a short ascender to give a solid look, also the sharp serif makes the letters look more strong. Revans is a display-type which perfect for a headline, sub-headline, and short body text for a magazine, books, fashion, quotes, hipster t-shirt, signboard, logo, and etc . Available in 5 weights: Light, Normal - Medium - SemiBold and Bold, complete with the slant style. A great choice for a brave concept!

This serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Text Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Don't forget try Medium and Medium Italic faces for free. Bandera Text Cyrillic works well with Bandera Cyrillic (slab serif), Osnova Cyrillic (sans serif) and Bandera Display Cyrillic (contrast serif) fonts. Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Quincy® CF's warm letterforms and medium contrast give any text a smooth, calming motion. Small variations and human touches add charm, with Quincy's boldest weights especially eloquent as large and medium display type. Quincy® CF pairs well with clean, text-friendly sans-serifs, such as Greycliff CF and Work Sans, or for even more contrast, try monospaced typefaces like Ellograph CF and Cartograph CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support. Check out Greycliff® CF which pairs nicely with Quincy® CF.