Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Hoppa is a clean geometric typeface with a fun twist. It was carefully designed to the modern standards like big x-height and short descenders. With its smooth curves and loop-alike shapes, Hoppa will add a fresh and lively feel to your designs. Although it has been created to be used as a display face, it performs well in longer texts. Thanks to alternate glyphs, font gets more legible, neutral look. Hoppa supports most of Latin and Cyrillic languages and includes range of OT features.

Typewriters are becoming scarce, but fonts designed to look like they came from typewriters aren't. In this case, however, Gripewriter is meant to look as if it were typed on a textured paper and enlarged, emphasizing flaws and lending it a funkier, grungier look than your average typewriter face. This was originally called Hypewriter until it was pointed out that a font already existed with that name. The current name is a better fit, anyway, since Gripewriter looks like it might hold a grudge.

A creative dot matrix font with more likeable and funny types of dots. Also contains an extended set of characters.

I want the font to have a vitality of life, Visually, the details are beautiful, long and fashionable, low-key and elegant, quiet and delicate, with the aesthetic feeling of fashion, not aggressive.

Pragmatik is a carefully crafted Square Sans by Christopher Stahl, awarded with a Commendation at the Art Director's Club Germany Junior Competition 2011 and selected as Font of the Week 42.2011 by Typolution.de. The design is influenced by the heritage of German industrial typesets like DIN, yet the use of forms and proportions feels modern and fresh. The family consists of three weights with matching italics, thus making a total of six fonts. The high x-Height and the sturdy design provide a good legibility in body text, while in larger sizes the exciting details and alternates create headlines full of atmosphere. Features: - 350 glyphs supporting central and western European languages as of DIN 16518 - over 500 manually adjusted kerning classes and pairs - available in Open Type with a host of Open Type features, such as: - proportional lining, lining table and proportional oldstyle number figures - 7 default and 16 discretionary ligatures that especially cater the needs of the German and English language - a variety of stylistic alternate figures like a stencil like i and j or an old-style Eszett.

This font gets its inspiration from the typography of the Manuale ad Usum (1721), printed by Jesuit missionaries who worked at the beginning of the XVIII century with communities of "Guarani" native indians from the Northeast region of Argentina. It is a manual of sacraments published by Paulo Restivo and some collaborators among the native population. This manual features the peculiarity of being the first printed piece where there is a record of the place where it was printed: at the Loreto mission.

Introducing new layered font family it's call Chester , inspired from combine old postcard stamp and rustic sign painting with have unique decorative shapes. This is collection of type with a layered type system, many possibilities combination and options with 5 font system that can be layered to create different effect ( Basic , Inline, Inner dot, Gradient Inline, Shadow outline & Drop Shade ). You can use this font for various purposes.such as logo, product packaging, labeling, logo, classic shop, badges, quote, sign ,movie title, t-shirt, posters, lable, greetingcard, letterhead, book cover, any artwork.

Cooper Black The Cooper Black font should be used in display sizes only. Cooper Blacks serifs are rounded and the counters are small. Cooper Black was designed by Oswald B. Cooper for Barnhart Brothers & Spindler in 1921 for advertising and posters. The capital O and Q of the Cooper Black font are tilted back; in the lowercase, the dot on the I and j become elliptical. The extra bold Cooper Black font has a remarkable personality and reproduces well in sizes over 18 point in titles, subheadings and generally short sentences.

Inspired by a trip to Costa Rica and named after its famous beach town, Nosara is a layered vector font that's perfect for projects that require a realistic, hand-painted desert-island look. It comes in three styles: Regular, Outline, and Fill. The styles can be layered to create authentic-looking hand-painted letters and icons—in vector! You can create outlines from this font in order to customize to your heart's desire. Millions of bespoke combinations are possible. This typeface was made by hand, meaning each letter was painted with real paint and digitized, not created on an iPad, which is why this font looks great and has a warm natural quality even at large sizes. Nosara is perfect for packaging, parties, signage, and even looks great in long-form text! Nosara Xtra is a set of pictograms, also in 3 styles that can be layered for the same effect, evoking the imagery and happy vibes of a sunny tropical vacation.

Waiting For My Girl comes from a System of a Down song (Hypnotize). I was listening to it when I created this font and I liked the name! Waiting For My Girl is a script font - it’s quite loose and uneven, just like proper hand writing. It comes with double letter ligatures and a lot of character!

Attention Seeker does seek attention: it looks like a stencil font, and it sort of is, but it wasn’t made with stencils. It was made with a brush and ink on paper - just like that! Use Attention Seeker for your revolutionary posters, your books, your products or your posters, I am sure the end result will make heads turn.

Rev your engines and get ready to add some muscle to your typography with Threefortysixbarrel, the ultimate typeface for those who live life in the fast lane. This high-octane typeface was peeled right off the air filter of a 1970 Plymouth Barracuda. With Threefortysixbarrel, you’ll be able to proclaim your message with confidence and authority. This no-nonsense alphabet is barely street legal, just like the muscle cars it takes inspiration from. And with three different styles to choose from, you can customize your typography to match your message perfectly. First up, we have Threefortysixbarrel. This is the serious, clean version of the font, with a powerful personality that commands attention. It’s perfect for when you need to make a statement that can’t be ignored. If you’re looking for a more vintage feel, Threefortysixbarrel Intake is the way to go. This style features a realistic rusty letterpress effect that will make your typography look like it’s been around since the golden age of muscle cars. It’s perfect for adding a touch of nostalgia to your designs. And finally, we have Threefortysixbarrel Exhaust. This style is raspy and faded, barely hanging on—just like a muscle car that’s been pushed to its limits. It’s the perfect choice when you want your typography to have a scruffy, worn-in feel. But that’s not all—the textured styles of Threefortysixbarrel also include custom pairs that will be substituted automatically in apps that can handle OpenType ligatures. This means that repeated character textures will be broken up, resulting in an even more realistic, scruffy effect. So what are you waiting for? Grab the pistol grip, slam the pedal down, and peel out with Threefortysixbarrel. This typeface is the ultimate choice for anyone who wants to add some serious muscle to their designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Bolyar Pro type family is the ancestor of our successful font Bolyar . We decided to develop it to a new higher level - making it more sophisticated, detailed and useful at the same time. The new improved Bolyar is able to satisfy every typographic taste and meet the ever growing design requirements for high quality typefaces. If you are addicted to classic vintage style, then you could easily use Bolyar Pro for almost anything - from letterhead, logos and catchy headlines to elegant packaging, book covers and wine labels. Alternates, Swashes and Ligatures will help you customize almost every single letter and fit perfectly to your artwork. Bolyar Pro type family is showing an abundance of many new useful features and options like: - Five weights each sold as separate font - Over 1200 glyphs per weight - Full multilingual support of all European languages as well Greek and Cyrillic - Brand new Alternates and Swashes fully supported in all languages (even with accented characters) - Many useful ligatures - Full Open Type and True Type support for Mac and Win Platforms - New Bolyar Ornaments - a new complimentary font exclusively designed to fit the new Bolyar Pro, containig decorative shields, frames, ornaments and borders. Bolyar Pro font family is great for any kind of labels - in this link you could see some amazing examples how to use it alone or in combination with our Bolyar Ornate Pro font family.

Art into type In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness. An unusual brief Phil Garnham visited Conrad in his Hackney studio to get a feel for his work and ideas. “Conrad is a very clever and philosophical guy. He struggled to see how typeface design had any relevance to him and his art. This was going to be a challenge.” The artist presented the type designer with a pile of rope and a huge diagram of sketches and mathematical workings. “This was, in essence, my brief.” Phil developed three concepts, the simplest of which ticked all the boxes. “The idea of the strokes in the letterforms appearing and ending at peaks or points of origin fitted perfectly with Conrad’s idea of time occurring and ending at two ends of the sculpture.” Two versions Phil planned modules for two versions of the typeface: one with five lines in the letterforms and one with seven. He then drew the modules on-screen and twisted and turned them to build the machine that is FS Conrad. “This is not a simple headline typeface,” says Phil. “It’s not a rigid structure. It has varying character widths, and it’s informed by real typographic insight and proportions so that it actually works as piece of functioning, harmonious type.”

The infield dirt is raked, the outfield grass is mowed and the baselines chalked. So grab a beer, smother a stadium dog with mustard and relish, take a seat on the bleachers and get ready -- that handsome devil SPILLS is back on the mound and ready for a comeback! It’s true, Manager [the person who coaches a baseball team is a ‘manager’ not a coach] John JG Roshell has coaxed the wily veteran out of retirement, and he’s returned to the field with the wisdom of extra years and the addition of five new pitches (fonts): Stadium, Dugout, Outfield, Infield, Pennant and Base. The stadium is packed to capacity and we're pretty sure the first time he’s at the plate, it’s gonna be strike-out city! [to continue the logic of the baseball pitching ace as font metaphor, the pitcher would hopefully prevent a home run not facilitate one.] See the families related to Spills: SpillProof .

From 1958 to 1964, one of ABC-TV’s popular shows was the detective series “77 Sunset Strip”. Based in Los Angeles, the fictional detective agency was located next door to Dino’s Lodge, (partly owned by Dean Martin and actually located at 8532 Sunset). It was originally known as the Alpine Lodge. The adjacent building where Stuart Bailey and Jeff Spencer’s private detective service was located in fact housed a popular modeling agency. The ‘77’ address did not exist outside of the realm of the series. However, a wonderful sign with Art Deco-influenced lettering graced the set (on the wall of the office foyer) saying “Bailey & Spencer Private Investigators Suites 101-102”. A screen capture of this sign served as the working model for Private Eye JNL, which is available in both regular and oblique versions.

Dialogist is a display serif font animated in balanced beauty with curvy lines on each letters’ edges to make it look elegant and classic. Due to its bigger size than any other serif fonts, it becomes a noticeable and eye-catching font design. Proportions among letters equal to low contrasts, but it is still legible due to the font’s wide spaces. As a result, you may apply this font for any text sizes. Additionally, you can enjoy various features available here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Dialogist fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A handmade font is a creative designing way to catch attention. That is what this pretty font does. White Birds is a script font in handmade cursive styles with decorative and the dancing basic line characteristics showing the fun, elegant, modern nuances. To be visually attractive, its letter heights are made uneven for a purpose. In addition, White Birds gives you a special bonus called the clipart. Use this font for any text sizes due to its legibility and make use of the available interesting features to beautify your designs. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations White Birds fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Introducing Natalisa, a sophisticated sans serif font that brings a perfect balance of elegance and versatility to your design projects. With its clean lines and modern aesthetics, Natalisa is ideal for creating sleek logos, captivating headlines, engaging advertisements, and eye-catching branding materials. Crafted with meticulous attention to detail, Natalisa offers a harmonious blend of uppercase and lowercase letters that seamlessly complement each other. Its refined letterforms lend a timeless appeal, making it suitable for a wide range of applications. Whether you're designing for print or digital platforms, Natalisa will elevate your projects with its sleek and professional look. Not limited to its visual appeal, Natalisa is packed with essential features. The font includes a comprehensive set of numbers and punctuations, ensuring seamless integration into your designs. Its multilingual support allows you to effortlessly communicate your message in various languages, making it a versatile choice for global projects. With PUA encoding, Natalisa provides easy access to special characters and glyphs, expanding your creative possibilities. Additionally, the font offers ligatures that enhance the fluidity and elegance of your typography.

The year 1914 marked the appearance of Washington Ludlow's first typograph machine. This remarkable invention permitted typesetters to quickly cast a full line of lead type in one operation using supplied brass matrices, a procedure which was for the time a major technological improvement over the usual hand-set foundry type methods. Casting type the Ludlow way necessitated the creation of an entire range of new Ludlow typefaces, a development which made Ludlow not only a major manufacturer of printing machinery, but also one of the world's leading sources of professional type design. Renowned typographers such as Douglas C. McMurtrie and Ernest F. Detterer created original faces at Ludlow's request. Robert Hunter Middleton was Ludlow's design director for over fifty years, and during his distinguished career produced an entire library of typefaces representing virtually every known typographic style. He is recognized as one of the most prolific type designers of all time. Today, new Ludlow computer fonts are in preparation, including optically-correct versions of many classic Ludlow typefaces, drawn directly from the originals in the Ludlow company library.

Black Storm, a captivating serif display font, commands attention with its bold presence and refined aesthetics. It's a versatile tool that empowers your projects with a sense of authority and intricate detailing. The characters in Black Storm are boldly large, ensuring a striking visual impact suitable for attention-grabbing designs. The stable letter size contributes to a balanced and authoritative aesthetic. What elevates Black Storm to new heights is the thoughtful incorporation of additional lines and ornaments, meticulously placed to create a harmonious blend of structure and embellishment. In addition, enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Black Storm fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Brush Drops is a modern, impressive font that mixes the brush script characteristics and lovely, smooth ink drop details. This capital letter font shows stronger, more elegant displays. The letter shapes are in soft and smooth brush wipes with even edge lines to show firmer, clearer impressions. Furthermore, the ink drop details show personal, interesting touch on some of the letter parts. Bright, contrast colors will make this font outstanding and eye-catching. In addition, you may apply it for big text sizes to be greatly legible, and enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Brush Drops fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Strateen – a Futurism Sans Serif Font Strateen, a Futurism Sans Serif font, encapsulates the essence of contemporary design with its sleek and progressive aesthetic. Its clean, geometric lines and minimalistic strokes evoke a sense of modernity, making it ideal for projects that seek a futuristic and cutting-edge look. The typeface’s letterforms boast a harmonious balance between simplicity and sophistication, enhancing legibility while maintaining a distinctive personality. Strateen’s sans serif nature contributes to its versatility, enabling seamless integration across various mediums, from digital interfaces to print materials. The font’s forward-thinking design not only aligns with the visual trends of the future but also ensures a timeless appeal, making Strateen a compelling choice for those in pursuit of a dynamic and forward-looking typographic solution. Strateen is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Westblue is a captivating sans-serif display font. Crafted in bold style and intricate brushwork, this font is a versatile choice for designers seeking a perfect combination of impact and creativity. The characters in Westblue command attention with their substantial size and clean, sans-serif lines. What sets this font apart is the meticulously added brushed details, which bring an organic and handcrafted touch to each letter. These details create a sense of dynamism, making Westblue ideal for projects that demand both modernity and a hint of artistic flair. In addition, enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Westblue fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

HT Qays Sans New Arabic Font performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs, while massive print headlines – even complicated way-finding projects pose no stumbling blocks to the family’s typographic dexterity.

Tipperary was designed by Steve Matteson and named for a favorite 'single track' bike trail, Tipperary is a monoline Humanist Sans Serif typeface. The clear, open, letter forms curve abruptly in an almost squarish geometry much like the sharp turns on the Tipperary trail. The clear, austere forms offer exceptional legibility for both interface designs and extended reading. Small size package labels and crisp branding programs benefit from Tipperary's emphasis on clean, readable design. eText typefaces are designed to meet the challenges of extended reading in digital environments such as mobile devices or desktop screens. Their forerunners are among the world's most popular and important book typefaces for print media. These classic designs were reinterpreted to conform to technological constraints of LCD and e-Paper while retaining the properties of proportion and form which made them favorites for print.