Introducing our new font Killarney. A bold and heavy display font that inspired by the vintage/classic letterforms used in old-advertisements. Mouse-crafted with high attention to details; clean lines, sharp edges and tempting curves. Its square and blocky letterforms make Killarney a great for headlines and space killer. Packed with 500+ glyphs, Killarney composed of slanted version, standard upper/lower case characters, numerals, punctuations, some multilingual letters, alternate characters, stylistic sets, ligatures, etc. This font is a must have item for your designing arsenal. Go get yours now while it's hot. :D

Gliny was created by mixing different styles of handwriting fonts that derived from various tools such as pen, markers, drafting pens, painting brushes, writing brush and etc. In order to develop a new and diverse font styles. We also keep incomplete details and uneven textures that resulted from a writing process. We provide various font styles to help you mix and match them to suit your creative work harmoniously. Gliny comes with different font families such as brush, slab serif, heavy, handmade script for making your amazing work !!

This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misérables) . It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine. We have added only a few characters, most of them were present in the originals. The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.

Aniuk is an original display type family from Typejockeys designed and optimized for the use in large sizes. With five robust weights—Regular, Medium, Bold, Heavy and Black—it is perfectly suited for editorial, posters or logo design. Aniuk is lively, young, and probably a little crazy. However, there certainly is one thing that it is not: boring. A perfect balance of characteristic curves and edgy details make this a strong but playful typeface. Be passionate, get emotional and express yourself with a variety of five different weights. A solid partner for your creative adventures.

Bieta is a sans-serif font family designed by Naghi Naghashian in four weights. Bieta Light, Bieta Regular, Bieta Bold and Bieta Heavy. Width of this font family is almost condensed therefore specially space saving. Bold and heavy versions are suitable particularly for big titles. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Bieta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. Bieta design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. 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. Bieta’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. Bieta was developed for multiple languages and writing conventions. Bieta supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

The typeface DIY Fantasy Stamp is designed in 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired by the crafts of 20s and 40s. The basis for this authentic stamp font was a letter case with a rubber stamp from Simplex. This analog character set of 85 stamps, was digitally extended to 500+ glyphs. 5 font-styles (Sharp, Dirty, Rough, Invert, Heavy) with 546 glyphs (Adobe Latin 3) incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (4 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: DIY Fantasy Stamp ■ Font Weights: Sharp, Dirty, Rough, Invert, Heavy + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 546 glyphs (Adobe Latin 3) ■ Spe­cials: Decorative extras like arrows, emojis, ornaments, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as Open­Type Fea­ture. dlig) and stylistic alternates (4 stylistic sets) ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

Pata Slab: the ultra-heavy optimism we all need in 2020 Pata Slab is the type equivalent of a catwalk stomp down a city sidewalk, a font that’s assertive, funky and more than a little sexy. Named after a colloquialism for ‘feet’, Pata features ultra-heavy slabs and contrasting hairline centers that rise from its chunky footprint. The resulting, retro-inspired vertiginous curves add instant attitude to any design. Developed in 2020, Pata is a type of its time.Pata is all upside, as it is a typeface with no descenders — one that elevates all characters to grow upward from the baseline (because, c’mon, we could all use something uplifting right now!) All uppercase characters were built to fit precisely inside a square, so they’re all the same width and height. The lowercase alphabet, eñes, cedillas, punctuation, numbers and symbols all follow the same height restrictions. Despite all that confinement, Pata sports standard-height terminals that connect seamlessly so there’s nearly endless options for modular ligatures. The upshot of all this meticulous awesomeness is that laying out, customizing and stacking text super simple. Pata Slab was created by In-House International, designed Alexander Wright in collaboration with Rodrigo Fuenzalida. It's available for Opentype format (.otf) compatible with Mac and PC.

The new Bunday™ Slab Font Family consist of three main states with different moods: the crisp and distinctive slab serif, the cute script styled italic and the matching upright italic. All states of Bunday™ Slab share the same contemporary, clear and open base forms and create a space-saving and pretty homogeneous text colour with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. Bunday™ Slab ships with 9 standard, 9 upright italic and 8 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more. Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Slab Specimen PDF Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 3 Moods: Sans, Upright and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Only available applications with advanced OpenType® support

»XPress-Rounded« is my new addition to »XPress«, my Sans-Serif that impresses – especially in small sizes – with its outstanding readability. »XPress-Rounded« looks very different, almost like a completely new font. But the rounded version has the same seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. The »XPress« fonts got their bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. Enjoy! »XPress-Rounded« ist meine neue Erweiterung zur »XPress« Familie, die durch aussergewöhnliche Lesbarkeit auffällt. »XPress-Rounded« sieht jedoch vollkommen anders aus als sein älterer Bruder. »XPress-Rounded« hat jedoch die selben sieben präzise aufeinander abgestimmten Schnitte von »Thin« bis »Heavy« und die dazu passenden Kursiven. Das macht die Schriftfamilie vielseitig einsatzfähig. Die »XPress« Schriften basieren auf der Formensprache der grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar. Viel Erfolg!

Surf's up! Take an unforgettable adventure to the sparkling shores of Paradise Point. Ride our 25 majestic weights, from tranquil tall & thin to thunderous wide & heavy. Expand your horizons with the versatile Variable font to select any spot between. One-of-a-kind activities: Drop in a thrilling Inline weight for stylistic flair. Overlay with the matching Heavy for striking color effects. Discover hidden wonders! Stylistic Alternates will take you to the scenic heights of uppercase in a friendly lowercase style. Or immerse your text in interlocking Discretionary Ligatures for an authentic Tiki Type island experience. Enchanting views: Two versions of each letter and number automatically rotate for a natural, hand-drawn appearance. The Light weights have round ends to simulate a single pen stroke, which matches the center of the Inline weights for a perfect pairing. Explore! If you venture into unknown territory, each weight of Paradise Point contains 775 glyphs for stress-free support of over 200 languages. An all-inclusive getaway: Each weight of Paradise Point includes the features above, and can set readable body text as well as create striking logos and headlines. Use it for restaurant menus, surf and skate brands, or any design project where you want to convey lively, friendly, stress-free fun.

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century. With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications. Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings. The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space. That is why the contrast between Compressed Thin and Compressed Heavy style is substantial. As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent. It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style. Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline. The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text. Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular. Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table. The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface. The single-story g and the cut-off r are accessible via the OpenType feature.

Mero inspired by the Roman Capital Proportions which we have seen in Trajan Inscription. With different widths; There are applied each letter to visual proportion. Mero inspired by this measurement method and would like to create the primary typeface in terms of simple form. This sans serif typeface designed to use for any media with a little notice from designer eyes. You won't notice much about style, but something will let you feel extraordinary and trust. Mero has supported over 30 languages and come with nine weights for a complete family. With the standard of CSS font-weight, Mero complete family will map beautifully for your digital layout.

Cadmus Pro is the newly remastered and greatly expanded version of a Jim Rimmer design based on a type originally done by hand lettering artist Robert Foster. Foster’s type, named Pericles, was published by ATF in the 1930s, and used in lettering magazines and advertising headings. The design is based closely on early inscriptional Greek. Cadmus Pro comes with over 1130 glyphs, covering pretty much all Latin languages (including Vietnamese) as well as Cyrillic, Greek and Hebrew. OpenType features include stylistic alternates, automatic fractions, ordinals, and small figure ranges for superiors and inferiors. Proceeds from this font will be put towards a variety of Canadian typography education causes.

The Ancient North Arabian scripts Ancient North Arabian is the name given to a group of scripts belonging to the South Semitic script family, which also includes the Ancient South Arabian alphabets (musnad and zabūr) and the vocalized alphabets used in Ethiopia for Geʿez, Amharic, etc. The Ancient North Arabian scripts were used both in the oases (Dadanitic, Dumaitic, Taymanitic,) and by the nomads (Hismaic, Safaitic, Thamudic B, C, D, and possibly Southern Thamudic). There are tens of thousands of inscriptions and graffiti in these scripts which were used in the period roughly between the sixth century BC and the fourth century AD. See the descriptions of the individual scripts below

After the death of Uther Pendragon, long before Arthur was King of the Britons and before Galahad was destined to find the Holy Grail, the mighty sword Excalibur appeared, thrust into a Stone bearing the inscription; “Whosoever Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of England!” While no champion worthy of becoming king was able to pull the sword, England was plunged into the Dark Ages... the legend on the stone aged, and became cracked and weathered... much as one might find on your stone tablet, ipad or mobile device. See the families related to Excalibur Stone: Excalibur Sword.

Ligaturess Serif is a modification of Textworthy Serif. This modification contains 79 uppercase ligatures. 59 lowercase ligatures. And 493 ligatures with diacritics marks. Ligatures are groups of letters joined together and usually compensate for the free space between individual letters. Ligaturess Serif, in addition to the basic ligatures - fi, fl... - also includes superstandard ones - CA, OO, ST, SS, VA... -. Text set in Ligaturess Serif has a unique and interesting look. The font works well in headings. And when using capital letters. A book cover, a chapter title, an inscription on a poster or even an interesting logo are the places for which the Ligaturess Serif font was designed.

The Brāhmī alphabet is the ancestor of most of the 40 or so modern Indian alphabets, and of a number of other alphabets, such as Khmer and Tibetan. It is thought to have been modelled on the Aramaic or Phoenician alphabets, and appeared in India sometime before 500 BC. Another theory is that Brāhmī developed from the Indus or Harappa script, which was used in the Indus valley until about 2,000 BC. The earliest known inscriptions in the Brāhmī alphabet are those of King Asoka (c.270-232 BC), third monarch of the Mauryan dynasty. Brāhmī was used to write a variety of languages, including Sanskrit and Prakrit.

Creating a combination between serif and sans serif typefaces, Jotia utilises the best of both worlds, resulting in a unique and modern neo-humanist font family. Taking its inspiration from lapidary inscriptions rather than pen drawn text, Jotia uses triangular serif shape details to create a strong uniformed personality with clear legibility. This original quality enables characters to be expressive in headlines, as well as in printed and onscreen text situations. Jotia also works beautifully alongside both serif and sans serif typefaces giving complex editorial work a more powerful and visually stimulating dynamic. Details include six weights, manual kerning and spacing, ligatures and alternatives.

The Old Turkic script (also known as variously Göktürk script, Orkhon script, Orkhon-Yenisey script) is the alphabet used by the Göktürks and other early Turkic khanates during the 8th to 10th centuries to record the Old Turkic language. Words were usually written from right to left. According to some sources, Orkhon script is derived from variants of the Aramaic alphabet, in particular via the Pahlavi and Sogdian alphabets of Persia, or possibly via Kharosthi used to write Sanskrit The texts are mostly epitaphs (official or private), but there are also graffiti and a handful of short inscriptions found on archaeological artifacts, including a number of bronze mirrors.

Mero inspired by the Roman Capital Proportions which we have seen in Trajan Inscription. With different widths; There are applied each letter to visual proportion. Mero inspired by this measurement method and would like to create the primary typeface in terms of simple form. This sans serif typeface designed to use for any media with a little notice from designer eyes. You won't notice much about style, but something will let you feel extraordinary and trust. Mero has supported over 30 languages and come with nine weights for a complete family. With the standard of CSS font-weight, Mero complete family will map beautifully for your digital layout.

This script font was inspired from a lot of manuscripts, notes and drafts, written by the famous American poet Walt Whitman. It is a very elegant type, in spite of a few curious ligatures, often concerning the r or z small letters. Notice the very characteristic “th”. It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 36 to 48 pts ). When printed, it remains perfectly legible and elegant from 9/11 pts even if using an ordinary inkjet printer.