Made in La Chaux-de-Fonds (Switzerland), HyperTurfu was born during the shooting of “The Return of Hyperturfu Xpress 2”. A GoPro on a lego electric train, meters and meters of rails, an empty industrial space, loads of puppets, paper, cardboard, pizza boxes, lights, hot glue and a bunch of friends preparing a one shot scene for a month. The title of the movie was made out of lego pieces, painted with golden spray and hanged over the rails. It was the first inspiration for this awsome superbold font. HyperTurfu is thought from ground up to give a strong impact. It’s gothic retro science fiction 80’s style makes it best suitable for metal music albums or posters. As the “Banco” font it works perfectly with short texts for advertisement, bar, cofee shops concert places or even fancy hairdresser. Just hang it over a pet shop and see what cool animals will come in.

A debut from the most anticipated vintage digital typefoundry by Gilang Purnama and Ilham Herry, who stucked their mind, body and soul back into the first era of 18th century. They build this intense visual-time machine that no one capable before. Started by the visual branding of the Ephemera Fonts, they bring every letters of it to the another level of journey. They called it Ephemera Sickles. Ephemera Sickles is a ornamented letterhead style typeface-inspired by the era of victorian (1800-1900) and this style was commonly used by engrossers at the turn of the century to embellish official documents, such as diplomas and other certificates. Carefully crafted for every single letters with the soul of Sickels Lettering, Spencerian, and some research from the Penmanship Journal book. The style is named after Charles Sickels, who headed the art department of Electro-Light Engraving Co. in New York City during the early 20th century. There’s no doubt that such a very strong presence typeface like Ephemera Sickles will bring a powerful identity to your visual project. Will be a perfect joint for a logo, visual branding, poster, beer label, packaging, classic bar decor, vintage hotel, et cetera.

Four Seasons is a display handwritten typeface inspired by nature and its four seasons. The font was designed by Coto Mendoza and Luciano Vergara during the winter of 2010 and 2013. Four Seasons’ real handmade stroke allows for an authentic lettering and makes the font perfect for photography and illustration composition. Four Seasons comes with an extensive character set and includes OpenType features such as titlings, endings, initials, swashes, ligatures and alternates plus a sweet set of ornaments, dingbats and words, all inspired by branches, leaves and flowers.

I admit: I had a bit of a crazy week when I thought up an drew this font. I broke my arm during kickboxing training on monday, leaving me in a cast - unable to do most everyday things, like getting a good night's sleep (try sleeping with a humongous cast on your arm). Thank goodness, it is my left arm, so I can still draw letters and use my laptop. So… this font has been made entirely using one arm! It is a bit of a horror font - it sort of sums up my mood right now. Glyphs have very little spacing, adding to the evil look of Plague Master. Comes with a lethal amount of diacritics.

Worn and torn, dry and cracked, resistant to wind and rain... the skin of the elephant is a thing of dry beauty and ancient wisdom... During the gold rush, the phrase “Seeing the elephant” became synonymous with the high cost of each prospector’s dreams and hopes --- not only the prospect of wealth beyond the dreams of avarice in California but also the possibilities of encountering misfortune on the journey. Like the circus elephant, gold was an exotic sight, and seeking it was an unequalled experience, the adventure of a lifetime. Now we've created a font much like the skin of an Elephant and Adventure, Excitement and Really Wild Things are available in the pages of the comic book of the same name, Elephantmen.

Taking into consideration some complaints about lack of capital letters and deficiency of heavier weight styles, the Fermo typeface was redesigned to replace the existing font, dated 2002. New Fermo includes two subfamilies—Fermo TRF and Fermo-Uni TRF. Both fonts now consist of three weight styles—light, regular and bold—with significant contrast. During the updating process some minor glyph shape adjustments and changes have been made. Fermo TRF's main distinctions from the previous font are the new capital letters and additional weight (light) style. Fermo-Uni TRF is a unicase font with an additional lightweight style. Fermo is recommended for use as a display font. In large size settings negative tracking is recommended.

Maple Street is a great looking traditional serif font composed by the Okaycat design team, Luke Turvey & Natsuko Hayashida, in 2014. Bold didone forms with structural seriffed detail combine at Maple Street to offer a cozy familiar style, without looking dated. This nicely balanced serif is designed to look outstanding for display or printed publication.

Martini Script is a cool, retro script with its origins in the hand-lettered ads of the 40s and 50s. During the second half of the 20th century, the introduction of new technologies, along with a change of taste, brought about the demise of hand lettering skills. We have attempted to revive this hand lettered look in the design of Martini Script. Martini Script has a casual, friendly, stylish charm, and is extremely versatile. The font comes in two styles; Martini Script Regular and Martini Script Fat, which work together to create a dynamic, confident look, perfect for a variety of applications, from posters and signs, to book and music covers and product packaging. Martini Script has standard OpenType features, and language support includes all European character sets.

Matricule 59 is a typeface whose design is inspired by license plates and by the deformations due to the stamping in the metal plates. These deformations give a very specific style, especially concerning the hairlines. It is the Ultra Condensed version of Matricule, a Typeface designed by Loïc Choquet. It consists of 4 fonts : Light, regular, bold and black. For Mac or PC. Well-suited for edition, logotypes, posters, etc. Each font contains 359 glyphs and supports up to 89 different languages.

Matricule 57 is a typeface whose design is inspired by license plates and by the deformations due to the stamping in the metal plates. These deformations give a very specific style, especially concerning the hairlines. It is the Condensed version of Matricule, a Typeface designed by Loïc Choquet. It consists of 4 fonts : Light, regular, bold and black. For Mac or PC. Well-suited for edition, logotypes, posters, etc. Each font contains 359 glyphs and supports up to 89 different languages.

I have no particular love for pigeons, but I read an interesting article about war pigeons being used to send messages to an fro. One pigeon (called William of Orange) even saved more than 2000 soldiers during the Battle of Arnhem. Pigeon Post is a lovely cartoon and kids font. It comes in a sans and a serif style, so there’s really no excuse for not using it!

It was a series of three different forts on various spots on the New River built during the Second Seminole War [in Florida] named for Major William Lauderdale. It was launched as the college students' spring break destination for many years thanks to the film "Where the Boys Are". It's the major city 23 miles North of Miami. But wait! There's more! Now it's an eclectic Art Deco-inspired typeface. Lauderdale JNL is based on vintage source material with many unusual letter shapes and angles.

Between twilight and daybreak it is said that the dark side of the human psyche eclipses the sun that shines from the depths of our souls. Certainty turns to doubt, clarity becomes confusion, man turns into wolf, the dead wake, vampires seduce the young are restless and milk boils over on the stove. Those that seek only to bathe in the light of a romantic new moon often end their tragic lives soaked in nothing other than their own blood, and the milk spilt on the stovetop has no one left to cry over it. There are fifty shades of grey during those hours after sunset and I think just as many in my porridge this morning. Yes, okay, I admit it, I spoiled the milk! This porridge tastes like it was left in a graveyard overnight. Death warmed over. Gothic and lumpy. Just like the Buried weights of this font.

As most successful German private press, «Bremer Presse» has strongly influenced German book art. It was founded 1911 in Bremen to print and produce books in perfection. The role model of the press’ typeface was the english Doves Press. Willy Wiegand drew three versions of the «Bremer Presse» antiqua font, starting with the regular weight in 16 pt and adding later the regular weights in 11 and 12 pt. The revival of this beautiful font is based on the 12 pt weight. During the design process, the focus was laid on finding the elegance and strength of original prints. As it was designed to print books, the typeface is optimally used for texts. And with the revival’s new weights «medium» and «bold» and OpenType features like ligatures or old style figures, you can design sophisticatedly typographical compositions.

Note: The Frame style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Shadow style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Shadow style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Italic style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Decorative style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Shadow style is no longer available due its complexity and the resulting memory and performance issues.

Note: The Lined style is no longer available due its complexity and the resulting memory and performance issues.

Brainstroke is a collection of twelve variations on a typeface. This release was supposed to be a much larger set, but due to a medical issue, where I recently suffered a stroke, I am releasing only those that I managed to complete. The name is a reminder to me to take care of my health.

Buddy is the new companion sans for Contenu, the book font family designed for my book on font design design. Originally, I called it Compagnon, but that seemed to pompous. Then I called it Aide, but that was too formal and dry. It's a loose, free, easy to read sans, so when my wife suggested Buddy, it clicked. This is the 4-font Buddy family of Regular, Italic, Bold, & Bold Italic. I made a new, more limited feature set for these fonts due to their designed usage, but there are still small caps, small cap figures, oldstyle figures, numerators, and denominators. The bold is closer to a black, and the italics are only slightly slanted obliques. If you need a strong black in caps, use the small caps of the bold.

GRUND is a new fontographic adaption of a remarkable 1920s epigraphical find in the city of Leipsic. This old well-known European trade fair hotspot struggled with a severe shortage of exhibition space around 1920. The solution was to dig deeper into the matter – literally – and 1924 the world’s first underground trade fair exhibition hall was opened right under the city’s central market square. After several changes of use during the past decades the sophisticated Art Deco entrance structure (architect: Otto Droge) was re-opened in December 2013 as a gateway to a new subway rail track. – The original brass lettering of the UNTERGRUNDMESSHALLE MARKT has been retrieved – and served as the inspiration for this new and unique font. If you’d like to see more exceptional Art Deco type, have a look at my Arthur series. __________________________________________________________________________________________

Bodoni expresses the beginning of the Industrial Revolution; its serifs are flat, think and unbracketed, while the stress is always on the mathematically vertical strokes. Bodoni believed in plenty of white space and therefore descenders are long. The M is rather narrow; in the Q the tail at first descends vertically and the R has a curled tail. The italic, like most continental modern faces, has roman serifs. Monotype Bodoni provides a clear-cut effect due to its simplicity. It reproduces well, particularly in sizes over 12pt. This font is slightly darker than Bauer Bodoni. The contrast makes Monotype Bodoni appear more condensed.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

Candy Design is a display font containing 265 glyphs. It was designed during a stay in Tanzania, Zanzibar in 2022. The main idea was to combine a sans-serif modernist, grotesque typeface with the addition of delicate Arabic accents. Its main assumption of use is posters, product design and branding. Unusual, dynamic and unpredictable accents that are found in practically every letter give the character of a very custom font, also completely not intended for typesetting, which, contrary to the features mentioned above, remains legible. Usually all letters are of the same size - however, as we used to when designing, hide small flavors in the whole sequence of numbers / letters and characters.

A condensed loose brush style. This font has a breezy elegance and casual sophistication, yet in a different context or color, it could be seen as nervous and urban. A weird dichotomy. Set in smallish text blocks, it has a surprisingly even color. This is due to a balace that has been struck between keeping the roughness and idiosyncracies of a hand-drawn face but ensuring an overall regularity.

Rhea is a family of condensed all-caps sans serif fonts. It is equipped with a bunch of accented characters. There are alternate letterforms for M & W, easily accessible via opentype features. Due to its nine styles, ranging from an elegant thin to a blatant fat, it gives you the opportunity to easily define a hierarchy between your headlines or the content on your poster, etc.

From the abyss and the quarantine hell, drawn in absolute lonelyness, and finished during the darkest hours of confinement… "Guau" is born, the type that barks directly at your face! "Guau" is a high-contrast display font with as many weights and versions as there are types of puppies in this fantastic world. It is thought to bring up glances in middle and heavy boxing weights, although you can also take its compressed and italic styles just for a walk. "Guau" is a font with three axes (italic, weight and width) and 20 instances, and it also contains thousands of glyphs and Opentype features that means a "guaorld of posibilities". This name comes from the time when you could only go to the street to take a walk to your pooch. Definitely, "Guau!, your new best friend!".

Initially commissioned in the summer of 2009 for a popular North American ice cream parlor chain we cannot name, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba's main style is a straight-forward mix of 60s/70s art nouveau ideas and late-70s/early-80s tube aesthetic. The Highlight and Outline styles are almost necessary spinoffs for this kind of typeface. And the all-caps Black style is a nod to the fat font fad of the past couple of years. All styles contain many alternates – so many that each style is almost two fonts in one. Make sure to check out the character sets for a few nice and useful surprises. Life's too short. Seek sweetness. Get gooey.

Askja – A modern, decorative serif typeface with creative ligatures, larger upper serifs and multilingual support. This decorative font features numerous creative non-standard ligatures incl. nested or overlapping caps. Due to its large selection of ligatures, Askja is a very versatile typeface, covering a wide range of project types. Combine this font with sans serif typefaces for a modern aesthetic.

🏆 Selected for Tipos Latinos 8. 🏆 Selected for the 12th Biennial of Brazilian Graphic Design. Malva was designed to perform as a branding element, providing a clean look for visual identities and publications. It brings a touch of friendliness to the communication without compromising the professional look every brand strives for. Legibility was one of the top concerns during the development of Malva, so we took special care to differentiate the naturally ambiguous characters I, i, l and 1.

Canovaro was inspired by the hand-lettered masthead of Queenslander, a weekly magazine published during the first half of XIX century. The condensed serif letterforms of the magazine title, with the warm, human touch gave the shapes of Quenta a lively personality and a literary charme. To let you experiment with his vintage decorative layers, it comes in 4 styles including discretionary ligatures to allow you to use script elements to enrich its expressive range for editorial and logo design.

Carina elegant classy font Hi ladies and gentlemen! Due to the popularity of the market for modern fonts, I created a serif font that suits your needs. The Carina elegant font is a modern classy elegant serif font. is here to become a market favorite. We made this font look elegant, classy, ​​modern, new style, easy to read, stylish, attractive and easy to use. Carina elegant Font is the right choice for magazine designs, newspapers, fashion, classy designs, beauty, feminine, brand names, branding and other projects. The Carina elegant font is here to enhance the quality of your designs. Follow us for the next classy font creation :) Feature: • Uppercase • Lowercase • Multilingual Support • Numbers and punctuation • Alternatives • Stylistic sets • Ligatures What's included: Carina elegant (OpenType)

Have you ever searched for a font that looked like it was really someone's handwriting, only to find that it was too feminine or too hard to read? I used to want a font like that, too, until I discovered that a font like that had been residing in my attic, in letters to me from my late grandfather. Not only was I thrilled to have a font like this at hand, but also one that would be a memory of my grandfather every time I used it. He was a hard-working man, raising a family during the Depression, yet was still fun-loving, kind, and generous. We called him Grandhappy. As a wedding present, I received from him rolling pins and a cutting board made of 8 different kinds of wood that he pieced together. In this font, the bullet is a rolling pin in honor of that! Other than the fact that this is a font from the hand of one greatly loved, my favorite thing is that although a True Type Font, it has some features of an Open Type font. There are many alternative letter choices available through the use of little-used keys on the keyboard and alt codes. This font was chosen to portray Jay Gatsby's handwriting in The Great Gatsby (2013).