This elegant stencil face is based on an alphabet found in one of the innumerable Dover Books volumes edited by Dan X. Solo. Intended for headline use, it can also be employed effectively for short blocks of body copy. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Green On Green is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Green On Green has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

This family is intended to be a universal font generator for languages of unknown civilizations or simply a tool for creating graffiti-like ornaments. Inspired by both my own paintings and drawings and graffiti. Set of 107 glyphs, available in 3 styles - thin, regular and black rounded. Picture font recommended for use as a decorative element and for creating new alphabets.

Blackout is the first and signature font to the Blackout Foundry. Inspired by gothic structures, but maintaining a constructive form. Everything in balance, simple, and straightforward. The font has hard corners on one end, and subtle curves on the other. It is intended for anyone wanting to have a moody appeal to their work, but still maintains a legible format.

Mayyun is An Arabic text typeface for desktop applications. This line is intended for presentation projects, names of various publications and short paragraphs Here you will find a Mayyun in two types of regular and bold fonts. The font includes a matching Latin design and support for Arabic, Persian, Kurdish, and Urdu. Designer: Sultan Maqtari Design date: 2021 Publisher: Sultan Fonts

Foundry Journal is appropriately named for its intended purpose in journals, magazines and publications, where narrow column measures require a more condensed typeface, for the most economic use of page space. Foundry Journal has a characteristic subtle angularity, accentuated by well-defined curve to stem junctions, facilitating legibility and making it an ideal typeface when set at small point sizes.

White On White is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. White On White has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Funky Fat Jiggly PW is intended and suitable for Display use and Titles. It's not very suitable for long paragraphs of text. This font is meant for fun, fun, fun! It contains the basic characters. Uppercase, lowercase, numerals, and basic punctuation. See the character map for all of the included characters. Funky Fat Jiggly PW is available in OpenType, PostScript and TrueType format.

Reaf Singer is a modern monoline typeface/font designed with carefully handcrafted. This perfectly made to be applied in logo or branding, stationery, books, packaging, fashion, magazines, t-shirt, novels, labels and many advertising purposes. Features: Uppercase, Lowercase, Number, Punctuation, Symbol, Multilingual, Ligature, Alternate, Swash. All the pictures used in the preview are not included. They are intended only for illustration purpose.

Orange On Orange is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Orange On Orange has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.

Minthy Stones is a modern script typeface/font designed with carefully handcrafted. This perfectly made to be applied in logo or branding, stationery, books, packaging, fashion, magazines, t-shirt, novels, labels and many advertising purposes. Features: Uppercase, Lowercase, Number, Punctuation, Symbol, Multilingual, Ligature, Alternate, Swash. All the pictures used in the preview are not included. They are intended only for illustration purpose.

Fram is an uppercase stencil typeface. It comes with a fine-tuned kerning, its extensive character set ensures multiple languages coverage and the design is adapted to different ranges of size through size-specific optical compensation. Fram L is intended for use at large sizes and Fram S with larger gaps guarantees good performance even when the size is reduced.

Howdy is a modern French Clarendon revival typeface inspired by late 19th-century woodblock type and sign painting. Its ties to the American West evoke a distinctive western and retro flair. It was designed with flexibility in mind. Intended for use as a display type, its reverse contrast forms make an impact from tall or wide headlines and anything in between.

Display Uncanny is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. The same A to Z characters are located under the shift+character set and character set keys with the ones under the character set keys reduced in size. There are numbers and punctuation located under their respective keys.

Diamante Robusto Font is my new font, where all the letters came out of this strange shape created without intention of being the inspiration for this new font.

Madison Street is a font family with 8 fabulously fun typefaces! Eliza Gwendalyn & Jim Lyles of Studioways have teamed up with Spencerian calligrapher Elaina DeBoard to create a classic pointed pen calligraphy font. From its ornamental monograms, to its variety of complimentary text styles, and to its Madison Street Pro, with its elegant stylistic swashes and OpenType goodies, there is a font for every designer. Enjoy the sleek Madison Street Sans, Serif or Script, paired with the Ornaments font, complete with ornate monograms, or use each typeface on its own! Madison Street Pro has all the OpenType bells and whistles. The Ligature feature automatically substitutes beginning and ending letterforms, as well as 100 ligatures. Turn on the Swash feature for elegantly sweeping swash lowercase forms. Enable Stylistic Alternates for even more variations. There are also 10 Style Sets to chose from. And many more OT features! Madison Street is a basic version of the Pro font, intended for users who do not have OpenType savvy applications. Madison Street Stylistic is also a basic version of the Pro font, intended for users who do not have OpenType savvy applications. It has stylistically different ascenders and descenders. Madison Street Swash is intended to be used with the basic fonts, Madison Street and Madison Street Stylistic. It has lowercase beginning and ending swash glyphs and cannot be used to set text by itself. Madison Street Sans, Serif, and Script are text fonts modeled after the handwriting of Elaina. They are intended to be complimentary to any of the script fonts. However, you'll need to set them at a smaller point size (about 1/3 the size) in order to get the preferred scale and weight. Finally, the hairline weight of the Madison Street script fonts is very thin, and at small sizes up to 40 pt, you may notice some breaking up when printing to desktop printers. To remedy this, we recommend outline stroking the text a small amount (.1 -.3 value). this should improve the output without adding to much weight overall.

Phoebus is one of Adrian Frutigers first typefaces which he made for the Deberny & Peignot foundry in Paris. The intention was to create a shadowed type with extra ordinary impression.

Burdigala X Serif is an open and spacious typeface inspired by the classic Didones. The X Serif is ideal for larger amounts of (printed) texts in brochures, magazines and books. Being wider than usual, it works especially well in media intended for on-screen reading, such as in Pdf-documents and e-books etc. Burdigala is the ancient Roman name of the city of Bordeaux France.

Linotype Quasaria is part of the Take Type Library, selected from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. The font was designed by German artist Armin Retzko and the characters are composed of disjointed pieces. The eye tries to complete the symbols into the forms they are used to. Linotype Quasaria with its unique forms is intended exclusively for headlines and displays.

DF Maraschino Black - A sleek, sophisticated swash capital font with elegant thick and thin weight distribution. Bold yet poised, direct yet refined. The swash capitals are intended for use at the beginnings of words only - best not to set this in ALL CAPS. Use at larger sizes. Also includes stylistic decorative alternates for certain characters that can be toggled on and off in the Opentype panel.

Linotype Cerny is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Dutch artist Mark van Wageningen designed an alphabet consisting exclusively of capital letters. The font’s most distinguishing characteristic is its irregular outer contour, almost as though they were ripped out of paper. Linotype Cerny is intended exclusively for headlines in larger point sizes.

Released in November 2003, Charminette is the Collection's first face with a consistent baseline and x-height. Intended as a display face to be used large, it's also surprisingly readable at smaller sizes. Charminette asks to be considered for invitations to formal parties and weddings, any occasion when proper manners are called for. Or, when proper manners need to be subverted. A toast to civility!

This font was inspired by the so-called Litterarum latinarum, quas italicas, cursoriasque vocant, scribendum Ratio (Louvain 1540), a manual intended for calligraphers by the well known scientist Gerhard Mercator. It was a magnificent “Cancellaresca corsiva” design, enriched with many alternates, final loops and ligatures. We have added a lot of accented and other characters required for modern use that did not exist in the original.

Centima Mono is a subfamily addition to Centima type family. Centima Mono is a condensed geometric monospaced san serif, built in six styles. The typeface is intended for use in display sizes, but also is quite legible in text and is well suited for editorial and brand design. Centima Mono is released in OpenType format with support for most European languages and includes some opentype features.

Darby came about while playing with a loaded round-tipped brush. The letters remind me a bit of signage I remember seeing at county fairs in my youth. It's a casual comfortable font that lends itself well to outlining and drop shadows for emphasis. Not intended for long copy, it would work well in headlines or in signage where one is wishing to attract attention.

The Weidemann typeface's original name was Biblica, which was designed for the collaborative publication of a Bible by the German Catholic and Protestant Churches. The mass of text which the face was intended to set required that the design allow many characters to fit onto one line without rendering the words illegible. Thus, narrow spacing does not compromise the legibility or the elegance of Weidemann.

Breuckelen was inspired by the regular patterns of the New York City plan. The grid of any large modern city is immediately recognizable by the distinctive pattern of major roads curving or slanting through it. This face is intended to be recognizable in the same way. It is named after the Dutch town after which Brooklyn is named, a word which also roughly translates as "broken land".

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Brazos is an ultrabold, ultrawide sans-serif face that takes up a lot of horizontal territory, but fits in little vertical space. Named after the famous river in Texas. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Kinderz is a fun display font with lots of styles and multilingual support. The design has a relaxed feel and is intended for purposes related to kids and teenagers, but can also be used for all modern informal themed designs. It can be used for various purposes, especially those related to kids and teenagers, such as for logo design, branding, posters, banners, stationery, and so on.

The Gravity family is a unique series of heavy square slab serifs intended mainly for display usage. Gravity Normal exhibits impact with legibility. Gravity Nova is fine-tuned to showcase brawn and beauty. Gravity Supernova, the most audacious of the family, commands attention with its extremely dense, mechanical design. Each weight includes diacritics for Western and Central European languages and is tightly spaced for maximum impact.

David Quay designed Bordeaux to exhibit characteristics common in the typefaces of the Romantic era, the period which produced the novels of Victor Hugo, the music of Berlioz and the fairy tales of Hans Christian Andersen. Bordeaux displays the emotive quality one associates with the times. The font is intended for titles and headlines and combines well with Syntax for the body of the text.

Decima Mono Cyr is an upgraded edition of Decima Mono X fonts (released in 2014). The new version consists of the same (six) styles updated with larger character sets by extending number of Latin and Cyrillics Asian region languages. The typeface is intended for use in display sizes, but is also quite legible in text and is well suited for editorial and brand design.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Dime Box is bold and boxy, and creates an interesting visual flow with its notched serifs. Named after a small town in Texas. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Merganser is a Typeface intended for text and copy and was inspired to serve the avid community of Birders. Birders and birding material historically have a lot to say. Merganser serves that tendency because its designed legible at small scales. The Natural world also inspires the slightly humanist strokes of Merganser. Merganser was created as part of the Type@Cooper winter certificate in Type Design.

Chronically strong, yet pacific. Chronically bold, yet friendly. This font was at first inspired by a HAP Grieshaber work and soon incorporated elements from pieces by Willem Sandberg, two astonishing artists who lived through two world wars. They had to struggle for freedom and consistently manifested, with words, works and actions, their absolute love of liberty. Both were chronically free. As this font intends to be.

Just a cute little handwritten-like font, it's whimsical, classy, yet relaxed and adds flair to anything. Perfect for cards, letters, recipes, journaling and much more! Mademoiselle Magnifique PW is intended and suitable for Display use and wonderful as a journaling font. This font is meant for display, titles, beautiful signage, cards, journaling, etc. Mademoiselle Magnifique PW is available in OpenType, and TrueType format.

Etelka Slab is a slab-serif variation of Stormtype's Etelka. In the process of adding serifs are applied some arched elements to emphasize its unique character. The usual range of OpenType functions is present as well as multi-lingual capability. You can use Etelka Slab wherever you intended to put Etelka, but with even sharper, louder expression. It shines in corporate identity and branding.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

OCR A and OCR B are standardized, monospaced fonts designed for Optical Character Recognition" on electronic devices. OCR A was developed to meet the standards set by the American National Standards Institute in 1966 for the processing of documents by banks, credit card companies and similar businesses. This font was intended to be "read" by scanning devices, and not necessarily by humans. However, because of its "techno" look, it has been re-discovered for advertising and display graphics. OCR B was designed in 1968 by Adrian Frutiger to meet the standards of the European Computer Manufacturer's Association. It was intended for use on products that were to be scanned by electronic devices as well as read by humans. OCR B was made a world standard in 1973, and is more legible to human eyes than most other OCR fonts. Though less appealingly geeky than OCR A, the OCR B version also has a distinctive technical appearance that makes it a hit with graphic designers.

Moon Corps was designed as a simplistic approach to the Japanese katakana script. Though the look of the font is supposed to evoke futurism, the primary intent was always to put legibility first.