Melistany is a stunning and sophisticated handwritten signature script font that effortlessly captures the essence of elegance. With its flowing lines and graceful curves, this font exudes a sense of beauty and refinement, making it perfect for adding a touch of luxury to any design project.

Bitmax is the work of British designer Alan Birch, who was inspired by the look of fax transmissions. He took Helvetica medium and used controlled distortions to create this commanding, high-tech style. Bitmax is best used in large display sizes for a limited number of words.

Stick out a mile with the Mysteria typeface and catch everyone's eye. Using a mix of its two weights helps to create stunning messages. Mysteria’s one-of-a-kind eccentric design of a display face can easily be combined with the matching body text family Gerlach Sans.

The design of Bramber was inspired by Allied propaganda posters of the second World war, especially Russian posters. It has a distinctive solid, geometric appearance. 
Bramber also has a feel of mid 1980s design. Bramber is ideal for use as a distinctive headline or display font.

Have Heart is a set of 2 hand-made marker pen fonts, designed to combine perfectly and allow you to create stunning hand-lettering quickly and easily. Also included is a set of 12 bonus swashes, ideal for giving your text that final touch of finesse!

Ela is the typeface I originally designed for the business of my second wife and mother of my two sons, her name is ­ of course ­ Michaela. Ela the typeface is suitable for magazines, newspapers, posters, advertiments, books, text, documentation/business reports, business correspondence, multimedia, and corporate design.

BorderGlyphs features an array of border elements inpired by our very own Egyptian Hieroglyphs font collections. These historic yet modern symbols have stood the test of time - they can blend into ancient as well as the most vanguard of themes and will add elegance to your projects.

Sejen is a beautiful and elegant font, perfect for branding, logos, invitation cards, and more. Adding it to any of your projects will add a touch of luxury. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Grut Stuph is a weird breed between serif and graffiti, and on top of that a good portion of comic! Comes in Open Type with different alternate letters and is full of fun! Note: you will need to use OpenType supporting applications to use the autoligatures.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many, this a modified version lacking the teardrop or ball terminals on a, c, f, g, j, r, f, y.

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

Canadian designer Anthony De Meester created the font in 1989. Vienna Extended is a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired. Vienna is a trademark of International Typeface Corporation.

Charlatan is (despite the name!) a truly trustworthy font. Works well with everything that needs something legible and handmade! Comes with contextual alternates (6 different versions of all lower-case letters!) that automatically cycles as you type! And, of course, Charlatan is full of international characters!

A clear and enjoyable reading experience hinges on the legibility of text copy, especially when reading on screen. This is why Monotype has developed the eText collection of fonts specifically tailored for the text-heavy display environments of e-readers, tablets, mobile devices, and the Web.

Rectilinear Ornaments are radiating geometric shapes composed of straight lines. There is an assortment of 47 ornaments located under the character set keys.

Named in homage of Toronto writer and spoken word performer Monica S. Kuebler, Koobler is an interesting interpretation of the classic roman font.

Mondaine is a clean script font with a touch of lettering style. Have fun with a ton of special endings and contextual ligatures!

Lenorah JNL is a block-like design with spur serifs and is one of a number of wood type revivals by Jeff Levine.

A thorn-laden split flare serif typestyle inspired by the lettering of Ben Shahn on the cover of the novel, Rendezvous with Destiny.

This DoodleBat is buzzing with the excitement of Christmas...literally! DoodleBat Buggy Christmas is a collection of crazy insects all celebrating the Holidays.

Cabriolet V8 is a vertical version of the Cabriolet family, a geometric script fontface re-interpretation inspired by old chromed emblems of 1950s.

Blooming Ornaments was inspired by patterns of the Middle Ages. There is an assortment of 47 ornaments located under the character set keys.

Thomas Maitland Cleland’s careful and scholarly creation of a typeface from 15th Century Florentine inscriptional capitals; designed for the Bruce division of ATF.

Go West is a spurred version of the FontMesa Red Dog Saloon font which is a revival of an old 1800s woodtype font.

A treasure trove of typographic rarity, found in an old print shop in the Saxon town of Frankenberg, now revived and carefully extended.

No Parking JNL was inspired by a hand-cut stencil of those words painted in an area of a department store's parking lot.

Inkpad Letters JNL joins a number of fonts that were reproduced by Jeff Levine from inked impressions of various rubber stamp printing sets.

Decorative Panels JNL is a collection of twenty-six border design panels inspired by old decal and rubber stamp catalogs of the 1940s.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Light and flexible, slightly retro, casual and readable, Hoofer combines 28 brush script, mono line script and sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Hoofer Mega-Family of fonts can be divided into three sub-families: Hoofer BRUSH subfamily: An eclectic group of five fonts. These are mainly joined scripts. Hoofer LINE subfamily: Seven mono-line scripts with joined letters in a number of weights, widths and styles. Hoofer SANS subfamily: Sixteen casual, Sans-Serif fonts. They are very readable and in a variety of weights & styles The mood of the Hoofer mega-family is light and flexible, slightly retro, casual and readable. It combines script and many sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Brush Sub-Family is designed for titling, packaging and display purposes, The Line Sub-Family can also be used for titling, packaging and display, however, it is less “showy”, and conveys an air of informality. The Sans Sub-Family is designed to shine as sub-heads and as body text. The wide range of Hoofline styles gives you, the designer, great flexibility in creating just the mood or impression that you want. Most of the fonts can use one or more OpenType Features. These can be accessed in a number of ways. The reason for this is that the major software producers provide different (and often conflicting) ways of accessing OpenType Features. In some cases such software manufacturers provide NO way of accessing certain OpenType Features. We have tried to remedy this by providing a highly flexible family of fonts. OPENTYPE (these OpenType features are only available in the “otf” fonts and not in the “ttf” fonts.) OpenType features that Hoofer makes use of are: Swashes (Word-Begin and Word-End Features); Alternate Numerals; and True Small Caps. ORNAMENTS In addition the Hoofer family has a font containing 94 ornaments. ALTERNATE NUMERALS You can access two sets of figures (numbers) in Hoofer Sans fonts. Both sets are tabular and lining but they differ in the height (but not the width) of the figures. The height of the alternate figures has been chosen so that they are compatible with the small caps. However, these alternate figures are available in ALL Hoofer Sans fonts, whether they feature small cap fonts or not. Hoofer has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

Richard J. Neutra became an icon of Modern architecture as an artistic visionary, social commentator and outspoken defender of the environment. He refined his unique approach to design, for which he coined the term biorealism, over half a century ago. Regarding humankind and its surroundings as two inseparable halves to a greater whole, Neutra created habitats with the welfare of man and nature as his utmost concern. His ideas of evolutionary growth and adaptability compelled House Industries to develop Neutraface Condensed, built upon the original typeface and driven by the enduring spirit of the revolutionary who inspired it. “I have tried to be a feeling observer of life in all its manifestations, not a cold rationalist.” House Industries adopted this precept of Neutra as the guiding principle when the foundry commissioned Christian Schwartz to draw Neutraface Condensed. Instead of being exactingly compressed, the new companion fonts were composed around a complementary structural framework in order to better reflect the sensibilities of their predecessor. The result is an individualistic design with a restrained exuberance that shuns stylistically ersatz imitation. This compact yet lively presence allows Neutraface Condensed to lend flexibility and economy to headlines without sacrificing the simplicity and charm of the original. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

Christmas Carol is a classic typeface that embraces the holiday spirit. The flowing script's formal nuances evoke the joyful melody of your favorite festive tunes, making it an ideal choice for capturing the essence of familiar warmth and merriment. Infused with a touch of nostalgia, Christmas Carol brings a traditional yet beautiful aesthetic to your seasonal greetings and designs. Whether you're crafting invitations for a celebratory dinner or creating a banner for a winter wonderland event, this typeface wraps your words in the comfort of yuletide cheer. Using the Star version, use parenthesis characters ( ) [ ] { } to make surrounding stars. Example: (reindeer) [sleigh] Use underscore _ to make a swash, or multiple underscores to make them longer. Example: Santa Claus______ The Christmas Carol font family consists of four styles: Regular Script, the decorated Star 1 and Star 2, as well as a Xmas symbol version. Beyond its seasonal charm, Christmas Carol is crafted with precision and quality, offering a suite of OpenType features that include stylistic alternates, contextual ligatures, and additional flourishes, ensuring your creations are as unique as a snowflake. It supports a wide range of languages, covering the all Latin-based scripts, from the frosty tips of Scandinavia to the diverse cultures of Southeast Asia. Designed by Mans Greback, a designer renowned for his dedication to craftsmanship and detail, Christmas Carol is more than a font—it's a celebration of the birth of Jesus Christ.

Hope Sans™ takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman. The result is a sans serif family that is lively, inviting and deeply customizable. Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography. Hope Sans has been selected by the judges of the 22nd Annual TDC Typeface Design Competition to receive the Certificate of Typographic Excellence. The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy. Their friendly vibe also translates well to web and interactive design projects. Spacing is open, counters are large and Hope Sans’ range of six weights can provide just the right design for virtually any need. Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights – either with, or without, the swash letters. “Hope Sans is a paint box,” says its designer, Charles Nix. “In its basic form, it’s a sturdy grotesque, capable of setting text in a cool and relaxed way. But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning. And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.”

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish. After working with many handwriting fonts, and after intently dissecting so many different handwritings, one tends to expect such things to be quirky, disconnected, and almost never upright. In fact, in spite of vertical handwriting’s academically-sung virtues of rationality, efficiency, clarity and logic, very few people manage to deviate from the natural slant when writing. Even fewer manage to make the vertical handwriting connect and keep its natural flow. Calligraphy and upright cursive aside, it is almost impossible to make a vertical letters connect and maintain a real handwriting appearance. This is where the genius of this design comes in to bridge the gap between upright handwriting and calligraphy. Sincerely is based on one of the most fascinating handwriting designs to ever come out of Germany: Karlgeorg Hoefer’s 1968 Elegance for the Ludwig & Mayer foundry. It is a handwriting with the full meaning of the word, yet it possesses the rare, very commanding and appealing trait of being both vertical and connected while managing to remain realistic. It is the ultimate branding iron of handwriting fonts. When set and printed, Sincerely simply cannot be ignored. Ideal for humanity-asserting poster designs, lettering of short wording with plenty of space, poetry, notes, greeting cards, craft literature, book covers, history-related designs, and a whole range of other applications.

Introducing Magent – Display Typeface A Fusion of Style Magent sets itself apart as a striking Display Typeface that seamlessly merges the timeless elegance of serifs with the contemporary allure of sans serifs. This extraordinary fusion not only shatters monotony but also injects a vibrant energy into your designs. Fun and Playful Typography Magent exudes an unmistakable aura of fun and playfulness. It’s the font to choose when you want to infuse your projects with a touch of whimsy and character. The result is content that not only stands out but also leaves a lasting and memorable impression. Endless Creative Versatility An outstanding attribute of Magent is its sheer versatility. This font effortlessly adapts to a multitude of design contexts, spanning from posters to branding and beyond. Its adaptability makes it a true chameleon in the world of creativity. Memorable and Engaging Magent’s dynamic blend of serif and sans serif elements guarantees that your content remains not only memorable but also engaging. It captivates your audience and leaves them with a vivid and enduring impression, ensuring they keep coming back for more. In Conclusion In summary, Magent – Display Typeface is a font that defies conventions. It’s a design masterpiece that harmoniously combines aesthetics with a playful spirit. Whether it’s branding, posters, or an array of creative projects, Magent is a one-of-a-kind font that captivates your audience and infuses your content with vibrancy and charm.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.