Claudium started as an attempt to create a sans serif version of Garamond. As time went on it gradually became a meditation on the nature of French typography from Garamond to Excoffon. It was especially influenced by Cassandre's type for the Orly airport which seems to epitomize certain aspects of the French character�at least in typography. Attempts to create an italic met with disaster. Gradually, after lots of Cotes du Rhone, a cursive, based on Garamond�s Greek forms, emerged. It came at a time when I was looking at lot at Victor Hammer�s uncial and Andromaque cursive. So Claudium Cursive was developed as a lower case only and mated to the Claudium Regular caps ala Griffo�s original italic type. In keeping with the cursive lowercase there are cursive oldstyle numbers.

Visigoth font was created in 1988 by Arthur Baker for AlphaOmega Typography. He designed it specifically for setting the text of A Dante Bestiary published in 1989 for Ombondi Editions in New York. Highly expressive and unusual letter shapes make Visigoth unique among script faces: it has bold, pen written lines, a slight incline, and a distinct variation in stroke weights, making it ideal for advertising and other display work.

Wappenbee is a 28 pixel bitmapped dingbat system for building crests for the modern, noble life. The dingbat allows you to build memorable crests like the skatepark crest, the smelly sock crest, the mixtape crest and many more. Vowels are mythical shield-holding creatures (upper- and lowercase are right- and leftfacing beasts), consonants are the various shields and numerals are 'crowns' above the crests.

When you're ready to leave your cozy picket fence life in Typeville, make the move to the hustle and bustle of Fontropolis! FONTROPOLIS is populated by friendly-faced characters you can always count on to help you through the thick and thin of everyday life in the Capital. Why not take a day to admire the classic arches of the ascenders, descenders and horizontals featured in Fontropolis's architecture? Indulge in a little idle chitchat with your fellow Fontropolitans! Fear not! The People of Fontropolis will stand firm beside you when the unavoidable Supervillains and Crackpots descend on the capitals, spouting Arrogant Expositions of their Nefarious Plans as they seek to usurp our great country’s democracy! FONTROPOLIS will always prevail! The Fontropolis font family includes four weights (Regular, Italic, Bold & Bold Italic) with alternate uppercase characters, Western & Central European & Vietnamese support, Manga characters and Crossbar I Technology™

Fonts are Inhuman and Human Fonts are IN! Now, the Comicraft Cybernetics Corporation is proud to announce the first in a new line of fonts with GFP... Genuine Font Personalities. Paranoid Android is an outer alloy, inner void, solitary solenoid GFP prototype -- you can tell, can't you? Finally a font that knows its place as a digital servant to the human race. What will Comicraft think of next? No, don't bother to answer that, Comicraftsmen are fifty thousand times more intelligent than you and even they don't know the answer. Warning: Nothing left to be enjoyed, every diode rheumatoid*, terminally Paranoid Android is not so much a font, and more a kind of electronic sulking device. Share and Enjoy! *The moving parts on the left side of this font are in a solid state. It may sit in a corner and rust, or just fall apart where it's standing.

Terafile, a sans serif family designed by Raúl Plancarte who was inspired by hi-tech aesthetics. It is made up of eight weight variants with their respective italic versions. Ideally it works to capture in a graphic way the universe related to technology, sci-fi, industry and similar topics. It is a mixed family, because the construction of certain letters (as in "a", "f", "z", "B", "P", among others) is enriched with different finishes in structure to gain differentiation and plasticity. In other words, it moves away from an entirely academic design. Another important line in the creative concept of this typeface is the function of its ink traps, which, in addition to fulfilling their primary function, serve to gain gestuality in its use. This font is capable of covering complex design needs by enabling association with specific themes, which makes it highly competitive in its graphic line.

Introducing Sebale – Handwritten Script A Playful Handwritten Script Sebale, a font brimming with delightful whimsy, injects a playful touch into your designs. Charming Whimsy Sebale’s design is not only handwritten but also exudes charming whimsy, making it an ideal choice for a variety of creative projects. Versatile for Creative Endeavors Moving beyond its charm, Sebale’s versatility shines through, allowing it to seamlessly enhance a wide range of design projects. From greeting cards to branding, it offers a wide array of possibilities. Engaging and Memorable Sebale ensures that your content is not only engaging but also incredibly memorable, leaving a lasting and delightful impression. In Conclusion To sum it up, Sebale – Handwritten Script is the font that effortlessly infuses a delightful playfulness into your designs. Its versatility makes it suitable for a broad range of creative endeavors, ensuring accessibility to a diverse readership. With Sebale, your projects will undoubtedly stand out.

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

Ivà by Joan Barjau / OpenType, 2 styles.   Ivà, a very personal script based on the handwriting of the cartoonist called Ramón Tosas "Ivà, digitised by Joan Barjau in two plain weights. These fonts were set for the credit titles of a film in 1994 and remain in our collection as an icon of those times.

The titles and credits from the 1960 French film “Le Passage Du Rhin” (English release title: “Tomorrow is My Turn”)” are hand made in a free form bold alphabet resembling both cut paper and quickly sketched lettering. This avant garde style inspired the digital type revival, which is available in both regular and oblique versions.

The pen lettered opening credits for the 1937 film “The Awful Truth” inspired Date Book JNL, which is available in both regular and oblique versions. A hybrid of both Art Nouveau and Art Deco influences, this casual type design is perfect for any project that wants to convey its message in a pleasant, informal manner.

Ambiguity is a type family with five distinct personalities or ‘states’, created as a tool for coaxing designers and brands out of their comfort zone. It embraces both tradition and radicality, as well as generosity and thrift, encouraging us to question our beliefs about the intersection of style and meaning. The family is designed by Charles Nix, who describes Ambiguity as “as much thought experiment as typeface.” Its five states—Tradition, Radical, Thrift, Generous and Normate—each express or subvert different aspects of typographic tradition. Tradition is conservative, relying on historical letter shapes. Radical rejects inherited ideas of proportion, making typically slender letterforms wide, and wide letterforms slender. “It’s contrarian,” says Nix. Thrift cherry picks the condensed shapes from Tradition and Radical, while Generous does the same for wide forms. Normate sits at the center, a synthetic blend of all of the others. “Tradition is very comforting,” says Nix. “It’s the mask of conservatism. It’s calming because it delivers the proportions we expect. With Thrift more fits into a smaller space, so it’s great where words want to get large, like gigantic headlines, or text needs to cram in, like small screen type. You get a sense of carefree and luxury from the Generous cut. One would expect the Radical to be used in a sort of Dadaist way, but in a classic context it provides an enjoyable jolt.” Ambiguity is a litmus test. Designers could spend hours trying on typefaces that offer just one of these voices. Ambiguity provides five different personalities—ideas—beliefs—each of which also work seamlessly together. “It’s a palettea, like idea cards,” he says. “It’s a way of making yourself see differently. My hope is that traditionalists will try on radical clothes and vice versa. It’s a way of exploring outside your comfort zone, breaking out of the doldrums, by stepping through a variety of voices.”

Gamon is an innovative and daring unicase display font that is a perfect example of modern typography. The absence of traditional lowercase letters and the integration of multiple glyphs in the uppercase letters create a distinct and captivating design. The uniform size of the letters adds to the font’s appealing appearance, making it an ideal choice for large display layouts, branding, posters, and titles. Gamon’s typography is perfect for designers who are looking for a fresh and unusual aesthetic. It can transform any digital or print design stand out from the rest. Gamon’s versatility makes it suitable for a broad range of design applications, including logos, packaging, and marketing materials. Gamon’s boldness and uniqueness make it an excellent choice for designers who want to break free from the conventional design constraints. With Gamon, designers can create designs that are not only visually appealing but also memorable and impactful.

Meets Glaw, A new carefully crafted Fonts from Ilham Herry to bring a new heavy look of Psychedelic Theme. The Ideas of this fonts are from 70s, Psychedelic, Funk, Hippie, Party, Music and Etc. Even though it’s a specific theme for this fonts. It doesn’t ruled out the possibility of creating a new style or themes. Glaw Created with a 3 Weight on the traditional OTF, Condensed, Regular and Expanded. Not Just that, If your software are support for Variable Fonts like Adobe Illustrator or Photoshop, The Weight are going to 100 Weight!. Glaw Best used for a Large Text such as Headline, Poster, Branding, Logos, Concert, Branding and Any other use that needs a Heavy looks for the Title. Our creation on the display to give you a reference what it looks like on your project. It shows that how Glaw will look on your design style.

Introducing Romanist - a modern twist on the classic textura/blackletter style font that brings a bold and contemporary edge to your designs. This versatile typeface combines the rich heritage of traditional blackletter with sleek, clean lines and a touch of modern sophistication. With its distinctive Gothic-inspired letterforms, Romanist adds a touch of elegance and intrigue to any design project. Whether you're creating stunning t-shirt designs, captivating magazine covers, or eye-catching posters, this font is sure to make a statement. Whether you're a professional graphic designer, a clothing brand, or a magazine publisher, Romanist is your go-to font for adding a touch of sophistication and originality to your designs. Elevate your creative projects to new heights with the timeless allure of Romanist. Experience the power of Romanist and let your imagination run wild as you create captivating designs that leave a lasting impression.

Saigon is a minimalist condensed serif family. With clean lines and tight curves, its personality dwells in its simplicity making it a timeless editorial typeface. As the italic breaks with the traditional strokes and embrace a more modest yet modern look, it blends in nicely with its upright sister, thus creating an harmonious rhythm which emphasis the minimalist approach of Saigon. The low contrast serif is created to look great in both display and text. Whether it’s bold headlines of descriptive paragraphs, Saigon aims to be as versatile and functional as possible. It supplies 6 weights from thin to bold allowing you to elevate your typography designs in a minute while keeping it simple. Cause great design should be simple. The type family supports major Latin-based languages along with opentype features such as fractions, old style numerals, ligatures, case sensitive punctuation, stylistic alternates symbols and more.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Frasa is a contemporary serif family with characteristics that arise from the charms of Caslon and a touch of transitional style; the design offers distinctive proportions to serve long-running small text and the sturdiness of its own form to help as a headline font. Frasa shows that the family is shaped by the traditions of its ancestors through small details that show the personality of the typeface, such as pointed ball terminals and strong shoulders. The italic weights have their own beauty, which is created to humanize the form based on a stylized and natural cursive style with the aim of emphasizing the text's essential elements. The addition of small caps, old-style figures, ligatures, etc. to this type family satisfies conventional typographic requirements. Frasa typefaces can eventually lead to the use of powerful design tools to create editorial and casual design styles.

Sakrale is a modern take on the traditional black letter font. Its unique glyph shape adds a touch of rigidity to its contemporary look, making it a perfect choice for your project who want to add a touch of sophistication to their work. The Sakrale font is designed to be user-friendly, with easy-to-read characters that are perfect for headlines, logos, and branding. This font is ideal for those who want to create a modern, edgy design that stands out. Whether you're a professional designer or just starting out, Sakrale is the perfect font. Sakrale is the perfect font for any design project that requires a touch of elegance and class. Whether you're creating a logo, title, or poster, this font is guaranteed to make your work stand out from the rest. With its clean lines and modern feel, Sakrale is sure to impress.

Deltras is handmade modern vintage display typefaces, which is combining the style of classic typography with an modern handlettering style. The font have smooth edges to make vintage printing, so it will bring a handdrawn classic look feels. It easily cooperating together and perfect for creating the traditional style logos, labels, package design, lettering for t-shirts and much others. There are more than 355 glyphs in the font including Stylistic sets, Contextual Alternates etc. OpenType features with Stylistic Alternates, Contextual Alternate in some characters that allows you to mix and match pairs of letters to fit your design.

Introducing House of Montague - Classic Font Duo, created by ikiiko. House of Montague is a traditional font for the classic serif type with the addition of a script type. A simple font, with a thin size, adds an elegant and classy impression. This typeface is perfect for an elegant logo, branding, travel promotion, layout magazine, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? Regular & Script Uppercase & Lowercase Number & Punctuation Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Surf Serif is the font that retains some features and proportions of the old-style antiqua, but is adapted for modern conditions, mainly screen ones. Its uncompromising hard lines and corners create an expressive contemporary image being used in larger point sizes accidents. In the text sizes the font proportions, its triangular serifs and the displaced stresses cause some associations with the early Renaissance and even a gothic style. It makes the text useful where brutal modernity must be combined with historical allusions. For example the font seems to be suitable for decoration and advertising of modern Gothic fashion.

Among the world of Chinese commercial fonts, M Qing Hua has a relatively high flexibility to be used in different areas, for instance, media of advertising. Its design concept is to combine the neatness of Hei typeface with the roundedness of Yuen typeface. The typeface tries to revitalize the boring traditional design by adding energy, simplicity and modernness to it, which could be shown in the small features in strokes like delicate and curvy finishings. More is the appropriate mix of masculinity and femininity, so as to enable a more effective communication, stronger visual attractiveness and higher affections.

For decades, the Persian-born Naghi Naghashian has been working as a graphic designer and illustrator in Germany. Arian™ is his first commercial Arabic typeface. Named after his mother, Naghi created the Arian typeface family after years of systematically analyzing the Arabic script. The Arian design is sought to fulfill the many needs and was developed for multiple languages and writing conventions. It's extremely legibilitable not only in small sizes, but also when the type is filtered or skewed. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Inspired by the medieval print design, the look of the sans serif typeface is strong and beautiful. It brings charming curves and satisfying patterns to traditional thick fonts. I like to use this font for printed material and titles - the height attracts attention and creates a visually attractive modern medieval feel. Graphemic fonts include two fonts - Regular and Light. Graphemic offers broad language support, upper and lower case letters, extended numbers and punctuation. Specifically suitable for: Posters, Blockbusters, films, trailers, headlines, titles, logos, branding, scripts, display & bold 'goods'. Thank you for viewing! (and more thanks for the purchase)

Endaley is a modern and elegant serif typeface that seamlessly blends timeless sophistication with contemporary design. Its sleek and refined letterforms exude a sense of class and professionalism, making it a versatile choice for a wide range of applications, from editorial layouts to branding and beyond. The well-balanced serifs and subtle curves of Endaley create a harmonious visual rhythm, striking a delicate equilibrium between tradition and modernity. With its distinctive yet understated personality, Endaley adds a touch of refinement to any project, embodying a contemporary aesthetic while paying homage to the enduring elegance of serif typography.

Shanks Antique 5 Pro is an iconic antique English typestyle rooted in tradition. It is the historical revival and elaboration of the “Antique No. 5” typeface created by Stevens, Shanks & Sons in 1865. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Reviving history looks and feels good. Perfect for wedding invitations, historical ephemera recreations, and classically elegant text settings.

Introducing Kahfee, a mesmerizing display font that invites you into a world where artistry and elegance merge seamlessly. Kahfee takes its inspiration from the captivating aesthetics of Arabic script. In this font, you'll find that every letter is thoughtfully connected, creating a captivating rhythm that mimics the graceful dance of Arabic writing. The strokes and curves are a tribute to the centuries-old tradition of Arabic calligraphy. Kahfee fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Bhortead that has a vintage theme that you can use for your project. This font has 2 styles, Clean and Rough, and so you can use that style according to the type of project. This font has many OpenType features so you can combine each font to be more dynamic. Special features include: stylistic alternates, ligatures and swashes. Bhortead includes western European characters (multilingual support). All characters have an imperfect shape that gives a natural look in design. It cooperates well for creating the traditional style logos, labels, package design, lettering for t-shirts and much others.

Among the world of Chinese commercial fonts, M Qing Hua has a relatively high flexibility to be used in different areas, for instance, media of advertising. Its design concept is to combine the neatness of Hei typeface with the roundedness of Yuen typeface. The typeface tries to revitalize the boring traditional design by adding energy, simplicity and modernness to it, which could be shown in the small features in strokes like delicate and curvy finishings. More is the appropriate mix of masculinity and femininity, so as to enable a more effective communication, stronger visual attractiveness and higher affections.

EmBauhaus is a display typeface, geometric in style, inspired by the face named after the world changing Bauhaus School. To aid readability I rethought the original typeface and closed all of the voids cut out of the strokes. We also modified the upper case to make it a more traditional design. An example of this is the upper case L, where a 90 degree angle was added.  This typeface was designed to be used judiciously in a layout, to draw focus to words and headlines, using stark angles, radii and geometry to create visual rhythm and gestalt.

Greene and Hollins of Wolverhampton were a rather smart gentleman’s outfitter, much frequented by my late grandfather and altogether redolent (in memory and actuality) of a bygone age of retail service and respect. I believe they’re out of business now, but we’re rather pleased to offer them this very small if rather random memorial. Greene and Hollins is a set of seven display typefaces, with uniform metrics, which can be overlaid to create multi-coloured ‘engraved’ effects. Also ideal to recreate traditional sign-writing, garment labels, signage and anything else where a period flare is required.

The name Norden means “the Nordic”, as in the geographical area or its countries. Inspired by the simplicity of Nordic and Scandinavian design, the Norden fonts give you clarity of expression, beyond the usual geometric look and feel of traditional sans-serifs. Open and spacious, the shapes of the glyphs play both with and against each other. Round and soft versus square and solid, a basic curve versus a straight line, creating a detached yet distinct style of expression, from light-as-air Hairline to dark and Bold. Norden comes in three variants: Standard, Round and Display.

The “indalo” means messenger of the Gods in the Iberian language about 2500 BC. It was discovered in the Almeria, south of Spain, Indalo was a ghost that bring luck having a rainbow in his hands. Indalo font is an informal, condensed hand-drawn font with a vintage touch. Its features give it a nice appearance that refer to traditional fluent writing. This font is equipped with a large set of ligatures, as well as different alternatives on some letters, to create more authentic and varied connections between letters. Contain Central European language support to fit your design.