Philson Block is a family with upright and oblique versions. The structure of each character is based on a square divided into simple fractions. Each letter has at least one variation, with angled corners, increased widths, or altered shapes.
This font is recommended for display lettering, headlines, and blocks of type that mask images.
Ristretto Slab Pro is a slab-serif companion to Ristretto Pro. It’s an extremely narrow display slab-serif font family available in 8 weights. It features rich language support, 6 sets of figures and small caps.
Ristretto Pro is an extremely narrow display sans-serif font family available in 8 weights. It features rich language support, 6 sets of figures and small caps.
Ristretto Pro also comes with its slab-serif counterpart - Ristretto Slab Pro.
The Sketchnote Typeface was born of necessity: veteran designer and illustrator Mike Rohde needed a series of hand-drawn fonts to produce his recent book, The Sketchnote Handbook (2012, Peachpit Press).
Because of its origin, the typeface was designed to be practical, to convey the human character and quirks of Rohde’s normal handwriting and unique hand-drawn lettering with the benefits inherent in digital fonts.
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Square also includes a handy selection of fun icons, rules, and arrows—some functional tidbits for your design projects. They are accessible via the OpenType feature “Ornaments” or “Stylistic Set 2” For added convenience, those same fun icons, rules, and arrows are also available as a standalone font, Sketchnote Dingbats, which comes packaged with Square and the full family package.
Under the hood, the texture was carefully edited by hand, eliminating outline errors and keeping the point count low for optimal performance. These fonts are crafted to the highest industry standards.
Sketchnote is great for a variety of projects where a handcrafted aesthetic and ease-of-use are desired.
Have you ever stop and think how cool it would be if Helvetica and Museo become one single font? Suicca is a geometric font inspired by Helvetica and Museo that makes your project readable and fancy.
An old printer’s advertising cut for Red Star Oil Stoves yielded a typeface that was both vintage and somewhat techno at the same time.
Originally drawn as a slanted logo, the individual letters had an array of chamfered, angled and flat sides combined with a bold outline.
This font is available in both vertical and oblique versions.
The movie trailer for the1936 film “After the Thin Man” is filled with text lettered in this classic Art Deco condensed typeface. Sleuth JNL seems the appropriate name for this digital revival, as the romantic comedy centers around detective Nick Charles' and his wife Nora’s adventures.
For those who can't get enough of the wonderful illustrations, embellishments and dingbats of days gone by, Print Assistants JNL collects more of them in one handy font file.
Borders, embellishments, spot illustrations and a miscellany of other dingbats are gathered in Print Art JNL as another collective of nostalgic imagery for print and web projects.
Nature Stencils JNL brings together a number of vintage decorator stencils with bird and flower motifs (along with individualized elements from the original designs).
These home decor stencils were manufactured by the Huntington Oil Cured Stencil Company somewhere around the early 1950s.
Originally located in Huntington, New York, the company later relocated to the South Florida area, but there is no additional information found about the company’s background.
Michael Wenssler or Michael Wennsler, operated a press at Basel betweeen 1472 and 1490. He apparently
suffered financially to the point that he fled his creditors and came to France where he managed to print a further 10 works to bring to a total an estimated 150 books.
This font face dates to 1482 and is a wonderfully well rounded and uniquely decorative example of the early blackletter style.
Мир is Mir.
The Russian word Мир (Mir) means both World and Peace.
The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history.
Bits of both meanings were going through my mind while I was designing this typeface. More…
In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded.
And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations.
So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time.
You can test the Mir Family with free Mir Medium and get more styles when you need them.
This is my frilly, girly font I created in 2011. It’s my version of my teenage handwriting. I hope you enjoy it and use it often. It’s perfect for fun scrap-booking projects or making cute tags etc.
Our Carioca Script Pro was inspired the lettering from the RCA Records Stereo Action Series from the 1960’s. It’s a signature script that is both elegant yet slightly bouncy and truly sings…lending a happy-go-lucky flavor to any design.
This script is loaded with extra features - truly giving Carioca Script Pro something to sing about.
Opentype features include:
- Swash Capitals.
- Initial and Final forms of Lowercase letters via Stylistic & Contextual Alternates.
- Full set of Inferiors and Superiors for limitless fractions.
- Oldstyle figures.
- Ordinals.
- 10 Flourishes included in Carioca Script Pro. 90 Flourishes in Carioca Script Flourishes.
Clavo was picked for the EXHIBITION CALL FOR TYPE - NEW TYPEFACES and is presented in the Gutenberg Museum in Mainz, Germany.
Clavo is a multipurpose font family. It’s warmth comes from subtle details, classical proportions and traditional forms, while harmonious structure prevents distraction while reading.
This makes Clavo a universal typeface. In all sizes, from caption to display.
The family consists of ten weights. They were not created in a linear way. The steps between the weights were adjusted carefully to avoid a mechanical graduation, in favor to optical harmony.
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Woodlawn JNL is based on an open face wood type. A bold outline sans, this design is excellent for headline and titling applications.
At first glance, the lettering style of Technopen JNL seems to emulate the computer-age fonts of the 1980s. In actuality, this font is derived from an alphabet sample found in an instructional booklet for the Esterbrook Drawlet Pens.
The Drawlet line was Esterbrook’s answer to the iconic Speedball pen points sold through their chief competitor, the Hunt Pen Manufacturing Company.
So, what seems to be late 20th Century typography is actually from vintage source material.
In fact, the entire contents of the instructional booklet were copyright 1929! More…
The name Technopen is a shortening of the term ‘technical pen’, which is both a nod to the techno age of the 80s and the technical instruments of the past utilized for drawing and lettering.
Streeter JNL is an all caps titling font based on the classic Beton Bold Condensed typeface. The Beton family of fonts was a printer’s favorite for decades.
Numina is an elegant, dignified, highly condensed modern display family comprising two complementary faces. Numina Glory capitalizes on the family’s strong, relentless vertical texture, eschewing diagonals in favor of robust pillars, whereas Numina Glamour opts for more traditional letterforms for improved legibility and a classy, airy grace.
Both faces are well-suited for headlines, logos, block quotes, and editorial work. More…
Each face comes with three additional font files at no additional cost: Oblique, Ligatures, and Ligatures Oblique. In the Ligatures fonts, all ligatures are designated as standard ligatures (rather than discretionary ones), and are therefore easily accessible even in typographically unsavvy applications.
In particular, base spacing and improvements to lettershapes were provided by Hrant H Papazian. Rainer E. Scheichelbauer provided aid with technical issues. This font is dedicated to Simone.
Luxx font was born in 2010 and in the 2013 has been redesigned. Luxx is based on a style of lettering often seen on Italian art deco posters and advertising of the 1930s. This font is very modern, and is inspired by the “velocitá-speed” of this artistic period.
TheLUXX is perfect for when you want to use eye-catching big texts for anything from posters and retro-advertisements, and art, but it´s especially striking for printed projects.
After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak.
Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them ‹ we and now being about 2.5 post-computer generations keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate.
In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features.
When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight ‹ an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality.
Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design.
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Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer.
It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art.
I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon.
To explore its full potential, please use it in a program that supports OpenType features for advanced typography.
Cal Bakerly, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“.
All graphemes are taken from calligraphic pages written in Arthur Baker’s calligraphic style.
This font is ideal for calligraphic sketches or for imitation of ancient manuscripts.
This font contains all the Latin and Cyrillic glyphs.
Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome.
From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms.
Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work.
With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation.
With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects.
Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability.
Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.
We at Fontscafe are forever trying to work on conniving up typography that will blend itself into your work space in a manner that will make you wonder how you ever managed without it…and that effort has led us to the birth of yet another all-new font for you! And this one like most of our others has a niche appeal although it is versatile as versatile can be.
Now this is a font that can pretty much fit the bill when you want to send out an exclusive appeal but yet not overly formal.
It is styled with fonts that cry out ‘eliteness’ and exclusivity, but without the part where it becomes so exclusive and classy that it goes way over people’s heads! The ‘Egregio’ can still connect on a very personal, almost friendly level with your audience while it remains in a class of its very own!
I was asked by a good friend of mine to design his tattoo lettering. This fellow prefered an easy stencil with no ornament, such as swirls or loops. After some preliminary design I finally accepted the challenge and while completing the whole alphabet, the idea of creating a cool font of it occured to me.
Only a few months later this new font family already contained 4 weights, every weight has a companion Italic style, punctuation, numerals and mathematical operators, as well as all accented characters.
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In both shaped weights, the font suits extraordinary well for headings, slogans etc. The cleanly cut and powerful Bomber TV font can easily be used for logotype, games, prints, magazines, web, apps, packaging, posters, T-shirts, signage & design projects.
The font is original and custom made by Kustomtype.
Malina (raspberry) is a plump, sweet-tempered display typeface. It comes in one style that includes small caps, ligatures, and ornaments. The face “speaks” several languages. Malina works wonders in titles and bite-size text nuggets.
On top of the regular set of characters, the typeface hosts with ease a duck and fox, owl and crocodile, mammoth and pig. They’re irresistible when used by one or in bunches forming patterns.
The typeface is ideal for signs, posters, sweets and kids product packaging; will feel at home in fun & entertainment stuff design and as a part of playful projects.
The inspiration source for MFC Damask is the “Oxford No. 2” typestyle from the 1893 “Cleveland Type Foundry Catalogue & Price List of Type and Materials”. The original design contained stylized numerals and smallcaps which have been normalized in our revival rendition.
There are also both baseline and vertically centered smallcaps for titling and decorative monogramming use.
Download and view the MFC Damask Guidebook if you would like to learn a little more.
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MFC Damask Basic & MFC Damask Flourish work together to create the Monogram and Initial Styling created with MFC Damask, and MFC Damask Titling can be used to create the traditional baseline styled typesetting of MFC Damask.
Bucktooth is a cartoony typeface, inspired by vintage funny-animal comic books, suitable for children’s entertainment, packaging or movie titles.
Fancier and more upscale than your usual toon font, Bucktooth is fun with a touch of class.
Absalon has square letter shapes. It has some characteristics semi-sharp and semi-rounded corners and it has a relatively tall x-height for legible text. To create the perfect typesetting the spaces between individual letter forms has been precisely adjusted.
The Absalon font family is perfect for the web as well as for print, for display as well as longer text, for motion graphics, on the side of a van, t-shirts, logotypes and so on.
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Absalon has extended language support (most Latin-based scripts are supported).
He was a key figure in the founding of Copenhagen, the Capital of Denmark.
Might Makes Right BB is an all-purpose comic book dialogue font inspired by Bronze Age comics. It’s designed to compliment a wide variety of art styles. The opentype version has autoligatures to swap out adjacent, identical letter pairs for a more organic look, and a wide variety of European characters are included.
Notes:
A font family on MyFonts.com can contain an unlimited number of styles.
Vividangelo is designed after the handwriting of a real person. I saw it on the pricetags in a small shop and convinced the person to have her handwriting converted into a font. She is very happy about it now, so am I.
Coleface was created by the British typographer Roy Cole, completed shortly before his death in 2012. It comprises six fonts: Coleface 30, 60, 90 and the italics 33, 66, 99. As with his earlier typeface families - Lina, Zeta, Colophon - Coleface reflects Roy’s aim in creating a sans serif typeface that is rhythmic, elegant and highly readable, thereby offering significant flexibility in terms of its potential uses.
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This early experience made a profound impact on Roy in that the principles of order, simplicity and legibility, fused with experimentation, became a hallmark of his practise, as exemplified in his last font, Coleface.
Grafolita is a type family of three fonts. It offers great versatility in composing layouts with different point sizes, as it allows the user to balance the weights between bigger and smaller letters.
Grafolita Script originally started in its bold weight, as a costume font for Grafolita®, a brand of letterpress products.
It was later developed in to a fully functional OpenType typeface with 3 grades, named: regular, medium and bold. More…
It assumes its mechanical side, with carefully uniformed shapes and letter connections that avoid having special ligatures or alternate letters that would be needed otherwise. Besides the great advantage of having three weights available, Grafolita Script’s OpenType goodies include six figures styles.
That allows for combining numbers and currency symbols in different sizes and baseline-relative positions.
Our Uncial Antiqua Pro is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context.
The SmallCaps and extensive figure sets only further expand the range of usability and appeal.
Opentype features include:
- SmallCaps.
- Full set of Inferiors and Superiors for limitless fractions.
- Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures).
- Stylistic Alternates for Caps to SmallCaps conversion.
Genius is a clean, geometric typeface with great legibility and modern look, which makes it a perfect typeface for any kind of use. It’s especially suitable for branding, advertising, magazines, web design and so on.
Created by Ceyhun Birinci, the Genius family consists of 7 weights from thin to bold along with their italics, including hundreds of kerning pairs.
The font “Lugo” is a heavy typeface designed for use in headlines and caption text.
Their design has a strong visual impact, a persuasive and seductive personality throughout its organic shapes.
This is a versatile and expressive font. Lugo can create an appealing atmosphere, conveying a gamut of message and emotions. It is well suited in the jobbing areas like packaging, logotypes, magazines, web pages and advertising, etc.
Lugo has all the advantages of OpenType features that allow a variety of combinations: You may choose to set types in connected or unconnected ways, being used as body text or headlines for its good legibility, visual impact and accurate kerning.
It has more than thousand glyphs: swashes, standard and discretional ligatures, stylistics and contextual alternates, old style numerals, word ending and tails. It has also an extended character set to support Central and Eastern European as well as Western European languages.
Lugo is a city in northwestern Spain in the autonomous community of Galicia. The Celtic name Lug suggests that it may have been a sacred site. Augustus founded the Roman town of Lucus Augusti in 15-13 BCE following the pacification of this region.
It is the only city in the world to be surrounded by completely intact Roman walls.
Schwarz is a Black Letter typeface inspired by all that is black. Jagged edges and sharp diagonals make Schwarz a head banging font. Some stylistic alternates and ligatures are also available.
HS Albadr is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, geometrical and streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy that support Arabic, Persian and Urdu.
It has one weight only which is similar to the bold weight.
This typeface is created for being used in technical and engineering companies under strict geometric conditions . The company desires to follow the geometrical shape with uniform and equal dimensions in both vertical and horizontal storks; where some parts of the letters are to be cut at a slanting angle of 45 degree to give the impression of a coherent geometrical nature for this font.
The typeface HS Albadr is considered as a chain of geometric fonts series designed for engineering companies.
After HS Almohandis and HS Alhandasi were designed we are looking forward to giving some additions to the geometric typefaces field.
If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person’s writing, and designed to look as natural and as close to the original lettering as possible.
Like any person’s writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. More…
The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old.
When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more.
To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long.
There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different.
Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number...
All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable.
That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent.
There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is.
When this font is printed out you will find it is surprisingly neat.
This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?
Calligrapher Cursive Modern, is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“.
All graphemes are taken from calligraphic pages written on Cursive Modern calligraphic stile.
This font is ideal for calligraphic sketches or for imitation of ancient manuscripts.
Cal Cursive Modern contains all the Latin and Cyrillic glyphs.
American Brewery was inspired by lettering found on vintage beer label. Clean and rough version are available, “rough” version comes with a vintage letterpress feel.
Graduate Script is a contemporary calligraphic script. With over 825 glyphs Graduate Script can be dressed up or down, to enliven its style. You can add curles to beginning and end of any lowercase letter, or even in between them.
Alternates for both upper and lowercase, aswel as ligatures for double letters are included too. OpenType features such as five numeral styles, fractions and both standard and discretionary ligatures, make Graduate Script a well equipped font.
Graduate Ornaments has over 300 glyphs and expands the design possibilities of Graduate Script even further. It offers additional ornaments and curles to add to lowercase letters, frames, automated borders that can be accessed by the keyboard and a lot more fun glyphs to work with.
On top of that there are catchwords in different styles. Not finding the catchword you’re looking for? Just create your own! A full set of capitals, including roman accented caps, currency, numerals and punctuation is part of Graduate Ornaments.
Designed to fit the same frames that are being used for the different catchword-styles, so you can easily integrate custom text with the existing catchwords. A detailed user guide is available in the gallery section.
Home Grown is a hand-drawn font that is fresh, immediate and informal. As the applications here show it is especially well suited to food packaging and natural or organic products in particular. However, it can be used wherever a friendly, approachable feel is sought after.
A self destructing sans-serif with 4 alternating sets of Capitals, enabled by simply turning on the Opentype Ligatures feature.
3D Cocoro is a rounded textured font. 3D Cocoro is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.
