Versteeg was originally designed as a font that would work at a singular pixel level. In the spirit of this reduction, Versteeg was designed with an x-height of 3 units with capitals at 4 units. This extreme simplification is what makes Versteeg unique. After designing the square version of the typeface, creating a series of circular versions was a natural evolution. These versions have a resemblance to braille, but don't actually have a relationship with any braille characters. The width of each face is carefully designed to make sure that the letters will align perfectly in multiple lines. Versteeg is, for the most part, a display typeface, and isn't recommended for large blocks of text.

The Yearling fonts are inspired by old propaganda poster letter forms of the 20th century. However, they're also intended to work well in modern communications as well. Yearling was originally created to look good via fax (LOL!), and because it's based on a very rigid grid (like pixels on your screen), this font family also works well on smartphones and modern tablets, too. Short on curves and diagonals, these letterforms are a celebration of horizontal and vertical. But most importantly, this font is simple and clean and clear and direct. Nothing fancy here, just the facts, as modern as can be. Recently updated with extra language support for many voices across the world.

Sometimes the ugliest pets can be the cutest ones. And the dirtiest fonts can be the most charming ones. Like CA Smut which comes in two styles that can be stacked on top of each other. “Regular” is the shadow, while “Fill” is the filling. Create little masterpieces by playing with different colors, offset or deviating tracking. You can even try to use the “Fill” style on its own, but do so at you own risk. The spacing and kerning is optimized for the use with “Regular”, so be open minded for surprising results. If you ever had the intention to design a horror movie poster, there’s no way around CA Smut.

BLASTER is a casual, fun display font, created by using a brush pen. It has an urban and trendy feel and it will most definitely fit a wide range of designs. This font is perfect for brand announcements, packaging, quotes, branding, advertisements, blogs, logos, invitations, and more! This font is PUA encoded which means you can access all of the stunning glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures. What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

This font set is based on Frank Lloyd Wright's hand-lettering found on the Chicago Midway Gardens working drawings from 1913. This type of architectural lettering is a bit more casual than standard lettering found on most blueprints. It evokes the personality of Frank Lloyd Wright and complements the other fonts in the P22 FLW font series. Midway One and Midway Two can be used interchangeably to give a more naturalistic feeling of hand lettering. Midway Ornaments features over 100 decorative border elements that can be combined is many ways for surprising and effective decorative motifs. Midway One and Midway Two have been remastered and now contain over 400 characters including support for Western and Central European languages.

Ekeras is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Ekeras is a futuristic, techno-looking and dynamic typeface with an appearance of machined-like parts with sharp and rounded edges. The large Pro font character set supports most Central European and many Eastern European languages.

Bolívar is a contemporary display typeface inspired in the handwriting of one of the most prominent personalities of the Latin American 19th century: Simón Bolívar, “the liberator". The typeface intends to capture the passion of handwritten letterforms and to translate it into type. Among the characteristics that best contribute to its strong personality, are the impressive length of ascenders and descenders as well as the more than 45 degrees of slant. Bolívar mimics certain aspects of handwriting such as the slightly different baseline for each letter and ink clogs in the counters of some letters. Use Bolívar whenever you need to add passion to a piece of text, from logos or single words to sentences and captions.

Brouwerij means Brewery in Dutch. I just liked the name and it seemed to fit the font quite well. As for me, believe it or not, I’m not a beer drinker! I can’t understand why people go nuts when the word beer is mentioned. Like it is something special (after all, it is the third most consumed beverage after water and tea). Like you are not a man when you don’t drink beer! Brouwerij is a pleasant all caps font that comes with interesting swashes for the upper class letters. You can (obviously) use it to promote your home made brew, but any other drink can use a bit of Brouwerij as well.

Parfumerie Script is a sophisticated calligraphic font defined by its smooth curves, clean lines and the finest of fine strokes. Graceful and refined in its most basic script form, a range of Swash and Decorative alternates (including a unique local style called Filete Porteño, an ornamental form native to Buenos Aires) allows users to elevate their designs to higher levels of aesthetic beauty and elegance. Parfumerie Script Pro contains over 2500 glyphs, among which are swashes, ornaments and decorative alternates. Some alternatives are offered separately too. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide

Mersin is a modern sans serif font family. The asymmetrical structure of the beginning and ending shapes of letters such as "Cc, Ss" is its most distinguishing feature. Mersin has a total of 20 fonts, includings 10 weights and their appropriate italics. With its 2-axis (Weight & Italic) Variable Version, Mersin offers the advantage of using a very rich weight between 100-900. It includes detailed ligatures such as "Th, Tl, Ti, Tä, Tä, Tü, Tö, iï, fä, fä, fö fü" for very wide and different accents. “Mersin Book” and “Mersin Book Italic” are specially designed for body texts and small fonts usages. Ideal for corporate identity, posters, brochures, guidance signages and all other kinds of graphic design works.

Do you need a cyberpunk theme? Introducing our newest font called Ghora. A futuristic font that will mark your business as the most unique on the market. Designed with every detail in mind, this typeface has a very futuristic look. You can use this typeface for sci-fi-themed logos, games, movies, posters, designs, and promotional publications. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Wola™, by Franciszek Otto, is not for the typographically timid. It creates vibrant digital headings, banners and navigational links, in addition to commanding print headlines and subheads – but it is not shy, reserved or demure. The design blends the stroke weight stress of Bodoni with the urgency of handwritten letterforms, conveying the energy and immediacy of a design that’s bigger than life – and outside the fence. OpenType® Pro fonts of Wola provide for the automatic insertion of ligatures and alternate characters. These are in addition to a character set supporting most Central European and many Eastern European languages, including Cyrillic and Greek. All this makes Wola a comfortable – if boisterous – world traveler.

Are you looking for a sleek, clean, and futuristic font for your projects? Dislope Display is the font for you! Dislope Display is a geometric sans serif typeface with mono-weight strokes and distinctive, fluid diagonals. Futuristic and dystopian films, TV series, and games inspired its minimal yet striking characteristics. Its simplicity makes it easily adaptable to the needs of even the most specialized projects. Dislope Display's carefully adjusted spacing and kerning ensure amazing-looking titles, headings, logotypes, and all other medium to large-form text. Each weight has a complete, comprehensive glyph set of 183 glyphs, and the family has a total of 549 glyphs. Dislope Display can be used in any text-manipulating program once installed.

A lot of time and effort has been put into the process of creating the Brillian Font. A careful analysis of the current font market and overly increasing customer needs have shaped Brillian’s final appearance and content. We don't have a precise target audience for Brillian, since the amazing amount and structure of the chosen characters enables a very wide utilization. Its look and feel came from a different designing approach, so that it can successfully satisfy the needs of even the neediest. Shining with calm and dignity, while in the roots being aggressive, it has successfully connected classic and modern styles - representing its largest value. A most complete set of Cyrillic, Greek and Latin characters included.

Nimbus Sans ME is the expansion within the Nimbus Sans family for the Middle East range: Arabic (incl. Farsi) and Hebrew. Volker Schnebel has designed both scripts, which each include five upright and five cursive styles. The design is contemporary and fits the Latin Nimbus Sans. Besides the basis characters, the Arabic also includes the presentation forms: the variations for initial, medial and final letters. The correspondent OTF features are included in the fonts. All three scripts are perfectly combinable. Nimbus Sans is one of the best supported and most favored URW fonts ever. It is available as a Global Font in 4 weights and contains up to 65.000 characters per font.

One of the first messy typewriter fonts to hit the market, Chandler 42 was compiled with forensic care from the voluminous output of a circa 1942 portable. All the eccentric personality of this particular machine is intact: a slightly angled "m," filled in gaps in the most-used characters; even the number "4" is reminiscent of gasoline pump numbers of its day. Chandler 42 features edges meticulously redrafted by hand, fully developed Western character sets and is available in 4 weights, plus obliques. Chandler 42 is everything you need to type a 1940s business letter, prep your own vintage facilities report or write that hard boiled novel you've been planning to start.

Twentieth Century was designed and drawn by Sol Hess in the Lanston Monotype drawing office between 1936 and 1947. The first weights were added to the Monotype typeface library in 1959. Twentieth Century is based on geometric shapes which originated in Germany in the early 1920's and became an integral part of the Bauhaus movement of that time. Form and function became the key words, unnecessary decoration was scorned. This clean cut, sans serif with geometric shapes was most appropriate. The lighter weights of the Twentieth Century font family can be used for text setting; the Twentieth Century bold and condensed fonts are suitable for display in headlines and advertising. Commonly spelled 20th Century.

Anastas is a modern high-end serif. The font is ideally suited for editorial use in books, magazines, publishing, logo, branding and creative industries as well as poster and billboards. Anastas supports all most all European Languages. It equally includes a series of Opentype features of standard ligatures, discretionary ligatures and stylistic sets. Anastas is a modern, sophisticated and stylish typeface that boarders on the edge of a classic font. It draws inspiration from modern structural grids that are responsible for our rigid movement with in our cosmopolitan landscapes. The constant redevelopment and revitalisation of London’s metropolis excited me to develop Anastas. Anastas is greek in origin coming from the word “Anastasi” which means “resurrection” or “revitalisation”.

Avid Pro font family is designed by Naghi Naghashian. A modern interpretation of classic Sans Serif characters in 6 weights: Thin, Light, Regular, Demi Bold, Bold and Heavy. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

The English typographer Robert Harling created Tea Chest in 1939 with the Stephenson Blake foundry. Today, this classic design is available in digital format from Linotype GmbH. Tea Chest is a bold stencil face. The font's narrow letters are all caps, and they sport small, slab serifs. Harling's design was most likely reminiscent of the old industrial lettering painted onto boxes and wooden crates that used to be shipped all over the world on the high seas. These letters had to be simple to reproduce, easy to read, and not take up too much space! Try out Tea Chest for large signage displays, on exotic product packaging, or in magazine or newsletter headlines.

This font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it.

Thick is the perfect font for all your fun designs and also for Halloween decorations. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. Everything is made with the same brush, and everything is the same size as Thick, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs. Thick feature: - More than 350+ glyphs - Fully coded PUA for full access to all characters - 19 languages ​​support

This font was inspired by one of a standard French manual styles in use from the beginning of 1900s to the end of World War II, when people were writing most often with pen holders and metal nibs. This typeface is easily legible as it was used for the lithographic printing of university textbooks. All lower cases from a to z and numerals from 0 to 9 are doubled by a slightly different one to allow a varying manual aspect in texts. We have added a lot of diacritic characters, covering West (including Celtic) and North European, Icelandic, Baltic, Eastern European and Turkish language. A few special glyphs allows to make final loops or underlining.

When people usually think of wood type, images of bold and ornate designs reminiscent of the Old West or the Victorian Era come to mind. In truth, wood type was manufactured well into the late 20th century, and only fell out of favor when the letterpress was replaced by the offset press and computerized typesetting. Although there are hard-core collectors who have started a small resurgence in the preservation and use of wood type, it's the digital interpretations of these classic faces that see the most use in today's electronic layout work. Deco Wood Type JNL reinterprets one of these later designs, a bold sans with a decidedly Art Deco influence.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Alterglam is one of my all time favorite fonts, although I didn't think so at first. The font appeared as a modification of my other default font. But over time, the font turned into an independent work. Moreover, the font began to live its own life and constantly demanded attention. So at the same time the Alterglam font is the most thoughtful and polished font in my collection. It is my pleasure to present this wonderful font set for exquisite designs. In the set there are 20 font sizes, which provides a rich typography. If you need a strict, but at the same time artistic font, Alterglam is the font of your choice.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

This handy font allows designers of commercial products to add basic circled letters that are uniform in appearance. For example, on music CDs, the Copyright and Publish (AKA Phonogram) symbols often do not match. While most fonts include a circled 'c' for Copyright, they seldom contain a circle 'p' for Publish (note that all P22 fonts include the circle 'p' and 'c'). The circle 'U' and 'K' for Kosher foods are rarely included in fonts and have to be made as needed. This single font contains both a serif and sans serif style caps A-Z as well as figures assigned to regular keys and also mapped to standard Unicode for "Enclosed Alphanumerics".

Saprona is a powerful sans-serif with a curved terminals, a tall x-height, narrow letterforms and seven weights. 400 Glyphs. Extensive Language Support. 84 Languages. Advanced OT Features. 7 Weights. Fully Variable. Updates. Advanced OpenType Features include Old Style Figures, Fractions, Denominators, Numerators, Standard Ligatures, Case Sensitive Forms, Alternates to satisfy the most demanding professionals. Curved terminals and unique letterforms make for a sans serif with a unique appearance that can make your brand or design stand out. Saprona is designed to be very versatile therefore it works great in all areas whether it is Editorial Design, Graphic Design, Web Design, UI Design and Print. And is well suited for both Headings and Body Text.

Briston is a bold vintage style serif font with strong character and soft features. Briston is equipped with Swash, Stylistic and Titling alternates as well as with Standard and Discretionary Ligatures. All these features can be accessed by OpenType controls or straight from Character or Glyphs window. The font is PUA encoded so you can use the extra glyphs in most graphic design softwares. In addition Briston has a small set of ornaments and strokes that are found by turning on Swash -feature and typing characters 1-9. Briston is and efficient typeface for headlines, logos and display use. You can also try using Briston all caps in really small sizes by adding some spacing.

Gross Kunst is a humanist sans-serif with an open aperture, sharp outlines, and eye-catching details that make this full of character typeface very recognizable. The type family has three fonts based on wide pen strokes. Depending on its purpose the styles differ in expressiveness and the level of ornamentation. Regular style—low-contrast and neutral—is the most natural choice for body-text. The display face is more dynamic and gets higher contrast. It's very legible from a distance and would do its best on navigational and warning signage, plates, and such. Eloquent straight italics will adorn titles, announcements, and pages with ads. This typeface was acknowledged at the international type design competition Modern Cyrillic '99.

Stencil Round Ends, is just that, a stencil typeface with rounded terminations to each line rather than the squared terminations found in your typical stencil font. This design was developed while designing a typeface for engraving. The end mill tools used to engrave a font are round, thus the lines will all end with a rounded edge. While designing the engraving font I also designed this font to make sure that the single line version will have the desired aesthetic. Unlike many stencil fonts that have a limited range of glyphs I made this to contain the majority of letters, accents, ligatures, and mathematic symbols commonly used in most latin based languages.

Tzimmes is a tasty morsel for those who love tasty letters. The fleshy serifs combined with the subtle references to calligraphy create a distinctive character that will turn every text into a feast for the eyes. The family consists of 22 weights including true italics. This will allow you to freely compose even the most demanding projects. Book? Magazine? Logotype? Everything available à la carte! Light and bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Tzimmes covers all latin languages and cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies. Bon appetite!

This modernized rustic Baroque Roman face paraphrases freely its model from the first half of the 18th century. The shape of the letters has been cleared from all unevenness and softness, but has retained its lively expression. It is deliberately rather cooler than the reverently digitized Baroque Roman type faces, since it was necessary to adjust it with regard to the visual experience of the contemporary reader. In addition, it has bold designs and aligning figures, which also considerably extends the range of its application. It is an entirely reliable text type face for the most demanding extensive works. Thanks to its calm expression and excellent legibility it is widely used when printing series of professional literature.

Introducing Creative Vintage - a modern serif with vintage charm, fashion look and retro yet modern style. Work fast using integrated features. Just add PLUS (+) after any letter and get alternate instantly. This feature works on most applications (Canva, Templett, Corjl and others) Creative Vintage Regular: Opentype Serif font with clean shapes and accurate kerning. It includes ligatures and alternates with total amount 669 PUA encoded glyphs. Creative Vintage Draft: Modern Serif with chunky imperfect edges and shabby appearance. This font is a strict copy of everything from regular version including glyphs names, kerning and ligatures, so you are worry-free to change style on the go. Alternates appears automatically when you type plus after any letter or even ligature.

Looking for a unique, stylish, and fun font for your next project? Look no further than this one. Meet Redsema groovy font. With an anatomical shape between thin and thick lines, beautiful from any angle. It also features alternative lettering, ligatures, and decorative elements to add a unique flair to your work. Make the most of your designs using this font today! What’s Included : Standard glyphs Iso Latin 1 Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Klapt Cyrillic is a geometric sans serif family that is soft on the outside and sharp on the inside. This font family of four weights includes an extended character set supporting most Latin languages ⁠ and extended Cyrillic — even Vietnamese, Serbian, Bulgarian and many more. Klapt Cyrillic can be bold or very elegant and is well suited for designs ranging from branding and corporate identity to editorial design or web design. It has a timeless style and is great for display purposes, especially for headlines, posters, magazines, book covers, logos... you name it! Feel free to share your designs using Klapt Cyrillic or just get in touch via email to hi@seventype.com. Klapt Cyrillic is the extension of Klapt.

Kismet has the look of a modern, ornamental alphabet, but looks are deceiving: the typeface was designed by John F. Cumming in 1879. The basic forms are strictly constructed, most based on the form of a circle, a shape which also appears again and again in the ornamentation. Cumming decorated his figures generously with spiral elements and tiny circles in the middle of the letters. Characteristics which suggest the beginning of the Jugendstil are the floral designs and some individual forms, for example, T, M or P. Small, pointed serifs add a sobering element to all the flowery, oriental decoration. Used sparingly in headlines, the extravagant Kismet will be sure to attract attention.

This font was created to look as close to a natural handwritten script as possible by including lowercase swash, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it.

Mexican printmaker Jose Guadalupe Posada (1851-1913) created a massive variety of material—broadsheets, cards, advertisements, posters, etc.—which largely represented a defense of the common man and a manifestation of the horrible and gruesome events of the day. Posada often cut his own lettering that looked like more decorative versions of Gothic wood types. His most notable imagery comes from his Calaveras celebrating the Day of the Dead. Calaveras often represent effigies of living people depicted as skeletons going about their daily activities. These are often humorous and playful in a way that helps bridge this world with the beyond. This font family contains two small caps style fonts and one Extras font containing 60 images.