St Ryde is a humanistic sans-serif with a slight touch of a script typeface. The most significant aspect of the typeface is the combined sharp and round treatment of the stroke endings. The complete Ryde Family contains five weights including real matching italics, so you can choose from thin, light, regular, medium and bold. St Ryde has a wide range of characters, including small caps, lining proportional and tabular figures plus small caps figures, too.

ITC Skylark, from designer Patty King, is an alphabet with a strong handwritten character and calligraphic influences. The figures look as though they were written with a broad-tipped pen on rough paper. The result is a light stroke contrast, irregular outer contours, pointed stroke endings and a clear slant to the right. These characteristics lend the font its spontaneity and liveliness. ITC Skylark is best used for headlines and short texts in point sizes of 12 and larger.

Rudge is an intentionally rough sans-serif font. It was designed to share the look and feel of many “antique” fonts, although it lacks the standard serif look of those fonts. The corners are slightly rounded, the edges are wobbly, and the kerning is tight. It could be used as a faux “sloppy printing” font or just a more regularized hand-drawn font. It comes in six flavors: Light, Regular, and Bold, with italic versions of each.

Grappa, a traditional Italian spirit with a rich history, shares much in common with typefaces - both embody cultural heritage, craftsmanship, and a sensory experience. Grappa is distilled from the skins, pulp, seeds, and stems left over from winemaking, resulting in a strong and aromatic drink that varies in flavor based on the grape and distillation process. Similarly, typefaces are designed characters that convey a unique style, weight, and form, communicating messages and expressing ideas through text. We are thrilled to introduce Grappa, a stunning new font based on the classic "Invitation" typeface by Morris Fuller Benton, a renowned American designer. Grappa features nine weights and a variable font that offers greater customization, with unique triangle serifs that give it a distinct edge. The font also comes with a variety of alternates and swash characters, including a second version with modified alternate characters for even more design flexibility. Like Grappa, typefaces evoke emotions and cultural associations, often associated with specific historical periods, artistic movements, and contexts. Whether used in stationery, packaging, editorial design, or branding, Grappa is a versatile and timeless font that can add elegance and sophistication to any project. In conclusion, Grappa is an excellent addition to any designer's toolkit, offering a perfect blend of tradition and modernity. The font's distinctive personality and cultural connotations make it a beloved drink in Italy, and a font that can effectively communicate messages and ideas through text.

Bison is a sophisticated and strong family of sans serif fonts. Its sturdy uncompromising style is felt through controlled letterforms and modern touches. A balance of hard lines and smooth curves, each font in the family can stand on its own — dynamic and authoritative in its own right. FEATURES Bison includes ten all-caps fonts: Four weights / Italics / Outlines / Numbers & Punctuation / Extensive Language Support Bison Bold - bold and commanding Bison Demibold - the persuasive middleweight Bison Regular - a sturdy midground between light and bolds Bison Light - quiet but confident Bison Outline (Thick and Thin) - edgy and engaging USE Bison works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.

Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primarily in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc. Elasticity of glyphs reflected an adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs „o, c, e“ per poor reading conditions. Softness of lowercase is at uppercase balanced in bottom arches, that are subtly kicked-up. Numerals are an important component of sport communication, so this font offers expressive design, different from numerals of book typefaces. Every font has 9 kinds of numerals. Character case contains over 1000 glyphs, sport icons and othes signs creating the sport feeling. The font name, Akceler, represents acceleration, which is characteristic attribute of this typeface. It’s suitable for display and text usage, too. To see more please visit the PDF specimen. ■24 styles (2 alternatives, 3 grades of dynamics, 4 weights) ■over 1 000 glyphs per font ■9 kinds of numerals ■icons of sport equipment ■8 stylistic sets ■8 kinds of arrows ■23 OT features ■support of latin languages

I’m a bit of a sucker for neon lights, especially in big cities. My favourite city is Tokyo, with its brightly coloured billboards and its back alleys full of neon-lit eateries. At first sight, Neon Goo is a slightly warped font, with some funny looking glyphs and a generous spacing. When you start using it, you’ll find out that the glyphs do complement each other! Neon Goo comes with all diacritics and a set of alternates for the lower case letters.

Amberday is a modern display serif typeface to be used more than just as a header font. When I was creating this typeface my first though was to create a light font but strong enough to stand as a header font. Amberday is a perfect typeface to use for logo design, webdesign, header design, typedesign, posters and many more. Amberday family includes eight weight starting with Thin and ending with a Heavy style. Each style includes kerning, ligatures and alternates.

I have a lot of options to choose from, and it's hard to decide. For example, if I use "Thin" for the body text, I might make the title slightly larger and use "ExLight," and for the headings, I could use "Regular" or something similar. I could also stick to one font weight, like "Light," and differentiate the text using various sizes. This font is designed for enjoying the process of "indecisiveness," so please feel free to wander and deliberate extensively.

Rajjah Familia - Blackletter font family Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 until the 17th century. Blackletter is currently widely used in modern creative design trends ranging from tattoo lettering, calligraphy, clothing brands, music, sports, labels and much more. Rajjah Familia looks gothic but easy to read, neat and beautiful. Comes with light, regular, medium and bold version. Rajjah is the right choice for your next projects!

Atomgeek is inspired by old arcade games. Use it for your comics - especially the ones with superheroes and their counterparts! The capital letters have lightning flaming out of the left side, and if you want them flaming out of the right side then just use the Open Type Stylish Alternates! You will need to use OpenType supporting applications to use the autoligatures.

Becka Script was designed by David Harris in 1985 and is a wide running typeface with varying stroke contrasts. This font looks as though written with a broad tipped pen and its slight slant to the right makes clear its similarity to callipgraphy fonts. Becka Script is reminiscent of the 1950s and its strong strokes make it best for headlines or shorter texts.

Composed, clean and slightly angular, as its name says. It's organic, warm and round in the right places too. A sanserif typeface family Vinkel is a handsome androgyne with an excellent balance of Neo-grotesque and Humanist DNA. Vinkel comes in eight weights from Thin to Extra Black, all with italics, small caps, several sets of numerals, arrows, alternate characters, and more.

Frederic W. Goudy designed three weights of this friendly-looking sans serif font from 1922-1929 for Lanston Monotype in the United States. Goudy was attempting to impart freedom and personality to the sans serif form at a time when geometric sans serifs, such as Futura, were gaining rapid world-wide popularity. To achieve this challenging goal, he looked to lapidary inscriptions and manuscript writing for inspiration. He included elements such as slight swellings of terminal strokes, slab serifs on a few of the caps, alternate uncial forms, and a few swash strokes. The result is uniquely Goudy: charming, instinctive, and just right for adding warmth to magazine or advertising layouts. The design staff at ITC updated and filled out the family for a total of eight styles in ITC Goudy Sans. ITC Goudy Sans® font field guide including best practices, font pairings and alternatives.

When the right late seventies / early eighties message is needed, Toisy comes to the rescue. Founded on a mix of references from letterforms of the time, this new original nods to a style that defined an era. A sexy theme font that conveys a clear image of what was truly chic thirty years ago, this alphabet is deeply rooted in sultry memories of soft, endless nights. Exaggerate contrast between strokes and angular lines combine with rounded corners to provide a unique character and a look that sharply differs when set in all caps or lower case, thanks to an uncommon treatment of density and proportions. Set it real tight, as was typographically in fashion circa 1981. Toisy and Toisy Greek include a set of 13 matching images inspired in leisure stuff and the clothing of the last days of disco. They are different from the set included with Toisy Alt.

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Clover is a modern retro font with a light, bubbly feel! This font is perfect if you are after a fun script font that has a lot of edge! The versatility of this font reaches wide. Use this one for branding, logos, advertisements, shirts, stickers, social media, invitations and more! The complete package includes a complimentary shadow version for easy and perfect layering every time! Clover will take you right back to the 70's but still provide a fresh look to your designs!

Magazin ST is powerful but delicate. What fascinated me seeing, a couple of letters, in Bob Roy Kelly's book (American Wood Type:1828-1900) were the little squares in the corners that represent a glow from lighting coming from below and from the right. Such ambiguity excited me and I thought that today with digital resources it wouldn't take long to do it. Seeing it working is excellent. Look In the posters what it is for and the effects it produces, including the sensation of relief.- L.S.

Ultima Pro is a geometric sans serif typeface family of eight styles – light, regular, bold and black in roman and italic respectably. Ultima Pro typeface is an upgrade addition to Ultima family (2010). All glyphs have gone through shape refinements, and the amount of glyphs was significantly extended, which enabled support of more Latin languages as well as full support of Cyrillic. Fonts released in OpenType format with some opentype features. The typeface is ideal for use in display sizes though is quite legible in text.

Styling is a simple, light, sans-serif typeface inspired on old cars and planes with an aerodynamic shape. The font comes in 5 weights plus italics. Styling and Styling Alt families offer professionals a wide range of creative options. Styling was created in 2014, while its designer was 30,000 feet in the air and the plane was flying over some Latin America cities. A flight full of flavours and shapes. This typeface is the result of anxiety and speed. Keep on rollin’ and fly high with Styling!

The Zanerian Manual of Alphabets and Engrossing, published in numerous editions since 1895, featured many elegant and elaborate script typefaces. However, it seems that, from time to time, calligraphers just want to have fun, and this little number is definitely fun. Light, lively and just a little loopy, Red Hot Mama is sure to add just the right amount of spice to your special project. Both versions contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

I have always loved gazing at the stars. Too bad that you don’t get to see a true starry night these days - mostly because of light pollution. Starlight Lovers is a messy serif. It is hand painted, using a brush and Chinese ink, so the edges may be a bit rough. In my opinion, this adds to the font’s character! Starlight Lovers is an ideal font for (Christmas) cards, book covers, posters and product packaging. Comes with a milky way of diacritics as well!

Calendula is a humanistic font with low contrast and one-sided serifs. There are eight styles: four regular of different weights from Light to Bold and corresponding italics. The main set of regular styles is close to upright italics, so the font is percieved as informal and friendly. However, Calendula allows you to combine business with pleasure by switching the stylistic set, and turns into a calm text font with traditional upright forms. The font was designed by Natalia Vasilyeva and released by Paratype in 2017.

The German designers Gerd Sebastian Jakob and Jörg Ewald Meißner developed the Linotype Puritas family in 1999. The family, which has six text styles as well as a ornament set, displays a very geometric design, which harks back to the German modernist experiments with typography and lettering from the 1920s. The letters in Linotype Puritas Light, Linotype Puritas Medium, and Linotype Puritas Bold all have a slight slant to them. Not to be confused with an italic-grade slant, which may be found in the Light, Medium, and Bold Italic styles, these acute slants add a dynamic quality to text. The Linotype Puritas Ornaments font contains several dingbats and border elements, all drawn in the same line style as the companion letters. The entire Linotype Puritas family is included in the Take Type 4 collection from Linotype GmbH."

Here's a lettering style that just might be exactly on your wavelength. Add just the right dose of vintage freak-a-delia to your retro graphics with this original psychedelic-style design. Great for music posters, album graphics, book titles, etc. Evoke a warpy, wavy, whimsical vibe that harks back to the carefree 1960s or early 1970s era with Sixties Flashback; it's pure hippie, trippy fun!

Harri –“stone” in Basque language– is a display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. This idiosyncratic lettering style, very often used as an identity signifier, evolved from ancient inscriptions carved on gravestones which can still be found in the French part of the Basque Country (Behe Nafarroa, Lapurdi and Zuberoa).Harri takes some of its more significant features from those engraved letter forms, but also from the current overemphasized shapes derived from them, while keeping in sight their antecessors: the Romanesque inscriptions and ultimately the Roman Capitals. Gerard Unger once said “the black version of a font is a caricature of the regular”. This may explain how the odd heavy shapes in use in the Basque Country today might have evolved from their engraved roots, which are already an interpretation of Romanesque and Roman letter forms. This evolution is echoed in Harri through its weights, from the clean formal Roman-inspired light to the extreme expressive Basque-style extra bold.

Introducing Westerland Grotesk, a sans serif font family that seamlessly harmonizes classic simplicity with contemporary sophistication. Its slight contrast, which can be found throughout the weights, gives it a unique and warm character while maintaining the sleekness of a true grotesque. The family consist of eight weights in roman & italic, coming up to a total of 16 styles. This variety enables a range of uses, from elegant lightness with the thinner weights to loud expressiveness with the bolder ones. Language Support Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu Open Type Features Standard Ligatures, Alternates, Fractions, Superscript Figures

British designer David Quay originally created Titus Light in 1984. A serif design, Titus Light is a wide, curvy, and round typeface that is best used in larger point sizes.

Cinemas from the early 20th century are called “Lichtspiele” in Germany. “Lichtspiele” transports you back to a time where neon lights and marquee letters decorated cinema façades. Of the five styles, three have two versions of italics — the left-leaning italic evokes looking up from lower-left, the right-leaning italic is as if we are looking from lower-right. Display is the basic style, while Neon is inspired by the old neon letters found outside cinemas. Try placing Neon Outline on top of Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. The Screen Credits style is based on the notes — producers, cast, crew and so on — on movie posters. Get more out of life, go out to a movie.

Gumela is a unique-sans family, based on rounded sans serif whose edges end with unique shapes. Gumela consist of 6 styles: Light, Light Italic, Regular, Italic, Bold and Bold Italic.

Operandi is geometric sans family available in 6 weights inspired with vintage posters design from period between two great wars. Unpretentious family guided by simple design solutions – slightly wide by its character, decently recognizable, fully capable to lead any project – Operandi offers combination of functionality and visual balance that should be enough to recommend it as right choice. From Light to Black, packed in extended Latin character map, Operandi also contains a few OpenType features such as Ligatures, Fractions and 2x Stylistic Sets – one for complete uppercase alternatives and one for “a” and “g”.

Twirrewyn is Frisian for ‘Whirlwind’. I have always liked the Frisian language; it’s like a crossover between English and Dutch. When I studied journalism in Zwolle (a city close to Fryslân) there were a lot of Frisian students and I did pick up a few words! Twirrewyn is a handmade font family: the fat version was made using a brush and ink; the light version was made using that same ink, but with a broken satay skewer instead of a brush. And yes, you have guessed right, we eat a lot of Satay! ;-)