A beefy unicase flare serif typeface inspired by a Frank Kane pulp paperback of the same name. Dead Rite is filled with awkward comic personality, mixing Capital and lowercase forms into a pseudo-unicase format that is a joy to play. A dangerous temptress, with large scale easily legible letterforms, this typographic conundrum is waiting for you to solve how it should be used for your designs!

The other day I drank a glass of white wine, which was partly made with Colombard grapes. When I created this font, I needed a bit of a ‘posh’ name, so I settled on Colombard. Colombard is a nice, handwritten font. Quite elegant, but cheeky at the same time. It comes with extensive language support and a full set of Discretionary Ligatures for double letter combinations.

The initials ASM represent the acronym of the Santa Monica Arts cultural center located in Barcelona, Spain, where this typeface, with the same name, has served as the custom corporate typeface since 2008 till today (2013). ASM is an energetic monospaced with extreme legibility consisting of two original weights, with an underlined version – used on some of corporate applications – all with their corresponding italics.

ZoodMantra is a Pixel-Blackletter typeface developed for nostalgia purposes in the time of video games. It could represent the fantasy world, magic realms, knight's tales and warrior legend. Be suitable for commercial materials, textile design, comic books and classic video games.

A Pixel Font with Wild West Spirit inspired by the daring cowboys and classic MS DOS games. Immerse in the rustic landscapes of Deadwood saloons and tumbleweeds as you evoke the nostalgia of retro gaming graphics. ND Raster West delivers crisp and sharp letterforms, reminiscent of arcade games and early computer screens. Its authentic Western flair and rugged edges capture the essence of the Old West, perfect for titles, headings, or body text in various creative projects.

The roots of Adana going back to the year 1930, to the Berlin-based German graphic designer Wilhelm Berg. His typeface can be interpreted as an answer to Lucian Bernhards Schönschrift. Adana Circular and Regular play well together in all kinds of adverts, as well with designs like Bodoni or Didot.

Hello Everyone, introduce our new product Font Faceless it is lack metal Typeface, Rooted, but still readable.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font Faceless is great for your next creative project such as logos, printed quotes, invitations, cards, product .

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

The name Angryhog came out of nowhere out of free association. "When you're working on a typeface on the Mac it demands a name from you which I find a bit confrontational" says Donaldson. ITC Angryhog brings together Roman and Gothic influences in a quirky and sophisticated display face. Characteristic of this typeface are its sharp, pointed forms, especially noticeable in the serifs, which give ITC Angryhog a restless, almost aggressive feel. It is as though the letters have a mind of their own and ignore all rules and regulations. ITC Angryhog is a perfect typeface for comics or satire, best suited to short to middle length texts and headlines.

There are a lot of narrow passages... like the Straits of Gibraltar, Hormuz, of Malacca, of Thermopylae, the Dardanelles, the Dervenakion, Magellan, Rentina of Naruto, Kerch etc. I tried to pass into mine closely with the name «Artios Pro". Walking on the same considerations as the previous series (Khamai/Aeolus/Corset) I tried to give some sense of diversity for narrow passages of the letters. These twelve style are the result. And here, the "Rail" engage with "Semi Bold" in the same way as the previous series. This series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

I recently bought a small, portable speaker. I can now listen to music when I am making fonts! Output Volume is a name I came up with after reading the quick start guide that came with the speaker. Output Volume is a 100% handmade display font - it was based on a protest sign, but after a few glyphs it started to morph into something unique. I created 2 sets of contextual alternates (including the most used accented glyphs), that will cycle as you type. I also added some discretionary ligatures, to get an even more random effect. Output Volume comes with a vast array of accented letters, including Vietnamese.

London is one of my favourite cities, so it was about time I named a font after it. Well, technically, I named a font after one of London’s districts. Southwark comes from the Anglo-Saxon word Suthriganaweorc, which means ‘Fort of the men of Surrey’. The font Southwork is a handmade Clarendon. I used a Japanese brush pen to create the outlines. I gave the glyphs texture by filling them in with a brush and Chinese ink. Southwark, therefore, has an uneven look and a brushy texture. It looks good on just about anything, but posters, greeting cards and product packaging come to mind.

The name of this robust typeface is adopted quite literally from the slice taken out of certain characters. The same sliced angle is also applied to many of the terminals, creating a clean-cut styling throughout the family. Tilted versions emphasise the descriptive name further, with an implied cutting stance. Wider versions go even further still, taking on a more thrusting, squat dynamic compared to the condensed styles. The standard Sliced family is complemented by Sliced Open, a lighter, more open set which extends the versatility and design flexibility of the typeface and comprises a total of 14 font styles, all with extended European character sets.

A typeface inspired by the old computer games of the 1980s.

Reksano was inspired by retro vintage arcades, toys, and games back in the 90s era. Embracing the retro-futurism trend with the mindset from the past, predicting how the future will look from the human eye's perspective. The bold, and tall form of construction makes the Reksano a no-doubt game-changer for your graphic design visual journey. Perfectly fit for logo, branding, gaming, esport design, poster, music video, album artwork, cover, book, packaging, merchandise, apparel, fashion, and many more.

GAME OVER, MAN, GAME OVER! Time to grab your joystick, turn to channel 3 and level up, Player One, or you'll never beat the high score on your new game cartridge. Or bring a stack of quarters and a couple of friends to the mall, and we'll play some Rick Astley and Kajagoogoo over the PA while you scope out hotties near the food court. Either way, eight bit lettering has never looked more eighties than it does in our new PIXELARCADE font!

Vivo sans is heavily inspired by modern technology, the nordic climate & classic video games. Perfect use for game studios or tech brands that aspire to be modern and futuristic. The font is currently available in 2 weights, Light and Regular, and comes with over 200 glyphs.

Hot Dogs, Apple Pie, Baseball and great TYPOGRAPHY are deeply rooted in American culture. American Auto is a Type Family that embodies that culture visually. It joins a robust workhorse sans with a playful script that brings you back to 70+ years ago, while at the same time remaining as contemporary as any new 2019 design. This unique pair work together in harmony to create wonderful designs for a variety of uses. From book covers to posters, web sites to apps, American Auto is an excellent choice to create striking designs that stand out from the crowd! American Auto also features many Opentype Features such as: Alternate Characters, Initial & Final Forms, Contextual Alternates, Old Style Figures, Lining Figures, Numerators & Denominators, Fractions, and more! This typeface has really been designed to meet any challenge that a designer can throw at it!

Ceres is has its roots in Cyan, our other font family. Like Cyan, Ceres has a complementary lowercase that provides more versatility than a classic Roman. It is arguably more elegant than Cyan with its accentuated serifs. The lowercase "e" and "g" give Ceres a distinct calligraphic personality. Ceres, the font, derived its name from Ceres the Roman goddess. In Roman mythology, Ceres is the goddess of growing plants (particularly cereals) and of motherly love. Ceres was usually equated with the Greek goddess Demeter. Ceres was the daughter of Saturn and Ops, wife-sister of Jupiter, mother of Proserpina by Jupiter and sister of Juno, Vesta, Neptune and Pluto. Ceres made up a trinity with Liber and Libera, who were two other agricultural gods. She also had twelve minor gods who assisted her, and they were in charge of specific aspects of farming.

Ovink is a rounded type family designed for great distance legibility. Named after the legibility researcher Gerrit Willem Ovink, in its early stages was subjected to experimental legibilty investigations of distance and time threshold methods. The results of this heavily influence the design. The high regularity of the letters also makes the typeface suitable for running text and the wide span of weights motivates a broad usage for the setting of both display and text. Ovink is also loosely inspired by Knud V. Engelhardt’s work for the street signage, designed around the years 1926-27 for Gentofte in Denmark. Being rooted in the Danish typography tradition, Ovink has a sturdy unpretentious look to it, yet compared to its predecessor the curves are tighter, and characters have a higher level of differentiation. Details include 9 weights with matching italics.

The Sunshine Group is a series of four closely related fonts that combine a visual rendition of a bright noonday sun with Page No. 508, a wood type designed by William Hamilton Page of Norwich, Connecticut in 1887. Page No. 508 was released in a digital version by HiH and is available from Myfonts.com. Woody Sunshine is the simplest. The name alludes to its wood type roots. The sun shines on the upper case letters only (and the ampersand, which is considered lower case). Double Sunshine has the sun on both upper and lower case. Smiley Sunshine adds a smiley face to the first font. Double Smiley adds it to the second font. Warning: immoderate use of Double Smiley may expose the user to charges of overly aggressive cuteness. Please be careful. The Culture Vultures are lurking in the treetops.

The Daemon is the cheap alternative for you to easy create a logo for your band or whatever. It comes with a basic characterset and a little bunch of symbols and signs often used in the extreme music sector – classical stuff from Death- and Blackmetal like pentagrams and crosses, drips, roots and branches.

Zerno is a glyphic typeface with geometric roots. Its symmetrical flared serifs are reminiscent of stone carving techniques. With weights ranging from Thin to Black, it is versatile enough to be used in any environment - from screen to literal stone carving, as well as from posters to body copy that stands out.

Hypotermia is very stylistic so you can easily create a logo for your band or whatever. It comes with basic characters and a group of symbols and signs that are often used in the extreme music sector - classic items from Death- and Blackmetal such as pentagrams and crosses, droplets, roots and branches.

An upstanding, dark horse of a font, Douglas comes in two sets of all capitals and is authoritarian while flying the flag for idiosyncrasies. The font was created using a loose brush and rough paper, and the authentic textures of the lettering indicates these rough and ready roots. Perfect for rustic signage.

This typeface has its roots in the Egyptienne-family which became popular in the beginning of the 19th Century. To make the family more unique and personal, ”twists” have been crafted throughout the design. All together a family of 6 weights, including: Medium, Medium Italic, Bold, Bold Italic, Black and Black Italic.

Knucklebones is a game that is played with the knucklebones of sheep. I bought a set in Mongolia, which I stumbled upon when I was cleaning out the attic. Knucklebones font is a rough brush font, which comes in three styles: Knucklebones Regular, a slightly slanted version, Knucklebones Italic, a very slanted style and Knucklebones Upright, which looks like the name implies. Knucklebones is a very useful all caps typeface, which would look great on posters, product packaging and book covers - but don’t take my word for it: just grab this font and get creative with it!

The front page of a late-1940s sales catalog for the [now defunct] Duro Decal Company of Chicago had its company name hand-lettered in a tall, condensed chamfered sans serif type design. Although chamfered lettering had been popular for decades, the way the "R" was shaped gave the letters a bit of an Art Deco influence, and this influence was carried through in the creation of Durable JNL.

The basic design style for Nouveau Days JNL was inspired by the hand lettering on the sheet music cover for "Linger Longer Letty". This tongue-twisting song title comes from the 1919 musical comedy of the same name. Some of the characters originally had tiny spur serifs, but they were omitted in the digital version to keep the overall design consistent. The font is available in both regular and oblique versions.

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

The Fleurons of Paris were inspired by an iron gate, an iron railing, a Metro tile, a Metro stop, the Eiffel Tower, Notre Dame, a rainy afternoon, a glass of wine, an outdoor cafe and the list goes on and on. Absorbing all things visual was immensely satisfying second only to coming home and reliving the trip tiny graphic by tiny graphic. Also look at the Ornaments of Paris.

We have adapted the version of our Darwin font for use in Microsoft Office. It only has 4 variants: regular, italic, bold and bold italic. Font weights have been named in a way that can be clearly shown up in the font list in Office programs for the sake of a good hierarchy (the bold variant is quite bold and does not look the same as the original font).

A popular hobby in the 1950s and 1960s was creating your own wallets, belts and other items from leather do-it-yourself kits. Stamped or carved initials, names or phrases were often added to the leather with special tools and templates - many featuring a Western-styled alphabet with a hand-lettered look. Leathercrafter JNL recreates that same look in a digital font format, complete with the unusual and contrasting letter shapes.

Introducing a vintage look label font named "Hawaii Beach". You can see all available characters in the posters. This font has 6 styles (including layered shadow effect style) and will do well on any retro design like poster, t-shirt, label, logo etc. For using shadow effect layer: Type your text in Regular. Copy that and paste at the same position. Change the style to Shadow FX (for example).

We have created this family as a complement to 1906 French News since the two type families were commonly in use in the same publications, including newspapers, popular books, calendars, almanacs and posters. This font, as its name suggests, was mainly used for titlings and subtitles. Small caps, included in the single file of the TTF and OTF versions, are added as a separate file in the MacTT version.

Element 120 (Unbinilium) is a hypothetical chemical element in the periodic table. You can forget about that, I just thought it was a cool name for a font. Element 120 is a hand drawn Ultra Bodoni. I drew all the glyphs by hand, then gave them a good grunge makeover and the result is what you see before you. Comes with a periodic table of diacritics as well!

Based on a letterpress typeface using the same name, FDI Mainzer Initialen is a carefully crafted set of German blackletter initials using three colors per style. 10 palettes are available as individual styles and can be used in design applications such as Photoshop, Illustrator, InDesign and Affinity Designer. Make sure your operating system and apps already support OpenType SVG fonts before buying a license for FDI Mainzer Initialen.

OmegaPixel Font Description I created this font for the game Hyper Ninja Blast (but made it useful to all kinds of games!). While creating the game, I searched for pixel fonts, but could not find a suitable one. The fonts were generally ugly and lacking the basic variations (italic and bold). So I decided to create my own pixel font. Just as pixel art can be better than a high-resolution painting, so pixel fonts don’t need to be always worse than traditional fonts. In OmegaPixel I tried to achieve elegance, readability and flexibility within the limitations of a 6 pixel x-height. With 4 versions (regular, italic, bold and bold italic), and a neutral feel, OmegaPixel can be used in any genre of games. Considering the general lack of money among indie game devs, I’m giving the regular version for free! For inspiration, I often remebered Minion’s lowercase ‘a’, Galliard italic lowercase ‘g’, and the calligraphy of Chinese emperor Huizong.

The Skywalking font is inspired by sci-fi movies and video games. It purposely avoided the us of curves and preferred the sharp edges to get a more robot aesthetic into it. Designed by Mark Silva, the font is suited for logos, company branding, game titles and shirt designs.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.