Based on Lucien Bernhard’s idiosyncratic Schoenschrift, Liberty was designed for ATF two years later, in 1927, by W.T. Sniffin.

Libertee is a simple and elegant decorated font with floral ornaments and soft curves, inspired at the the Art Nouveau movement.

Taking its cue from the lettering of 1930s Dutch commercial artist Martin Meijer, Libertine is a script where expert calligraphy and total wrist control are on display. With strokes stopping and starting at very steep angles and extreme contrasts, every character is a high riff jolting from within a stunning epic that brands the message home. This is the rebel yell, the adrenaline of scripts. Libertine comes in three interchangeable fonts, each of which containing extended language support. The complete set comes with a fourth font that includes tons of alternates and ligatures and, more importantly, Libertine Pro, the 1160+ character behemoth that combines all four fonts for advanced typography environments, where automatic ligatures, stylistic alternates, and position-sensitive forms are seamlessly put to good use.

"Liberty Walk" is a display font featuring characters with straight, upright lines. Fonts like this are often used to give a clean, simple, and assertive appearance to designs. They are suitable for various design projects, including logos, posters, titles, or other design elements that require clear and upright typography.

The Liberty font was designed by William T. Sniffin and released in 1927. This script is very fine, with a light color. Liberty can be used on stationery and packaging and is also suitable for short pieces of copy in brochures.

It is a big work that started with Windows in Aden and was redesigned and tuned on an Apple device in Cairo. Liberty is an active contemporary variable font, complete with a flexible range of cases tailored to responsive layouts. The font is clear and legible in small sizes, suitable for printing for large texts, web pages, and other visual uses. Language: Latin default Latin Azerbaijani Latin Catalan Latin Crimean Tatar Latin Kazakh Latin Marshallese Latin Dutch Latin Tatar Latin Turkish

Introduced by Timurtype Studio! Wilberty is a Handbrushed Signature Script Font This font embrace the artistry of handwritten elegance with our handbrushed signature script font, where every stroke tells a story of timeless sophistication and personal style. Redefine your brand with a touch of bespoke authenticity Wilberty font is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Wilberty Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

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.

Design can do without images, but not without typefaces. Libertad is a sans-serif typeface that mixes humanist and grotesk models. It’s most interesting feature is the combination of balanced regulars with dynamic italics, which makes it a very versatile font for different uses. This typeface follows the Luc(as) de Groot’s Interpolation Theory, that’s why it has seven specially-calculated weights plus their matching italics, from thin to extra-bold. This allows it to be useful in big headlines and also small texts. It has more than 800 characters per weight and support for more than 70 languages. WARNING: This does not work with most Office suites; you only have access to R/I/B/BI. Credits: Photos by Lu-Lee.com - Web template by EleganThemes.com

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

Between 1958 and 1961, Herbert Thannhaeuser developed the typeface Liberta for Typoart as a broadly conceived newspaper type which established itself quickly. Its positive adaptation by publishing houses and printing companies was based, next to its agreeable and reader-friendly general impression, also on a relatively robust typeface character which does not sacrifice its power of impression and elegance even when confronted with poor paper and printing qualities. In the 1970s, a bullish and robust design style took over the area of consumer goods which then required a corresponding advertising face. Harald Brödel re-worked the Liberta Ultra for phototypesetting, and, with great sensitivity, designed a matching cursive variation. Both types work especially well as an attention getter for advertising and for emphasis purposes.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. Very bold stems. Pointed Apexes. Bars and some of the terminals which designed as a ball are very eye-catching. These features make a strong impact with nostalgic feel.

Liberty is an active contemporary variable font, complete with a flexible range of cases tailored to responsive layouts. The font is clear and legible in small sizes, suitable for printing for large texts, web pages, and other visual uses. Language: Latin default Latin Azerbaijani Latin Catalan Latin Crimean Tatar Latin Kazakh Latin Marshallese Latin Dutch Latin Tatar Latin Turkish

Within the pages of the April 16, 1938 issue of Liberty Magazine was found a hand lettered condensed typeface with a fun attitude that’s perfect for casual and informal titling. Because the art of lettering allows for taking liberties with letterforms, and as this came from Liberty Magazine as an inspiration source, it was only fitting that the typeface would be named Taking Liberties JNL. It is available in both regular and oblique versions.

Get to know Norman, elegant and fashion forward. This new condensed and high contrast serif font is based on expansion giving a sense of self confidence. The oblique ax was specially added to get a contemporary and innovative sense. Norman is young and idealist, he has a distinctive sense of style. A complete set of ligatures and stylistic alternates is included, this will help the designer to customize and give a special look to any layout. We recommend to use it for big title, magazine, editorial purposes and display. Norman Family contains 2 styles, Regular and Italic, both fonts have another version a bit heavier called Regular 2 and Italic 2.

Norma was my second sans serif. You can find a few details in common with Dialog, but the graphic impression of Norma is totally different.Every typeface has some characters that are the favourites. In Norma I simply love the lowercase roman a. Don't you, too, think that it is perfection itself? Norma was released in 1994.

Bertie was designed by Alan Meeks in 1986, an ornamented typeface with a light and elegant look. Such typefaces were at their peak in the middle of the 19th century, when they were created for the advertisements of booming industries. The sophisticated Bertie is based on forms of the transitional period and is best used in headlines with point sizes of 18 or larger to highlight its unique details.