Large families with a fresh character for your designs
Go on an expedition. We’ve picked out text and headline fonts, families large and small, as well as beautiful calligraphy for you from recent new arrivals. With the in some cases very large and extremely flexible font families, you not only expand your inventory, but also create the basis for perfect designs.
Boucherie (Laura Worthington)
Give your designs the flair and liveliness of the 19th century with the various fonts collected in Boucherie. Laura Worthington provides four distinct display types with various styles based on historical models. Pictograms and catchwords round out the offer.
Create beautiful invitations, posters, packaging, or magazine titles with Delicatta from Eduilson Wessler Coan. With numerous alternate characters and ligatures, this script font offers you an individual and varied look.
Clear Prairie Dawn (Quadrat Communications)
In the cheerful and dynamic humanist sans serif Clear Prairie Dawn by David Vereschagin, a few unusual letter shapes provide for high recognition value. Real italics with very lively letter forms round out the font, which is available in three weights.
Farquharson (Quadrat Communications)
Fine serifs and a few extended lines in the upper-case font Farquharson from David Vereschagin recall the designs of the Art Deco era. Based on an old American wood font, the letters are also available in a stencil version.
Spike (Quadrat Communications)
Triangular serifs recall the character of Western fonts in Spike from David Vereschagin. Designed for headlines, the font’s special character also does well in short texts. In addition to three weights, a style with hard shadows is available, as well.
Plenty of decorations and sweeping curves lend Carabelle by Michael Hochleitner a dynamic and lively character. The font, based on Calipso by Nebiolo, is perfectly suited to menus and wedding invitations, for example.
Originally designed for a music cover, Freude by Thomas Gabriel brings a relaxed and friendly character to your designs with its vivid, hand-painted letters. The font, perfectly readable in headline and text sizes, is suitable for many applications with its rounded shapes.
The distinctive, round shapes of the slab serif Henriette by Michael Hochleitner take the fonts on Viennese street signs as a model. Originating in the 1920s, the letters were changed again and again by different companies over time. Henriette incorporates elements of different versions, adds a beautiful italic, and provides styles in five weights and three widths.
Grafia Sans (Vanarchiv)
Individual letter forms provide for high recognition value in Ricardo Santos’ structured square sans, Grafia Sans. The full-featured font not only has nine weights, but also a true italic with somewhat livelier and warmer letters.
Van Condensed (Vanarchiv) Van Dingbats (Vanarchiv)
With its structured and geometric shapes, Van Condensed by Ricardo Santos recalls a stencil font. The clear, monolinear letters are very legible in text sizes and give a modern and technical touch to your designs.
The pictogram font Van Dingbats contains symbols from daily life and matches Van Condensed stylistically.
Conspired Lovers (Harald Geisler)
Inspired by handwritten love letters, Conspired Lovers by Harald Geisler offers the expansive, sweeping characters of a calligraphic typeface. There are countless alternatives available for the contrast-rich, dynamic forms, which enables you to design a varied typeface.
Brooklyn Samuels No5 (Samuelstype)
Brooklyn Samuels No5 by Hans Samuelson is a geometric sans serif with a stencil-like, extremely individual character. Although designed for headlines, the font is also easy to read in text sizes. The font also includes some more reader-friendly alternative letter forms.