Vivala Media Icons is a set of 97 symbols of modern media devices and controls for various functions, such as volume, brightness and many others.

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This steam era typeface, created by Gustav Schroeder in 1884, found popular use on soap box labels and tobacco tins during its initial release. Then, later, a successful and stout revival of Gustav’s face, named Othello, was carried out by Morris Fuller Benton in 1934, and the typeface’s appeal widened to include items such as broadside posters featuring Boris Karloff’s Frankenstein. After metal gave way to film type, Gustav’s creation experienced a brief fashion moment in the 1960’s, but then disappeared entirely, never re-surfacing as a full digital typeface.

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From the beginning “Esmeralda” was born with a strong influence of the classical “capitalis monumentalis”, carved in stone. In the same way, the origin of this majuscule writing emerged from the brush, from a way of writing made merely by hand. For this reason, these two universes were intended to lie beneath the shape of each letter, redefining them. And this combination of styles should also be reflected in a lowercase set that also allows to open up the spectrum of usage possibilities. Foundational calligraphy represented a solid base for the development of lower case glyphs, ensuring proper interaction with the uppercase letters.

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Lavery is a calligraphic display face, drawing its inspiration from the designs of the early years of the 20th century. It has an extensive range of ligatures and other opentype features and a delightfully hand-drawn feel. Lavery combines a great deal of character with clear legibility and a spirit of fun.

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Belle Jardin is an Art Deco inspired display family of three typefaces, offered in in-line engraved regular and demi bold forms as well as a solid bold form. It offers upper and lower case solid slab-built forms that create an immediate atmosphere of the streamline era of the thirties and are also at home in post-war revival inspired design work. The letterforms are solidly legible and ideal for cover and poster inspired design work.

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Our Aclonica Pro is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms and a generous x-height lend to a friendlier feel and easily legible typestyle, while signature swoops and angular tapering stems exude a subtle sensual nature. The SmallCaps and extensive figure sets not only expand the usefulness of the typeface across a wider gamut, but also convey a more serious tone when needed.

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Tabia is a geometric sans serif typeface, designed by Mariya V. Pigoulevskaya in 2013.
The font was inspired by the work and principles of the iconic german industrial designer Dieter Rams, who is closely associated with the consumer product company Braun and the Functionalist school of industrial design.
Tabia features a number of alternative characters and ligatures. It has a strong technical appearance. Details include 9 weights, 426 characters and open type features.

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Arcation is a high-tech display face that excels at large sizes but retains readability in smaller sizes as well. Its sturdy geometry and slightly condensed stance creates a cohesive set of glyphs with an enduring voice. Use liberally for logos, signs, book covers, or any other application where a strong, original font is calling for.

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Cocoro is a rounded textured font. Cocoro is extended, containing West European diacritics & ligatures, making it suitable for multilingual environments & publications.

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Bowler Hand had been created from hand drawn letter forms using a rotting ink pen which gives the font a great look.

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Flexline is originally a hairline typeface that can be bolded with its own stroke according to the user’s needs.

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Prahaha ‘Me and other Animals in Prague’ is a monolinear display that comes in 3 styles. The face is inspired by the animal drawings I made in Prague.

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The DF-Dudok is a minimal bitmap typeface which works very well in small sizes both on your screen and on paper. I am connected in a culinary way with the architects’ name W.M. Dudok. It was the first restaurant where I cooked under the critical eye of my chef Gerhard Braun. (Now La Stanza in Rotterdam) Well, it is incidently getting into my typeface work, the cook, the architect, his wife and...who knows

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The DF-Riga is a minimal bitmap typeface which works very well in small sizes both on your screen and on paper. But... if you want to express its deep beauty, use it in display sizes and the smell of ink is there. These typefaces (DF-A BIT, DF-Riga and DF-Dudok) owe their existence to the excellent letterpress printing of Hanneke Briër at the Grafisch Centrum Groningen. Beyond ‘the perfect’ there is a lot to get, it is made, you can see that.

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The DF-ABIT is made for screen display which is the final form of a lot of information nowadays. But there is more in this BIT... in display sizes it onfolds it’s skin, a beautiful ink on paper structure caused by the letterpress printing of copper lines. Analogue BITS indeed. With all the wealth of the ‘non perfect’, to please the eye and to satisfy the mind.

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Kailey font is a hand lettered, voluptuous typeface that is very special to the Great Lakes Lettering team. This oblique font is inspired by Molly Jacques’ “signature” lettering style, using bold brush strokes, fluid flourishes, and distinctive characters. Kailey has a distinct feminine feel that takes on a bold attitude to match her curves.

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Substance, the new typeface designed by Marcus Sterz, fulfills the primary role of emphasizing content. Substance is a workhorse with loads of subtle OpenType features, tabular options, 21 currencies signs and a diversity of symbols and arrows. Substance provides everything you need for demanding briefs like signage or corporate design.

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Enfant du Kult is a font with glyphes and icon take inspiration from the old myth symbols. Enfant du Kult is available in 3 weight: light, regular and bold.

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Zombie Sunrise is a hand drawn font taking inspiration from the 60’s horror zombie movies. When you buy this font you receive for free 6 exclusive patterns that you can use directly in Photoshop or any other graphic software.

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Experimental font with spiritism inspiration in 103 characters.

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Blackwood, a natural hand drawn font of 183 characters by David Alexander Slaager. Extra thin, perfect for album artwork and print work.

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Big fat font.

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Bliss Yeah - font / available in 3 weights. Round and soft.

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1654 Brown Street, from the street to our font library it’s only one step. This font is inspired by the street typography, the radius of the font is the same than the street marker.

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With this font, you sure have the flow! Standard hand writing easy to apply in your designs and layouts.

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True bold font, only available in uppercase but with different styles. This font of 106 characters is really easy to use in your design and takes his inspiration from the old school post graffiti. The name comes from the movie “Natural Born Killers” by Oliver Stone.

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A true north font of 152 characters, inspired by the black metal culture but more readable.

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Changaa is the name of a beer in Africa, the local people call them “drink of the dead”.

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A real urban style font, inspired by the city. A total of 203 characters: UPPERCASE, 
lowercase, numerals and

Punctuation.

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Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

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Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

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Bonna and Bonna Bold is a casual calligraphy family Font with an original textured appearance that will allow you to create an effect even more authentic.
It’s an exclusively Open Type release with 815 glyphs, 93 ornaments to combine with letters and decorate your text. There are plenty of options to create something unique and special with lots of possibility an infinity of combinations: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, and much more. These ravishing fonts have already an extended character set to support Central and Eastern as well as Western European languages.
Bonna was designed to help your projects look more creative, wonderful and fascinating! Have fun with it!

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Whimsical, hand-drawn connected cursive handwriting in both striped and solid versions.

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The “XXII Totenkult” is inspired by the classical letterforms of old roman/renaissance typefaces and an ode to the decay. This is an allCapitals-font and the lowercase glyphs contain a variation of the uppercase. With activated “calt”-feature every second lowercase will be replaced by an alternate, this will give the font a more natural look.

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This textured outline is clear and easy to read while still having personality.

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Frames and borders of various types. Also includes comic style quotation bubbles.

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Traditional style fractions for teachers. Includes 1/2 through 16/16 in 2 fonts. Also includes PDF maps to help you locate the glyphs you need. Test-taking bubbles are also included. Comparison circles also included.

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The handwriting of a teenager- cute, quirky, and fun!

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Warning: This font is a large file size for a font. I highly recommend (on a Windows computer) installing it via the alternative method of dragging the TTF file into your C:/windows/fonts folder instead of clicking on the TTF file and clicking “install” on the preview window. Thanks for understanding!

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Brittes is a fontface inspired in a formally English round hand, also called anglaise or Copperplate script. The calligraphy was the dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper.
In the mid-1800’s, the Spencerian form of penmanship became a standard. An elegant handwriting was much prized. Today, in our computer age, a fine, beautiful, and legible handwriting brings a warm personal touch to your graphic design and visual communications projects.
This font comes with three different kinds of capitals, regular and swashes to choose from, a full set of stylistic alternates, standard and discretional ligatures. Old style numerals ornaments and tails.

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With initial thoughts of creating something tubular, I had in the back of my mind the kind of contemporary chrome furniture that became ubiquitous throughout the 60s and that concept remained with me throughout the development process.
The font-styling idea worked out very well in this case, resulting in plenty of optional character variations for my chosen theme, most of which are included in both styles in light and bold character sets.
On completion, I decided that the title ‘Anglepoise’ represented it perfectly, so Immediately checked to see if the name was taken. Happily it wasn't, but while looking up the word online and in the dictionary, I was surprised NOT to find it listed in either place as a singular word, particularly as it’s a well accepted term that’s been in constant use for as long as I can recall, especially in design circles. However, opportunistic as ever, I quickly appropriated the name for this font and would like to think I've introduced a new word into the English language accordingly.

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Backstein is an abstract sans built to last. Its strong horizontal foundation, pragmatic construction, and rock-solid texture make it a powerful choice for display and logotype applications, while its original lettershapes and subtle eccentricities maintain legibility even at smaller sizes. It comes fully equipped with pan-european language support, ligatures, and stylistic alternates.

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Supermolot is a modern square grotesk with the elements of the Soviet style. Supermolot is a logical continuation of the legendary Molot font that was developed in 2008 and has been free to download.

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Papillon Woodcuts is a digital revival of an ornate alphabet by French engraver Jean Michel Papillon dating back to 1760, when engraving was very fashionable in France. Each letter is displayed with a different themed background, such as a ship at sea; a fancy table topped with a bounty of fruits; flying birds; a parasol with flowers; playful cherubs; rich textured drapes and tapestries; and many more. These woodcut initials are especially beautiful when used at the beginning of a paragraph as in olden texts.

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Sumergible Script is a striking font that simulates it has been written with a dry pointed brush on textured paper. Its purpose is to decorate and accompany photos, illustrations and textures by letters designed with a generous horizontal spacing between lowercase which reinforces the idea of hurriedly and interrupted cursive calligraphy. In that sense it is spontaneous and useful to form vibrant words and sentences, shining short messages on book covers, posters and other graphic design media.

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The inspiration source for Hardwood Monogram was a unique “building block” design that was originally formatted as a stacking cameo monogram. This pattern has been expanded to recreate not only the original stacking cameo style, but also the traditional smallcaps & Capitals monogram format. A bold variation has also been created for those that require a stronger presence.

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Mic 32 New Stencil is the third variation of the popular Moretype family Mic 32 New.
This stencil version provides an industrial flavour to the futuristic rounded geometry of Mic 32 New.
Mic 32 New Stencil still has all the normal Opentype features including small caps, tabular, proportional and old style numerals and ligatures.

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Lunchbox is a uniquely handdrawn typeface that gives infinite customizable options and a fully authentic look. Using Lunchbox’s Opentype features gives access to over 1,500 different characters. Contextual alternatives give each letter 4 different character styles, all cycling through each other to ensure that no two letters ever show up together. There is also a custom set of small caps, each with 4 style variations as well. Stylistic alternatives give an extra handdrawn flourish, loop and slight variation, also with 4 different styles per letter. Discretionary ligatures pertain to both regular all caps Lunchbox as well as stylistic alternatives. It takes special letters and gives a unique interaction with the characters around them, giving your design a unique and personalized look. Swashes also have four style variations to both the regular and stylistic alternatives, as well as lowercase letters with ascenders and descenders.

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There are never enough ligatures. Fitigraf is a mix between a classical serif font and graffiti street art. The weight of the font give a strong and powerful message, with a certain touch of classical elegance.

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Waves is a sans serif typeface with pure but expressive look, which is notable even in smaller sizes. The softly decorative characters are also nicely visible in bigger sizes what makes Waves unique. A user can choose from two sets in all four weights. Each font features alternate letters, offers wide sets of characters including fractions and language support with all characters for Central European countries.

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Our Special Elite Pro brings the unique individuality of the Special Elite Type No. NR6 vintage typewriter keyset to the digital age. Antique typewriters would type with a warmth and appeal to them, primarily because of their unpredictable “grunge” results from force of keystrokes to ribbon and paper. The SmallCaps and extensive figure sets add a more serious note to the nature of the typeface.

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HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes.

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Rue is an organic, casually ornamental, narrow-faced sans serif. It is a display type structured with random traces of calligraphic tendencies. It does not begin with any noble ideals, other than to mediate between the muse of imagination and the act of realization.

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No word describes this font better than STYLE...

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An open, evenly spaced book face designed for quality headlines and enhanced readability in text.

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An all-capitals reversed sans-serif font, designed for easy creation of signs, labels and banners. Various endpieces are included. Upright and italic can be combined.

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The Zigfrid_family was made after my visit to Deutschland and its huge impression of old typography on the streets of Berlin. Zigfrid contains 4 different styles with a geometric and modern feel.

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Sans-serif reversed capitals in outlined circles, resembling old-fashioned typewriter keys.

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A decorative font with descending tails on the capital letters. The design is based on a popular typeface from the 1880s, mainly used for personal names on title-pages, advertisements and stationery.

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The characters in this font are composed of rounded lines with even thickness, giving an impression of neon tubes. Although the design is completely new, it has its stylistic roots in the modernistic 20th century world of steel-tube chairs and fluorescent lamps.

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An expanded caps-only cross-stitch font, based on a mid-20th century embroidery pattern.

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A thin, very elegant caps-only cross-stitch font, based on an embroidery pattern from the end of the 19th century.

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A thin caps-only cross-stitch font, based on a late 19th century embroidery pattern. Accented letters for Western and Central European languages are included.

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A cross-stitch font based on a classical pattern, including capital and lower-case letters for all Western languages.

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A bold condensed caps-only cross-stitch font, based on an embroidery pattern from the middle of the 20th century.

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A rounded sans-serif with even stroke thickness, based on the standard round-pen ink lettering used on technical drawings in the middle of the 20th century.

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A revival of “Gras Vibert”, a French fat face originally cast by the Didot typefoundry in Paris. It was cut in 1840 by Vibert, an engraver employed by the foundry. The capitals are heavier than the lowercase letters, and the characters g, k, y and & are rather peculiarly shaped, exaggerating the vertical stress. The font is designed for large sizes.

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Sans-serif reversed capitals in circles, resembling typewriter keys.

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A slightly regularized digital version of a late Baroque Fraktur type, probably from the beginning of the 18th century, issued by the Norstedts type foundry in Stockholm in 56 point size as “Sju petit fraktur nr 2”.

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Canapé is based on the idea of letters with a subtly curved and slightly modulated line. Through this, the typeface has a warm and friendly, almost haptical appearance which brings some kind of cosiness to your communication with type. Designed and crafted with great attention to detail, the type family is usable for copy texts as well as corporate design or display purposes. Canapé (Serif) with its 4 fonts and more than 4,200 characters contains a large amount of features like small capitals, swashes, 10 different figure sets, automated fractions, ordinals, standard and discretionary ligatures, language support for Central and Western Europe and a small sofa building kit. All features are conveniently accessible through OpenType features.
For detailed information check out the elaborate type specimen brochure at ISSUU or download the PDF

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Ahra from Magpie Paper Works is an upright, hand-lettered script full of fun calligraphy. This Opentype font was created with a pointed pen & ink, and features a host of special features.

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Courtney is a display font, unicase, with thick and irregular strokes. It contains a varied set of ligatures that makes Courtney a very dynamic font, ideal for short texts, magazines, logos, etc.

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Barracuda Script is a bold and vibrant brush family of three weights and matching ornament sets. Barracuda Script is packed with alternate characters, each basic letter has at least four variants to allow you create customized headlines. To activate the alternates click on Swash, Contextual, Stylistic or Titling Alternates in any OpenType savvy program or manually select the characters from Glyph Palette. Turn on Small Caps to access a complete set of capital letters designed for writing in all caps.

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Slab Happy is a layered typographic system that adds a unique twist to neutral slab serifs. By pasting layers on top of one another and altering fonts and colors, you can create infinite combinations of slabby brilliance.

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Headlined is back with a bang! This time it’s dropped the letterpress look for something a lot harder. Headlined Solid is a brand new no nonsense headline font that demands attention, and leaves a lasting impression. Headlined Solid has a worn sans-serif look and feel that differentiates it from the run of the mill headline fonts. Headlined Solid also supports a wide range of languages. So it doesn't matter whether you're setting a headline in English, Italian, or even Manx. Headlined Solid has got you covered with support for over 20 languages.

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The Swash version of Adriane Text features the best characteristics of this lineage, without losing the strong personality and elegant design featuring in your text styles, Adriane Swash brings a fancy look to this classic style. The family comes with a complete character set in Uppercase, Lowercase and Small Caps, and the Swash option can be activated through the OpenType features panel, including glyphs initial, intermediate and final, plus a wide range of stylistic ligatures, alternate glyphs, ornaments and languages.

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Hearts, and wings are both powerful symbols.The heart represents the seat of the emotions, and Wings represent movement upward, even spiritually, in the case of angel wings. These images have been drawn with a brush, some of them on rough paper, and are available as a black or white version.

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Selenic is a solid typeface with a clean look, interesting texture and quick impact. Friendly but also aggressive it is best suited for massive headlines, fashion photography, album covers, logo design or any other typographical work on digital and print.

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One of a few quirky display types by this designer.

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German type designer Felix Braden created this sans FontFont in 2012.

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Danish type designer Jan Maack created this sans FontFont in 2012.

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Clean and elegant display sans-serif uppercase family with three weights and rounded corners. Excellent for headers, posters, t-shirts and websites.

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Language is a must,
please clean your book’s dust.

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Swiss type designer Nina Stössinger created this slab serif FontFont in 2011.

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“Oh Beautiful, for Spacious Skies, for Amber Waves of Grain”

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Slovenian type designer Mitja Miklavcic created this sans FontFont in 2011.

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Calligrapher Neuland Bold is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“.
All graphemes are taken from calligraphic pages written on Neuland calligraphic style.
This font is ideal for calligraphic sketches or for imitation of ancient manuscripts.
The font contains all the Latin, Cyrillic and Greek glyphs.

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Calligrapher Fraktur Modern is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“.
All graphemes are taken from calligraphic pages written on modern Gotihc Fraktur calligraphic style.
This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. This font contains all the Latin glyphs.

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Calligrapher Rustic Black is one of the calligraphic group of fonts called “21 alphabets for Calligraphers“.
All graphemes are taken from calligraphic pages written on modern Rustic calligraphic style.
This font is ideal for calligraphic sketches or for imitation of ancient manuscripts. Calligrapher Rustic Black contains all the Latin glyphs.

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German type designers Axel Bertram and Andreas Frohloff created this serif FontFont in 2012.

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British type designers Paul McNeil and Hamish Muir created this display FontFont in 2012.

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German type designer Thomas Marecki created this display and script FontFont in 1994.

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