Onda is a display typeface based on a synthesis of curvilinear nostalgic spirit leads us to a new psychedelia words are immersed in the spirit of the 60s. Onda is provided "style forms" to small caps, in both its Regular and Italic. Its use is recommended for bands, pop spirit signs, markings or titles for scuba diving, oceanography and water industry.

Printers Impressions JNL is an assortment of various letterpress ornaments, corner pieces, catch words and other designs, along with some shipping labels with perforated edges; all re-drawn from vintage source material. For the shipping labels, print them in red and you will recreate the standard form of gummed label so popular for years before self-adhesives took over the market.

Goldie Sans is a clean sans serif that is perfect for logos, quotes, long-form copy, and more. Both uppercase and lowercase are included in light and bold, but I am particularly fond of using it as an all caps font for logos, headlines, and short quotes. INCLUDED uppercase letters lowercase letters numbers & punctuation light and bold fonts foreign language characters

Zing Rust is a truly handmade type system consisting of 238 fonts. This incredible font family is based on layer combinations and gives endless possibilities to mix and make various designs. Each style could be used separate or merged in order to achieve all the creative designs you can imagine. The font is based entirely on hand writing which brings an aesthetics that can’t be imitated with any computer filters, scripts or plugins. Having moderate proportions Zing RustTM is the perfect solution for logos and headlines that really stand out. Zing Goodies As a dessert we serve you Zing GoodiesTM that tops off the whole package, making it the extraordinary delicacy! It has 4 basic forms—Bakery, BBQ, Banners and Words — with two style each, which contain plenty of adorable icons for any food and taste, elaborated banners, ribbons and ornaments, and even beautiful selection of useful words accentuating your design.

Virgin is a hybrid typeface with a Victorian spirit, based on script forms of Romanesque ornamentation. With his rich variety of stylistic forms, ornaments and catchwords, Virgin is a chance to create completely new texts, varied and elegant. About 1100 Glyphs allow users to create words out standard, thanks to its Opentype programming in countless combination of alternates. The variety of styles makes it easy to create texts according to your taste and use because Virgin offer an unlimited combinations of stylistics alternates. Virgin is ideal for humanistic texts, tourist ads, liquor and wine labels, fashion and even for cosmetic purposes. Virgin is presented in solid and inline version, and a basic version for web in lighter weight, also providing a refined collection or ornaments and catch Words. Virgin has been specially designed for logotype, packaging & publishing design project. Virgin evokes the richness of nature in its biodiversity.

The design for Titulata was based on the need for a titles of extreme weight, dynamics and soft morphology. Strong and clear, it takes graceful form in the line and is legible even in small bodies. The script variable is softer and features some punch-line touches, providing another vision and incorporating traits of manual writing. One important feature is that both styles have the same rendering in text box, reason why signs can be combined without other alteration that the form of the printed word.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Modern simple typeface expressing sharp and bright words without need for writing something really smart. Made by Dusan Jelesijevic one day when he left without anything smart to say or write, so he just grabbed a pencil and forced the paper to be cooperative. Someone said that this typeface looks like the ancient Greeks went in present future and used contemporary equipment for writing those letters. It is ideal for branding and avantgarde identities.

At Tupats is inspired by the name of a common food from Indonesia during Eid: ketupatfood. This font is in the Arabic style but for writing latin characters and words. The ligatures, stylistic sets, and contextual features of this font will make your writing similar to Arabic calligraphy. It is very suitable for writing in a Middle Eastern style and for use in restaurants, magazines, souvenirs, web, and many Ramadhan-themed projects.

Fonts can make or break a design, so why not use the best? The ideal Gothic font is QIUBA! You should use this professional-grade font to create labels, retro, stamps, badges, Oktoberfest posters, and other things. It’s ideal for any project that calls for a little gothic flair. Plus, it comes in a variety of beautiful, harmonious forms so you can use the perfect word for your project. This Blackletter font is the way to go whether you’re looking for a font for your logo, label, badge, or your newest music video or movie!

Armchair travel to the Windy City with Chicago Doodles. 31 illustrations of buildings, skylines, transportation, food, Chicago landmarks, signs and a script word Chicago. For other city, state and country doodles take a look at Paris, London, Waikiki and New Orleans Doodles. Also Cowboy and Lake Vacation Doodles too.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/

HoneyBee is an all-caps display face in a delightfully hand-lettered style for irresistibly sweet layouts on food packaging, fantasy games, or children’s products. This versatile font includes three sets of full-size capitals, two sets of smaller capitals. Mix and match swash forms with titling forms to create headlines, titles, and wordmarks. 20 charming ornaments are included to complement your designs. See what’s included! http://bit.ly/2bGYin7 *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Add charm with intricate swirls! Karika Swirls was inspired by our obsessive love of swirly patterns and symmetric designs. Karika, a Hungarian word for circle, is a charming way of saying we love circular symmetrical forms. These 52 original illustrations are great for creating stationery, adding borders to greeting cards or design projects, background images, etc. The glyphs can be used individually or combined with other glyphs to form complex patterns. Karika Swirls is part of the Karika Collection of fonts. These intricate swirls are symmetrically sized in height and width so they'll work charmingly together for any project. See also Karika Hearts and Karika Encore .

Forever Loved is a delightful new handwriting font which is full of character and suitable for every occasion. It has OpenType features such as alternates (two sets of uppercase alternates), swashes, ligatures, terminal forms in lowercase, and a European language support. This wonderful script font is perfect for wedding stationery, engagements, and baby, family and friends orientated themes. Not only that - it can be used for logos, tattoos, delicious food and drink, mugs, clothing, the list is endless!

Starve for tasty bold font? Say hello to Frunch! A delicious bold script font with a vintage vibe. Frunch comes to you with several alternate letters for you to play with and the complete set of lowercase-letter swashes that make your words look delicious and stand out. It's especially created for food & beverages branding as well as product packaging typography (e.g.: snack, honey, breakfast meal, milk, bread and cake). It's also perfect for poster, business cards, headline, restaurant menus, and much more. Have fun with Frunch!

Crafted with passion in La Chaux-de-Fonds, Switzerland, the Hyper Fatos typography was born in a moment of pure delight as the creator (Bisou) indulged in a delicious pizza. Inspired by the excitement and satisfaction that come from the most indulgent culinary pleasures, he designed this unique typography to capture the essence of gluttony and the irresistibility of the most appetizing dishes. Hyper Fatos was meticulously crafted to evoke an undeniable sense of indulgence. Its boldness and rounded forms bring to mind juicy hamburgers, crispy fries, and donuts overflowing with icing. It's the perfect typography for fast-food restaurant signs, tantalizing menus, or even advertising campaigns for giant burgers and decadent milkshakes. Picture Hyper Fatos in bright letters above a hot dog stand, and you'll see lovers of greasy food rushing to satisfy their most voracious cravings. This typography is the ultimate choice to whet your customers' appetites and encourage them to indulge in culinary delight.

VENGEANCE IS MINE, I WILL REPAY, sayeth the Lord. "BUT IF YOUR ENEMY IS HUNGRY, FEED HIM, AND IF HE IS THIRSTY, GIVE HIM A DRINK -- FOR IN SO DOING YOU WILL HEAP BURNING COALS ON HIS HEAD.""AND FURTHERMORE" sayeth the Lord, "WHEN I FINALLY GET AROUND TO EXPRESSING MY VENGEANCE, LO. MY WORD SHALL BE RENDERED IN A FONT WITH THREE RAGGED LAYERS -- VENGEANCE IS MINE!"

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

Matrijs is the Dutch word for mold. It comes from the Latin word for mother or womb and is somewhat similar to the English word Matrix. Matrijs is a handmade Garamond which can be used for a wide range of projects.

Kanban is the work of British designer Ed Bugg, an all capital, oriental style typeface. Kanban was the word used for shop signs in old Japan and the letter forms mimic the square look of Japanese and Chinese calligraphy. Kanban is the ideal display solution wherever an oriental appearance is needed.

Rockinsoda child’s handwriting style font with little improvisation on uppercase mode, although these fonts are all uppercase fonts. This font also has alternate on lowercase letters that can be used for the last letter or word cover. This font is perfect for something related to food, children, kids illustrations, book titles, website title, writing on video, or anything you can try to gain experience in graphic design needs.

Named by the german word for bustling around, to scurry or swarming the Wusel has a very active appearance. It's completely handmade and doodely because of all the crisscrossing lines, which forms big, bold, sanserif letters. These are very good to read wether they're big or small. Just a very playful, fun and simple font to use for headlines, tags and all kind of things which need al little attention.

Sortland is single weight font inspired with vintage serif typography. By it’s design, Sortland is condensed, contrasted and typeface with tall x-height. It radiates with distinctive charm and warmness as soft lines and rounded corners make friendly impression on words made with Sortland. Sortland recommends itself for package design, posters, outdoor and indoor graphics, logo and websites either for headlines or paragraphs. In terms of markets, it’s ideal for beverage, food and cosmetics, but also for movies, magazines and books. Comes with Small Caps and standard Ligatures.

Mafuta is a round, happy font, named for the Zulu word for "fat". In tribal societies in Africa, where food was often scarce and almost never easily come by, it was considered desirable to appear "well fed". Roundness was a symbol of high status in the tribe, and a sign of wealth. The up-beat, bold outline of the font celebrates the confidence of people who feel comfortable being who they are. The font manages to be both contemporary and African. It is best used for posters and for headings.

First and foremost, Reserve is a companion typeface developed to complement the Scotch Suite of typefaces. With a focus on producing simpler forms with less contrast, Reserve evolved into a fantastic serif typeface for long-form text settings, exceptional clarity at low resolutions—for print and screen. Friendly and functional, Reserve is replete with features intended to make you feel comfortable going back to again and again, and with a complete set of condensed fonts, this typeface becomes more of a surprise. Small Caps, 4 sets of numerals, Case-Sensitive forms, Stylistic, Swash and Titling Alternates, Fractions, language support, and more… it’s all there, ready for you to use. The term ‘Reserve’ as it applies to the words of wine and spirits is typically used to alert a consumer of a higher quality, exceptional vintage, or special production of wine or whisky… it’s no different for this typeface’s name. Cheers.

Karl-Heinz Lange presented his first drafts of Rotola during a Typoart® type design competition in 1985 under the name "Boutique". A year later, Norbert du Vinage, former manager of the type design department, integrated "Boutique" in his production plan. Due the Fall of the Wall, it took about 18 years until Lange finished this font family in cooperation with Elsner+Flake. Karl-Heinz Lange was born on July 29, 1929 in Wiesenkirch in West Prussia. He was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. He worked on a variety of assignments, one of which was the design of trick films. From 1969 to 1976 he took the position of Artistic Director of the Henschelverlag, Berlin; from 1976 to 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin; and, until 2004, he taught at various institutes for advanced professional education. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal. Karl-Heinz Lange was awarded the second prize at the "International Type Design Contest 1971" for a headline typeface, and, in 1984, at the XI. Biannual of Graphic Design in Brno, he won a Silver Medal for the design of his typeface family Publica. He created the telephone book typeface Minima and re-designed the Typoart Super Grotesk® (Arno Drescher, 1930) as well as the Newspaper typeface Magna® by Herbert Thannhaeuser for the use on digital typesetting systems. To the day of his death on June 29, 2010, Karl-Heinz Lange lived and worked as a type designer. Among others, he closely followed the designs of the typefaces which were developed under his guidance for Typoart®: "Publica®", "Typoart Super Grotesk®" and "Minima®" which he launched as "Publicala", "Minimala" and "Superla" in 2009. In cooperation with Elsner+Flake, he developed the Typeface family "Rotola" between 2006 and 2009 as well as the script families of the "Viabella®" series. To the end, he followed the development of his first typeface, the "Diplom Antiqua", which he also wanted to bring to market together with Elsner+Flake.

Look, folks! From what may just be the vernacular sign capital of the world, Chattanooga, Tennessee, it’s a brand new hyperfamily from insigne! Look includes three different related fonts, with three weights each. That’s over 70 fonts! Imagine: you turn onto a stretch of open country road. On the distressed, red background of an old barn wall, a large block of crisp white letters shout out: “See Rock City.” You soon realize this barn is not alone in competing for the passing eye. Far from it, ladies and gentlemen. This is just one of the many pieces of historic, hand-painted advertisements dotting the great Southern United States. Yes, these are the pieces of true Americana--the barns, the roadside signs, the machinery, the soda fountains, and more--that now inspire this splendid new set of three font families. This new, easily readable type from insigne digs deep to capture the very heart and passion of this splendid country’s lettering of the post-war era. Look’s compact frame quickly draws the audience to your headline, logo, subheading, or pull quote, working well in those compact spots of text without overpowering your content. You'll easily put the feeling of those days gone by into every piece with the natural beauty and simple usefulness of the Look hyperfamily. Each of the individual sub-families incorporates a variety of font weights with distressed attributes. Think Woodtype. Jeans. Antiques, folks. That deep, ingrained texture--that quality that will stand the test of time. And Look is flexible, too. Take, for example, Look Script. This powerhouse of a font offers thinner weights to give your work an easy-going, down-to-earth design. But bring in those heavier weights, and you'll have a muscular, assertive font that will go the whole nine rounds. Combine any of the Look families with Ornaments to really give your layouts a zing. Build an extraordinary design as well with Look’s swashes and alternates. To activate any of these alternates, just click on Swash, Stylistic or Titling Alternates in any OpenType-savvy application, or choose from the Glyph Palette. Explore hundreds of included extras to find that “cherry on top” for your one-of-a-kind project. There are over 70 fonts to choose from, including subfamily sans, serif, script and ornament fonts! You can't go wrong. To get the most bang for your buck, order the whole Look family now! Note on SHADOWS: Increase depth and make your designs pop! Add shadows to any of the Look fonts by duplicating the text content layer in place and switching it to its corresponding shadow. Color and offset to taste. Look shadows are offset automatically. In Illustrator, you may need to turn on Em Box Top for proper shadow alignment.

The original Gelato Script has been updated and improved, not once, but twice. This version is kept here for legacy and compatibility issues, but I would encourage new users to check out Gelato Luxe or Gelato Fresco instead. Gelato Script is a smooth-flowing typeface with an air of familiarity. Influenced by both formal scripts and mid-Twentieth Century hand lettering. The power of OpenType is used with precision in the Contextual Alternate feature to make sure letters connect seamlessly, t’s cross where they can and swashes don't crash into neighboring glyphs. 781 glyphs make up this font, which is capable of speaking in many different languages. Alternate forms are grouped into stylistic sets to make it easy to change the mood of the text. For example, ss01 makes droopable letters drop below the baseline to break it up a little if required. I recommend using it sparingly, one glyph at a time, but if you do enable it for a whole chunk of text, the clever OpenType programming ensures that it doesn't go overboard. Sets 2, 3 and 4 bring about alternate forms of S, s, B and Q. Set 5 changes AE and OE to some perhaps controversial Upper/lowercase ligatures. Engage ss06 for the underline feature. After a word, simply type two or more underscores and a line extends backwards under the word you just typed. Don't worry if you have to break for a descender, the OpenType programming will take care of making sure it connects properly to the preceding character. Sets 7 and 8 are for alternate ampersands, and ss09 swaps the script r for a regular shaped r. There are swash capitals available for most uppercase letters, and the OpenType programming makes sure there is room for them under or over the following letters. There’s also a good amount of ligatures thrown in. The localised forms feature can be set for Polish, where acutes get steeper and lslash takes on its script form; Dutch, where IJ and ij digraphs become cool ligatured combinations; and Romanian and Moldovan, where cedillas are subsituted for comma accents. The stylistic alternates feature groups together a few of the stylistic sets for users that can't get to them directly. Gelato Script is a highly usable, powerful typeface. Perfect for everything from food packaging to wedding invitations, sports team logos to magazine headings. Use it however you see fit. Just one thing - it’s not designed for all-caps settings, so avoid that at all costs!

This font is created with original hand-drawn strokes for a relaxed, beautiful, and elegant feel, which is dazzling for a variety of food-themed design projects as well as other designs. also, beautiful abstract typography harmony in this font impression for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, promotional banners, posts, posters, signatures, and all designs need handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases, and several variations on each character including multi-language.

Corridor 24 is a friendly, sci-fi, display typeface that shamelessly discriminates against Martians. This typeface should only be used by Earth-based lifeforms. This typeface is perfect for retro and vintage branding with a science-y flair. The consistency of the rounded rectangular letter forms make designing word art easy and quick.