family of 1 font from Altemus Creative
A collection of 174 raptors, woodland birds, farm birds, designs.
family of 1 font from Altemus Creative
A collection of 174 raptors, woodland birds, farm birds, designs.
family of 1 font from ALT
Robotechnica is my first ever pixel font, I was experimenting with pixel fonts for a while and I’m happy with the result.
family of 2 fonts from ALT
Do you like fat fonts? Well here is a free one from me. Regular & Italic both free. Fat is a caps only font. Because of that if you type something with caps on, as you can see is typing in Greek I decide to make it like this since there no lowercase letters.
family of 3 fonts from ALT
Exline is yet another experimental display typeface for use on logos and titles and everywhere else you want :D
family of 5 fonts from ALT
Breo is yet another experimental display typeface for use on logos and titles and everywhere else you want :D
Ayame is a display font which looks great on posters, logos, and titles. Ayame is a 6-weight family with a heavy retro look.
The Zheldor typeface was designed specially for the Railroad movie credits, but wasn’t used there. As a result, here comes an original type product that fits nicely into the urban environment.
This vigorous, twitching and deconstructive font works well for emotional large-letter designs and non-too-serious teenage style headings. But however extreme it may seem, Zheldor also has a simple and friendly feel to it.
ALS Tongyin is a bit rough and square-built with a pronounced oriental touch (Chinese word “tongyin” means “bronze molding”).
Tongyin declares its ties to Russian constructivism and has 4 font styles. It matches well the rustic accident type frequently used for ads and announcements in Russian newspapers.
“Agrus” in Ukrainian means “gooseberry”. The letters are rounded like the berries and the sharp end elements remind of the barbs.
In fact, the font is an intricate italic type. Optical compensations are purely decorative and rhyme with thin connecting lines.
Design of this font is one hundred percent due to “strength of materialâ€
family of 1 font from K-Type
Alright is a cursive font is based on the handwriting alphabets used in education, but with modern short ascenders and descenders.
family of 12 fonts from ShinnType
All has been said, unless words change their meanings and meanings their words.
family of 1 font from Red Rooster Collection
Steve Jackaman. In the early 1980’s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup. Completely redrawn and remastered, Alphabet Soup Pro contains all the high-end features expected in a quality OpenType Pro font.
family of 1 font from Red Rooster Collection
In the early 1980s, Steve worked at Typographic House in Boston, Massachusetts. At the time, ‘Typo’ House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup.
The initial designs for this font first came from the idea of creating a dynamic and visually appealing typeface just by using squares so throughout the development stages I had restricted myself to just the use of squared paper.
The hardest thing that I found was overcoming the problems regarding letter forms that have diagonal lines and therefore defer from the ongoing style of the typeface.
family of 3 fonts from Wiescher Design
The font that looks like a paperclip
font family
Alph Deco is an artistic font designed to satisfy devoted friends of art deco. It supports West and Central European tongues as well as Baltic, Turkish and Romanian languages.
family of 1 font from Nick"s Fonts
This charming little number is based on a rubber-stamp alphabet set, sold in the early 1900s under the name “Perfection”, which suits it well.
With ascenders and descenders gone tall and wind-bent just the right way and capitals of enough weathered artistry to touch off waves of mystique and experience, Almond Script is calligraphy gone rusty and textured like only Angel Koziupa and Alejandro Paul can make it. Scarred and wavy like an exhausted warrior, slim and delicate like a tango dancer, this typeface is a unique convergence of the rough ancient brush and the modern Latin elegance.
Nine out of ten packaging design experts agree: Almond Script has nothing to do with whitening your teeth, but it certainly can brand your product like no other script can.
font family from Studio K, added today
As the Latin tag for one’s college or university, Alma Mater seemed to me to be an appropriate title for a font family reminiscent of the lettering commonly used on college sweaters and and sports jerseys. Essentially Alma Mater is an extension of my Oscar Bravo font family, but the lively demand for Oscar Bravo Blank persuaded me to go the whole nine yards and and offer inline and outline variations on the theme. Pick 'em up and run with 'em!
font family from Art. Lebedev Studio, added yesterday
There are many script typefaces but there is only one Scripticus.
Scripticus like a chameleon: In whatever surroundings you put it, it adapts itself and looks like it couldn't be anywhere else.
Be it a sales advertisement, a music Website, a comic strip or a journal with complex chemical formula – Scripticus always solves the problem in a natural and leisurely way. And it never makes compromises concerning clarity.
Mezzo is a slender, humanist sans serif with four font styles.
Designers will find it useful when creating packaging, candy and pastry wrappers, perfume and wine labels, etc. Slim and elegant letterforms are especially fit for small pieces of text, headings and subheads.
Mezzo is a good choice for women’s magazines with their particularly subtle approach.
font family from Art. Lebedev Studio, added today
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.
ALS Ekibastuz is a contemporary urban-style typeface extremely suitable for periodicals and advertising. It has defined, open, clear-cut letterforms and modern proportions.
Originally designed to work well for headings, Ekibastuz was developed further to give a distinct energetic feel when used at large sizes and be highly readable and neutral at small sizes.
It consists of six font styles and offers a wide choice of weights, which is useful for creating contrast between boxes of text on a page.
ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel.
Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. More…
A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture.
All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible.
The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable.
With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background.
Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess.
Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.
family of 1 font from Sudtipos
From the technical hand of Alejandro Paul and the creative jungle in the mind of Angel Koziupa, comes a wild-natured script.
A typeface with characteristics of roman and italic, fat face and stencil, modern and script. It was designed by Hans Bohn for Ludwig & Mayer in 1936.
In 1997 the first designs of Allatuq were made while Michael Everson was doing some work with the Baffin Divisional Board of Education in what is now Nunavut (but was still Northwest Territories then). The font contained The basic Latin ASCII characters and what Inuktitut characters were able to be fit into an 8-bit “MacInuit” character set Michael had developed. “Allatuq” means “What has been written” in the dialect of Inuktitut spoken in northern Québec. More…
The font is to look hand-drawn, as though by a child copying more or less carefully from a handwriting sampler. Although Comic Sans came out in 1994, and Allatuq designed in 1997 (the 1.0 release was Patrick’s Day 1998), Michael doubts that he had even heard of Comic Sans when he was was designing Allatuq.
When the opportunity came to revise the font for the Kativik School Board in Québec, Michael decided it would be best to re-draw everything from scratch. And... well, being a Unicode guru, he decided to add support for more characters. Allatuq contains a fairly large set of Latin characters, including the IPA block. It supports the entire set of Canadian Syllabics, Greek, Cyrillic, Hebrew, Cherokee, Armenian, and Georgian. Further additions are planned.
In 2010 Allatuq version 2.1 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. In 2012 Allatuq version 3.0 was released with an oblique face.
Allatuq is pronounced [ˈalËatÊŠq] in Inuktitut, and [ˈæləˌtÊŠk] in English.
Digitized handwriting fonts are a perfect way to give documents the “very special touchâ€. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing.
There are numerous occasions where handwritten text makes a better impression.
“Allan Handwriting†is a beautiful typeface that mimics true handwriting closely. Use Allan Handwriting to create stunningly beautiful designs easily.
font family from Flat-it, added today
Originally designed in 2012 by Ryoichi Tsunekawa, All Round Gothic is a font family inspired by classic sans serif fonts such as Avant Garde Gothic and Futura.
All Round Gothic is a structured geometric sans, but also creates a sweet and cute atmosphere by removing unnecessary stems. With their bowls shaped by not-perfectly-geometric circles, All Round Gothic makes an organic impression in some degree.