ITC Malstock is the work of Czech designer Frantisek Storm. The idea is based on a sign painting technique that uses a flat brush and a Maalstok, a long bar with soft padding which is used as a rest for the painter's hand and a guide for vertical lines. The strokes of this font end with a split stem which recalls the traces of the writer's brush. ITC Malstock is a narrow typeface which is ideal for headlines, invitations and advertisements. The designer recommends combining his typeface with others, to create harmony with sans serif typefaces in text sizes or contrast with serif typefaces.

The typeface is influenced by early Italian-French serifs such as Garamond, Jenson, Griffo. The font has clear serifs and slightly sharp shapes. It has a modern character. The font has a uniform texture typical for this type of serif. This font family is well suited for the decoration of solemn and graceful materials. The font has a nice and appropriate italics. Wolfgang is legible and easy to read at small sizes. The font family contains 6 styles The font is equipped with a Variable file. Supports languages ??of central Europe Contains old style figures There are several alternates in the font The font has more than 1000 kerning pairs

The IronOn fonts are a collection of geometric display faces that were inspired by the iron-on t-shirt lettering of the 70s. The original source came from a submitted sample to the MyFonts "What the Font" forums, and while it had similarities to ITC Machine, it could not be tied to any existing typeface. And so, this new geometric sans family was born, exhibiting a more open letterstyle with several weights and widths, with a complete capital and lowercase set, no allcaps set here. Ideal for packaging, T-shirts, advertising, or for industrial applications like signage and newsletter headlines, this powerhouse font family offers a unique rigid flexibility.

Found within the pages of the 1934 edition of the American Type Foundry’s “Book of American Type” is a sans serif design with rounded terminals that emulates a typewriter face. “Jumbo Typewriter” is reminiscent of the type of lettering formerly found on teletype news copy. “Teletype” was a division of Western Electric (part of AT&T), and the machines utilized telephone lines to electronically type and send (as well as receive) messages worldwide. Many folks will remember the sound of teletype machines in the background when radio stations had their news breaks. Now available digitally as News Copy JNL, it is available in both regular and oblique versions.

Winsome is a friendly script face that offers virtually endless variation. This charming font balances the casual with the calligraphic, and Winsome’s generous letter spacing and unfussy letterforms are always a pleasure to read. Customizable with over 59 alternates, 466 swash characters, and 89 ligatures, Winsome even includes a disconnected version using the titling feature for even more design versatility. See what’s included! http://bit.ly/1Q11B1U *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Oldskool Script is a bouncy, connected script inspired by graffiti lettering. OpenType features abound to make a powerhouse of a font. It’s so versatile it could grace the cover of a hiphop album or your baby shower invites. You can go all out with the swashes and alternates, or rein it in for a more subtle approach. Whatever aesthetic you choose, Oldskool Script will surely fit the bill. I had a lot of fun making it; now it’s over to you to have fun using it. Check out the user guide in the gallery section for more in-depth info on the OpenType features.

Patricia Pothin-Roesch's Saussa typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.

Capita, a serif-dominated face in a new style. Strong in appearance, with controlled motion of the contour, vivid and warm, with gentle flow – it avoids any harshness of many slab serifs. Well-balanced proportions make it qualified as reading type, yet with its puissant qualities ideal for headlines and subheads. Capita is well equipped for ambitious typography. The Capita family consists of 12 styles, comes in OpenType format with extended language support for more than 40 languages. All weights contain small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions and scientific numerals.

"Notes from Paris" will make your letters look très chic while still maintaining its functionality with easy-to-read letterforms. Furthermore, the comforting vibe of this font brings a touch of relaxation to your typography. The words flow with ease and grace, like a gentle breeze on a summer day in the city of love. So, whether you're crafting a logo design or wedding invite, "Notes from Paris" is a font that you must have for a chic and legible typographic journey. With 59 Opentype ligatures, this font blurs the line between script and handwriting, allowing for a seamless transition between letters and creating a truly genuine sensation.

What I needed in my projects was a solid oldstyle serif typeface with impact for heads. I had an old engraving font, which I’d never really finished. It happened to be built on the Minister/Diaconia base drawings I used to create Biblia Serif, so I took a shot at it. It’s wide enough to minimize the large solid ink shapes of many of the bolder display headline faces. It’s not readable, but it’s very legible. This is exactly what I needed for headlines, callouts, and special subheads. It uses the same vertical metrics of the Biblia Serif book Production Group It helps keep fiction designs comfortable

The Flinscher family contains twenty display typefaces, in weights that vary from light to black, and widths that extend from condensed to expanded. The family’s design inspiration traces its roots to the early portion of the twentieth century. In essence, it is a calligraphic script typeface family with blackletter influences. The letter forms are decorative and distinctive, yet clear and easy to read, and in use set up a regular rhythm that leads the eye from character to character. The Flinscher typefaces are well suited to design work that needs to combine formality with fun. Just the thing for a certificate or a book cover!

Minotaur is an original monoline design based on an Oscan (http://en.wikipedia.org/wiki/Oscan_language ) votive inscription from the second century B.C.E. The letterforms immediately caught my eye in the wonderful book, Lettering by Hermann Degering, and I decided to create a typeface based on them with only enough compromises to make it usable as a modern alphabet. Not quite as straightforward as I had hoped. For example, the Oscan language (the predominant language in the Italian peninsula before the ascendance of Latin), has no letter "O", so the distinctive curve of the "D" was used as the model for the rounded letters "C" and "G" and more subtly for "O" and "Q"; this shape is also echoed in the original design of "B", "P" and "R". Also, the Oscan letterforms for A, K, L, M, N, S, and U are rather quaint, so I've included modern forms as alternates. Minotaur offers the best of both worlds: Just as the mythical Minotaur is half man and half bull, the font Minotaur is half modern and half ancient. Thanks to OpenType features (stylistic sets), you can easily switch from ancient letterforms to modern (if you have an OpenType-savvy application such as Adobe InDesign) for Latin, Greek, and Cyrillic alphabets. Minotaur supports all modern European languages, including Modern (monotonic) Greek and those that use the Cyrillic alphabet. And, yes, it supports Oscan, both right-facing and left-facing. Minotaur includes 3 OpenType Stylistic Sets: 1 - converts ancient (default) letterforms (A, K, L, M, N, S, and U) to modern alternates; 2 - converts Latin letterforms to equivalent left-facing (standard) Oscan letterforms; 3 - converts Latin letterforms to equivalent right-facing Oscan letterforms.

For some time, Eric de Berranger had wanted to create a distressed typeface design - one that gave the appearance of antique printing and showed signs of wear, yet was still highly readable. He was busy designing a new face called Maxime, when an idea struck: I realized that I could use these lettershapes as the basis for my antique typeface," he says. The two faces ended up being designed in tandem. While ITC Oldbook clearly captures the flavor of aged, uneven and imperfect printing, it also meets de Berranger's goal of being exceptionally readable in text sizes. Beginning with well-drawn characters was the key, and these were carefully modeled into the distressed forms. "The process was more difficult than I originally thought," says de Berranger. "The antique letters had to be tested and modified several times to work correctly." ITC Oldbook elegantly simulates antique printing in both text and display sizes. And while stroke weights are uneven and curves are irregular, the design has remarkably even color when set in blocks of text copy. Add to this the design's inherent legibility, and ITC Oldbook acquires a range far beyond replication of things old; it's suitable for any project that calls for warm and weathered typography. ITC Oldbook is available in roman and bold weights with complementary italic designs. Small caps, old style figures and a suite of alternate characters and ornaments provide additional flexibility and personality to the design."

Based on turn-of-the-century advertising type. A condensed, fat-faced display font with a touch of the medieval. The influence of art nouveau is also present in the high-waisted caps and flowing lines, putting the face into the early 20th century.

A decorative face of freestyle flowing letterforms, it is stylized a little under wide brush calligraphy. Its letterforms are characterized with one-side serifs. For use in book heading, advertising and display matter. The face designed by Natalya Vasilyeva and licensed by ParaType in 2007.

ITC Musclehead is the work of type designer Timothy Donaldson, a robust, densely packed handwriting typeface. It almost looks like brushwork but was in fact made with a ruling pen which Donaldson had bought from a company in Salem, Massachusetts. He says, The world's gone ruling-pen mad at the moment [late 1990s] and I was beginning to tire of all the skinny splashiness of the letters that most people were making with them. I wanted to do something heavy and robust with the tool, so that's what I did.""

Here's a font with a special backstory. Prickly Pear is a handwritten font, created in a moving car, on the way to the Simpson Desert. At the mercy of every bump, hump and hole in the road, this font is as rough and realistic as its conception. A unique and messy handwriting font reminiscent of the rugged landscape; it'll be perfect for that design project where you need a little raw authenticity. Prickly Pear has a comprehensive character set of over 160 custom ligature combinations and 56 multi-lingual characters.

My goal for Harfang was to create a serif typeface that would be easy to read at text sizes, while having a strong personality at larger sizes. The initial design had a purely rounded style, but with each development pass I introduced some angularity. The final result is a typeface that is easy to read in long texts, advertising copy, annual reports and the like; but one that also provides a crisp and stylish appeal in more prominent display settings. I choose the name Harfang (Harfang des neiges — Snowy Owl or Great White Owl) because after my first typeface, Migration, I wanted something with a thematic relation. On a more personal level, Harfang is the official bird of Québec, a province with a long winter and a wonderful, white landscape, and the place I call home. —André Simard

Stereotones is a modern display font and unique style that instantly add power and movement to your projects. Stereotones also have a ligature feature that makes writing more beautiful. Stereotones is very suitable for automotive magazine covers, racing game covers, logos & branding, product design, labels, and so on.

Awesome sport font with italic wide letters, modern letter cutout and dynamic slant. Ideal for sports headline of speed car race, logo and monogram of automotive game or other modern dynamic text Font "Turber" compares favorably with its readability and massiveness, creates the effect of power and speed.

Redshift is sans with 12 upright weights and 12 oblique weights. Its a soft edged, spaced out offering from Rocket Type. It supports most extended Latin languages including English, Spanish, French, Italian, German, Polish and Portuguese. The name redshift means the displacement of spectral lines toward longer wavelengths (the red end of the spectrum) in radiation from distant galaxies and celestial objects. The original concept behind the font was that I wanted to create a massive heavy sans which would give the sense of tranquility within the user not unlike watching an object float through space. Redshift was designed by Dathan Boardman during 2016. Strongly rooted in the tradition of other notable geometric sans faces however much attention was paid to create a soothing experience for reading both large and small bodies of text. Each letter was painstakingly modified for optimal readability and warmth. Redshift was designed with the intent to create the ultimate bold header font. From there I wanted create the lighter weights to be readable when set within large bodies of text. Redshift works great for body headers & text as well as for logo design. It looks great juxtaposed with any number of other Rocket Type Fonts.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

Loose and irregular, Slowhand is an easy display face to implement.

Made in La Chaux-de-Fonds Switzerland, Hyper Super is born while the hyperdesigner Bisou watches "Blow up", a french film-lover show. This episode about Paul Newman quotes the 1969 movie "Winning". The Italian poster with the title "Indianapolis pista infernale" uses a striking handmade font that inspire Hyper Super, a very fast font. Hyper super is thought from ground up to give a strong impact and an impression of speed. Its retro 70’s car racing movies style makes it best suitable a dog race stadium. It works perfectly with short texts for advertisement like a tuning garage sign or delivery pizza menu. Just use it for your pizza restaurant and see Paul Newman in person apply for a delivery boy job.

Mixcross is a display font in the capital letters particularly created in a racing theme to express courage and power, which relates to the theme of racing. It is frequently applicable in 1) titles either to highlight the emphasizing phrases or to attract readers’ attention, and 2) large-sized texts owing to the unique sizes and shapes. Additionally, Mixcross provides interesting features to help designers improve their design products. Features: Multilingual Supports PUA Encoded Numerals and Punctuations This font type works best for any design projects, for instance, posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Thanks a lot for purchasing our font. Happy designing.

Goudy Modern/Open was designed by Frederic Goudy, who was inspired by the caption of a French engraving. It is Goudy's first attempt at a "modern" face, but with less contrast and rigidity normally found in Bodoni style Modern faces. Goudy Modern was designed later in 1918 after viewing a proof of Goudy Open with the line filled in. Not a true modern face, but still a Goudy classic. The Pro versions include ligatures, varieties of numerals and Central European character sets.

Goudy Modern/Open was designed by Frederic Goudy, who was inspired by the caption of a French engraving. It is Goudy's first attempt at a "modern" face, but with less contrast and rigidity normally found in Bodoni style Modern faces. Goudy Modern was designed later in 1918 after viewing a proof of Goudy Open with the line filled in. Not a true modern face, but still a Goudy classic. The Pro versions include ligatures, varieties of numerals and Central European character sets.

Corsham was inspired by traditional stonemason's engraved lettering designs. Designed to be used alone, or in combination with our Corton family, it has wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Four faces are offered-regular bold and black weights as well as a condensed form. All faces include a range of Opentype features, including ligatures and old-style numerals. The Corsham faces merge 'olde-worlde' charm with fun character, yet remaining clear and legible for text use.

Trade Journal JNL and its oblique counterpart are derived from a classic grotesk sans face from the 1800s. Despite the 'Grotesk' style name, the font design is actually quite pleasing to the eye and a nice alternative to many of the sterile sans serif faces of today.

Spy Royal is a junctionless script typeface and comes in 6 styles. It’s a hybrid between script and so called streamline fonts. The origins are based on an advertising by Japan Airlines, dated around 1954, offering flights to San Francisco, Honolulu and Okinawa in the new DC-6B “Pacific Courier” airplane. Only the letters for the words “JAPAN AIR LINES” were used, so that the creative part was to reimagine a full font out of just a handful of uppercase letters. Originally released in 2004, Spy Royal was now undergoing a major rework and is now republished with additional styles like shadow-lines and 3D-shadow. Its charm is manifold, we think everything related to cars, racing, hot rod, vintage, cocktails, retro, restaurants, gasoline and of course airlines will look great in Spy Royal. Spy Royal includes alternate characters, ligatures and West European diacritics.

Jantar Sharp is a text family with flared terminals that eludes the catego­ries of serif or sans. Its most recognisable features are taken from both styles to achieve proper design and high legibility standards. Jantar Sharp performs especially well when used for continuous reading including texts on web platforms. Its personality lies in the flared stroke endings and certain details which make its shapes neither sans nor serifs. Rather than following any particular historical model, it picks up elements from various periods to achieve an organically dynamic look which is entirely compatible with the reading process. Jantar Sharp Italic makes a nice contrast, though the pace and proportions are not drastically different from the upright. This allows for effortless reading of longer passages of italicised text. Jantar Sharp – as well as its teammate Jantar Flow – has been designed in seven weights from ExtraLight to Heavy, all with accompanying italics; it has a tabular and proportional set of figures in both old style and lining options are included together with a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European language and a set of case-sensitive characters.

This is a standard, plain face with no special distinguishing features. It was created over a period of four months for use in small text in a cartographer package. While the face was extremely suitable for the purpose it was designed for, the party who was to purchase the family outright decided upon another design, allowing me to offer it up for sale. The original design for this face is nothing new, and has been greatly influenced by many others already in existence. It was not intended to be flashy, nor eye-catching, and I believe I have managed to escape any individuality that could have affected the face. It displays well in the lower text sizes, and, in my own opinion, displays some characters more clearly than some other similar faces that are currently in use (not all, some). While individuality makes a typeface stand out from all the others, this style of design would have been compromised with it.

A nice readable Headline and Sub head face, great for movie credits.

Orlando is a quirky display face inspired by Art Nouveau metal types.

JoAnne Display is an elegant, open face, display font in 1 weight.