Mighty Monday is an adorable serif display font that will bring a smile to your designs. With its cute and playful letterforms and a fairly thick weight, this typeface exudes a delightful and charming vibe. This font duo special feature lies in its cute and endearing serifs, which add a touch of whimsy and character to each letter. The fairly thick weight of the font enhances its boldness and creates a visual impact. This font is perfect for projects that require a standout and attention-grabbing typographic choice. Inspired by the charm of playful design, Mighty Monday captures the essence of cuteness and joy. The letterforms are carefully designed to be friendly and approachable, making them perfect for designs targeted at children or any audience that appreciates a lighthearted and cheerful aesthetic. This font brings a sense of fun and playfulness to your designs. The uppercase letterforms are carefully crafted to maintain legibility and clarity, even in the thick weight. Each letter retains its distinctive characteristics, allowing your message to be easily understood. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Mighty Monday fits in children's books, packaging, greeting cards, headlines, titles, logos, branding materials, and any design project that aims to evoke a sense of cuteness and playfulness. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

Madrigalle was seven months in the making and may be described as a contemporary copperplate. When designers look for a font that is both elaborate and strong, they generally have to go back to styles of a previous period, possibly produced recently but not contemporary in their look and feel. In Madrigalle, I believe that I've produced a font that is contemporary but has the boldness and delicacy that mark the fonts of previous generations. I feel that most fonts that derive their style from the complexity of their characters place too much emphasis on upper case characters, and that lower case characters are very conservatively treated. I have tried, with Madrigalle, to redress this imbalance and to introduce informality and vigor to the genre. Madrigalle comes in three options: Two simpler options, Madrigalle Nocturne - slightly less elaborate, and Madrigalle Minuet - slightly more elaborate. Each of these options may be easily used in packages that don't support the Character Map OpenType feature. The Professional Option, Madrigalle Expert, combines all the features of Nocturne and Minuet and has a large number of additional opentype character alternatives. It takes full advantage of Opentype features to provide the designer with a wide range of options, enabling him to give an individual stamp to his work. I recommend that packages such as InDesign and Illustrator, which support Character maps, be used with Madrigalle Expert in order to make full use of this font’s OpenType features. (Just select GLYPHS from the TYPE palette, and set your creativity free!) All Madrigalle styles contain the accented characters used in the major European languages. Try Madrigalle, use it for invitations, advertising media, fashion media, music media, contemporary cosmetics, anything romantic... the list is endless!

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Sunset Imaginary is a captivating duo of fonts that brings together the charm of a handwritten style and the timeless elegance of a serif typeface. This combination creates a harmonious and versatile typographic pairing, perfect for a wide range of design projects. The first font in the Sunset Imaginary duo is a beautiful handwritten font. Its letterforms are intricately crafted, with each letter seamlessly connected to the next, creating a flowing and cohesive script. This handwritten style exudes a sense of warmth and authenticity, as if each word was lovingly penned by hand. The connected letters add a touch of fluidity and rhythm to the text, enhancing its visual appeal. Complementing the handwritten font is a refined serif typeface. With its classic and elegant characteristics, the serif font provides a sense of stability and sophistication to the overall design. The carefully designed serifs and balanced proportions give the text a timeless and polished look. The combination of the handwritten font and serif font in Sunset Imaginary offers a versatile typographic palette. It allows you to create striking contrasts and establish hierarchy within your designs. Enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sunset Imaginary fits in invitation posters, branding materials, packaging, editorial layouts, or any project that demands a balance of personal touch and timeless elegance Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

Introducing Rowan - Elegant typeface. 116 font styles included and 1 script Rowan is elegant and retro typeface loaded with 116 font styles (narrowest, narrower, narrow, regular, wide, wider, rough, outline and script with 6 weights) 87 languages support, alternate and ligature glyphs to make you typography truly unique! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs alternates Narrowest - regular, italic and styled with 6 weights Narrower - regular, italic and styled with 6 weights Narrow - regular, italic and styled with 6 weights Regular - regular, italic and styled with 6 weights Wide - regular, italic and styled with 6 weights Wider - regular, italic and styled with 6 weights 1 script 2 rough styles 6 outline fonts Multilingual support - 87 languages No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Bright Flicks is a delightful script font that embodies a playful and whimsical spirit. With its rounded letterforms and charming swings at the ends of some letters, this typeface adds a joyful and lively touch to your designs. The defining feature of this script lies in its rounded shape, which gives the font a friendly and approachable appearance. The letterforms flow smoothly, creating a sense of fluidity and movement. Each letter flows into the next, creating a harmonious and lively composition. The uppercase letterforms are crafted with precision and creativity, maintaining legibility while embracing the playful nature of the font. Adding to its character are the swings at the ends of select letters, adding a touch of playfulness and spontaneity. Bright Flicks captures the essence of creativity and imagination. The rounded shapes evoke a sense of warmth and friendliness, while the swings at the ends of certain letters add a touch of whimsy and fun. This font brings a sense of joy and positive energy to your designs. You can also enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Bright Flicks fits in logos, branding materials, packaging, and any design project that aims to evoke a sense of cheerfulness and creativity. Whether you're working on invitations, greeting cards, posters, or any project that needs a touch of playfulness, this font will bring a vibrant and lively vibe. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Brainly Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Brainly Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, personal stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Brainly Script has 792+ glyphs and 534 alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "maximal.fonts@gmail.com" Thank you for watching!

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

"Saint Petersburg" fonts were created to look as close to a natural handwritten script as possible by including over 20 ligatures. With built-in OpenType features, this script comes to life as if you are writing it yourself. It's highly recommended to use it in OpenType capable software - there are plenty out there nowadays as technology catches up with design. Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple’s TextEdit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Your download will receive 4 font files, designed to work as perfect companions or simply as strong standalone typefaces. WHAT'S INCLUDED : 1. Saint Petersburg • A clean, free-flowing script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Saint Petersburg Alt • This is a second version of Saint Petersburg Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Saint Petersburg Slant • The Slant Version of the point 1. 4. Saint Petersburg Slant Alt • The Slant Version of the point 2. I surveyed mostly common letter combinations and made 20 Discretionary ligatures with following letter combos: aa bb ee ff ll ss tt at et it ot sl st rt ut att ett itt ott utt (in Saint Petersburg & Slant Version) aa bb ee ff ll ss tt at et it ot sl st rt ut att ett itt ott utt (in Saint Petersburg Alt & Slant Version) By using these ligatures, you can give realistic handlettered style, escaping font "pattern" effect.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Stickley Optical Family is an expansion of P22 Stickley Text, a humanist, Oldstyle-rooted design with a contemporary execution and full OpenType abilities. The font contains ten distinct cuts across four optical masters—in addition to Text for page content, the optical family includes Display for titling; Headline for emphasis; and Caption for footnotes and small sizes. Typefaces were originally designed for the physical size at which they were to be printed, with subtle variations in proportion, detail, contrast, and visual weight to ensure they were as clear at 6 pt. as they were elegant at 68 pt. This created a unified design as the various sizes were set together on a page.

Text is the foundation of this typeface family and is built for use in extended reading. Its proportions are carefully balanced for visual clarity while retaining its character; designed for use at 9 to 13 pt. Caption is a sturdy, simplified interpretation of the Text letterforms, with ink traps, generous letters and spacing, and hefty proportions to give balance to the smallest content on a page; designed for use at 5 to 8pt. Headline is a complement to the Text master size. It is a gently modified version with larger small caps to add visual strength and has a greater delicacy; designed for use at 14 to 26 pt. Display is an elegant refinement with stylized details. It harmonizes with the smaller optical masters as a more intricate manifestation of the typeface. Designed for use at 34 pt. and above. 
 Opentype features include ligatures, oldstyle and lining figures, alternates, Central European characters and diacritics, and Swash Caps for the Italics. Stickley Optical Family is a feature-rich workhorse with international functionality.

Schrödinger's is a remarkable signature font which was made hand-drawn manually using Hitech-C pen, This typeface is very natural-like and make your design stand out! Schrödinger's is perfect for gorgeous logos, cards, quotes, posters, wedding invitations, blog posts, social media, and more! To keep it more natural-like, we provide you hundreds of ligature! Schrödinger's font contains following ligatures: aa ab ac ad ae af ah ak al am an ar as and ant at att all av aw ax ay az bb bl bt cc cd ce ch ck cl cm cn cr cs ct db dd dl dt ea eb ec ed ee ef eh ek el em en er es end ent est et ett ell ev ex ey ez ff fi fl fo gh ght gt he ht ib ic idd ie if ih ik il im in ir is ind int ist it itt ill iv ix iy iz kk la le ll lt mm mt ns nt oa oe of oh oi ok ol om oo or os ond ont ost ot ott oll ov ow ox oy oz pp rr sh sl ss st th the tl tt ub uc ud ue uf uh uk ul um un ur us und unt ut utt ull uv uw ux uy uz wh yy zz nn Not only that, we also include swashes and love swashes for those who interested in valentine stuff! Schrödinger's features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +418 Glyph Up to 163 Ligatures Swashes OpenType Features In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Hello xmas is a Christmas Script font and an extra font containing doodle illustration. Hello xmas looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. Please check all lowercase, uppercase and numerals to access all Doodle in font format. The best tool if you want to create t-shirt designs, mug designs, logos or just play around. Features : Uppercase & Lowercase Numerals & Punctuations (OpenType Standard) Accents/Multilingual characters beginning and ending swash (ss01-ss07) beautyful ligature PUA Encoded To access all OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, CorelDraw and Microsoft word. The font has PUA Unicode (Private Use Areas - font specific code), so that all the alternative characters (with flourishes and swirly lines) can be easily accessed in full through Windows and Mac and you can load them into applications such as Cricut Design Space and Silhouette Studio. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-)

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

The coffee made typography. CoffeeBreak is a typefamily designed by Carlos Fabian Camargo G. Its purpose is to communicate similar feelings to the ones you get when you first try the best roasted Colombian coffee early in the morning. That is the reason of the waiting, accompanied, or when you only want to be, nuances your design with its fonts full of flavor, texture and passion. For each time, every time, it gives you hints of flavor to design your day. It unleashes your artistic streak mixing possibilities as you wish, to your taste or the taste of your friends or that special someone. From handwriting to every warm drop of your first mug of the morning, we've always got something for you. Eye catching, modern, beautiful, cool and adventurous styles in the CoffeeBrwak shop ready for you to purchase. - CoffeeBreak A & B: 2 typographic tools with countless swashes and ligatures ideal for use at the beginning, in the middle or end of words that need italics, flavored dancers and rhythm masterfully expressed in gestural strokes for his calligraphic experimental logic. - Coffee Break Script 1 & 2: write them you can easily with decorative letters advocating a return to the artisan product ingenuity of the primacy of man over machine so your upper and lower case letters travel in a single line. - CoffeeBreak Words & WordsBold: It contains words specially designed to attract attention. - CoffeeBreak Dingbats: They are figurative silhouettes with textures that add warmth and a highly communicative environment. All are easily activated glyphs using the Glyphs panel in Illustrator, InDesign and Photoshop. Special thanks: Ilustrations: Eduardo Gomes. Photos: Karen Salvatierra. Texts: Javier Lineares- Description: Ernesto Googolplex. French translation: Marta Cano

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Gaslon is a slight reinterpretation and major expansion of a 1973 film type called Corvina Black, originally designed for VGC by A. Bihari. While the original typeface was popular in its own right, there were some things in it that were too quirky to work in the display applications it was intended for. Some of the letter combinations just didn't work to their visual optimum. For example the a and o were too similar, ditto the C and G, the E, F and J were too overwhelming to be set properly within certain display uses. Gaslon eliminates these problems by the inclusion of plenty of alternates for the vast majority of the original letters. In fact, the original a is itself now an alternate to a gorgeous new one. The Gaslon Alt font includes tremendous possibilities for both unicase use, and proper use in conjunction with the main font. This is our true homage to a typeface that had great potential more than three decades ago, but was overlooked by digitizers because of a few quirks it had in film type contexts. Full of curves and invitation, Gaslon ranks very high among the friendliest poster faces ever made. It is ideal for friendly store signs, children book covers, and plenty of other applications. In fact, if you're planning on contributing to a few protests around your neighborhood or city, you would probably be better off using Gaslon to help your sign/placard carry words and slogans that are big but friendly. Nothing beats "DOWN WITH GAS PRICES" set in a nice imaginative mix of the many Gaslon letters. The OpenType version of Gaslon is a single font that contains all the alternates and niceties programmed within features accessible by OT-friendly programs.

Introducing Gaz, the square display typeface inspired by the gasoline station signs of the twentieth century. Sign painters used to refer to this type of lettering as “stovepipe”, due to its sharp angles and rounded corners. Gaz’s unique squareness exudes a vintage industrial charm, while still maintaining a friendly, almost organic feel. Gaz is available in seven weights and italics, giving you the flexibility to create a wide range of designs. But that’s not all. Gaz also comes in five greasy effect styles, perfect for creating that worn, grungy look. The ligatures contained in these styles are automatically substituted in most applications, projecting a more natural and authentic tone. Whether you’re creating a bold poster, an eye-catching logo, or a sleek website design, Gaz is the perfect choice for adding a touch of vintage industrial style. Try Gaz today and bring a piece of the past into your designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Many calligraphers agree that Roman Capitals is one of the most beautiful yet difficult hands to master. Its beauty lies in its simplicity of form and structure, yet understanding and applying these skillfully can take years of mindful practice. My goal was to design Roman Capitals that were smoothly designed with a brush, not carved. The main concept was based on the fundamental strokes that are commonly studied when you practice Roman letters. That’s why many Serifs have these unfinished terminal serifs. I created the Turquoise typeface based on my Capitalis Romana practice with a flexible broad edged brush and gouache. During the lowercase process I was still following Foundational calligraphy with a flat brush. My Turquoise Capitals were then adjusted and redesigned at the Tipobrda calligraphy workshop in Slovenia. Turquoise contains small caps, many discretionary ligatures, ornaments, swashes as well as several brushy nature-inspired ornaments, accessible via OpenType. Ideally suited for headlines or body text in advertising, packaging and visual identities, its delicate shapes, curves and endings give projects a harmonious elegance and stylistic feel in unique Turquoise style. My inspiration for this font showcase is one of the richest islands in the Mediterranean, the place where my parents are from, Sicily. This southern Italian region has so many unique spots: Stromboli, part of the Aeolian Islands, and the Pelagie Islands is one of my favorite places in Sicily. The pictures I used were taken there this year. So enjoy the sun, the serifs, the water and its Turquoise colors. The brush is mightier than the sword. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages Turquoise works very well with Nautica Check also Turquoise Inline

Rolling Brush is a script font that gives handwriting appearance with original and personal brush details. This font is made beautifully so that the letters are connected to each other, creating a continuous and flowing look. Each letter is attached to the previous letter and continues to the next letter, creating beauty in writing unity. This font shows brush details on each letter. Brush strokes displays a rough, organic texture to the edges of the letters, adding dimension and visual life. These details give a unique impression to this script font. On the other hand, even though it has a rough border, this script still maintains a natural and elegant aesthetic touch. Some letters may have dramatic twists, while others are simpler. This flexible shape creates an expressive and creative look to the lettering. Because it is designed with a rough border, it would be better if you use this font at a large text size so it is more easy to read. Enjoy the various features available in this font as well. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rolling Brush is suitable for any designs that want to convey a warm, personal and alluring impression. You can use this font in the design of greeting cards, invitations, logos, labels, and many other design projects that want to create uniqueness through a natural, handwritten touch. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Ghost Terror is a captivating display font that will haunt your designs with an eerie allure. Designed in uppercase and bold, this typeface commands attention and exudes an aura of fear. Each letter is meticulously crafted with a rounded shape, and some have sharp edges, adding a sense of unpredictability and suspense. The haunting brush details on each letter further enhance the font's chilling theme, immersing your audience in a world of ghostly terror. With its bold weight and rounded shape, this font brings a sense of familiarity while maintaining an air of otherworldly mystery. The mix of rounded shapes and sharp edges in this font adds a dynamic contrast, giving the font an unsettling and unpredictable appearance. The letters seem to dance between the realms of the living and the undead, capturing the essence of ghostly entities that lurk in the shadows. The brush details in Ghost Terror lend a haunting and handcrafted touch, as if the letters were inscribed by spectral beings. These eerie details add a sense of craftsmanship and an element of horror, creating an atmosphere of supernatural presence. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Ghost Terror fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing color Retro font family. Modern retro design dictates its own rules and graphic techniques - one of which is fonts with outlines. Retroline font family embodies this. 4 fonts with black stroke and white fill, and 4 fonts with only black stroke are perfect for retro illustrations. Color scheme of colored fonts is convenient and easy to recolor in graphics programs. Retroline fits comic illustrations or designs from the 90s Features: 8 fonts in family: - 4 color fonts with fill & outline - 4 fonts with outline only 2 weights of fonts 2 weight of outline Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

Say hello to 'Orange Flower'!! A bold and beautiful font with a brush and a lot of additions! I am very pleased to present 'Orange Flower' - a versatile and artistic set of handmade fonts with a brush! The font comes with alternative uppercase and lowercase characters. Thanks to the very clear contrast in weight and authentic style made with a brush, 'Orange Flower' is guaranteed to give your text an individual, individual feeling - ideal for logos, printed quotes, invitations, postcards, product packaging, headlines and everything your imagination is capable of, use in ink-based drawings or watercolors or independently in the form of bold handmade inscriptions!! :) The font comes with a lot of great features to keep you busy :) Each character has its own alternative version, which allows you to create unique words and layouts. There is also a second font brush 'Orange Flower Brush', which contains brush strokes, underscores and brush splashes. This gives you the opportunity to create an artistic image of your text, which will give your design a sloppy realistic look :) Both fonts have a large selection of characters, including ligatures. 'Orange Flower' includes ligatures and stylistic alternatives for those who have software with opentype support (for example, Photoshop/Illustrator). I really hope you enjoy it, and please feel free to write me a message if you have any questions or concerns! :) Font Features: - A-Z; a-z character set; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

About Ardena: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable Font contains 2 axes: weight and oblique – all in just one file. Features: With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the static version of the Ardena family here: https://www.myfonts.com/fonts/julien-fincker/ardena/

Some 40 km north of Helsinki, surrounded by meadows and a serene Finnish lake, lies Ainola, the former home and now museum of composer Jean Sibelius (1865–1957). I know the place quite well, since it is only a stone’s throw away from the art school where I began my graphic design studies. We sometimes went there after classes—a beautiful walk, especially in spring, when the days were getting longer, the snow melting in the sun and the ice cracking on the lake. The composer often professed his love for this landscape and found constant inspiration in its moods, sounds and scents during different seasons. For many people, Sibelius and his music, most notably his famous symphonic poem Finlandia, are a symbol of Finland. I decided to name the typeface family I’m presenting here FinlandiaScript, because it owes its influence to both Sibelius’ manuscripts and the Finnish landscape around Ainola. The shape of letters, their poise and the rhythm they create resemble Sibelius’ handwriting without copying it. The letters form gently flowing lines of text which is legible without giving up individuality. The font family comes in three styles: FinlandiaScript, FinlandiaScript Bold and FinlandiaScript Frost. Together they are perfect for magazines, websites and brands aiming to create a personal and sincere image. While the fine details of FinlandiaScript Frost are best suitable for display sizes, FinlandiaScript and FinlandiaScript Bold work well in both headlines and texts of smaller sizes. Hundreds of ligatures give them an especially flexible appearance. The FinlandiaScript family contains Western, Central European and Extended Cyrillic character sets and supports almost 100 languages. It is best suited for Opentype savvy programs with the “standard ligatures” and “contextual alternates” features turned on.

The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts. Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity. Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be. Here's what's included with the Avionic Family bundle: 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide. Accompanying Obliques with each weight/width style. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Avionic Collection is for you: You're in need of a dynamic geometric font with a variety of weights and widths for your designs You're an aviation junkie and have to have anything inspired by Air China You love the style of Bank Gothic, but really want something just a little different You are looking for a pseudo-techno style font family with versatility You just like to collect quality fonts to add to your design arsenal

The Dellgado is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Dellgado provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, paragraphs, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. The Dellgado includes various language support. It features OpenType with alternative styles and elegant binders. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Regards Mova Pista

A modern Sans Serif — prosaic, designed geometrically, beautiful in large sizes All the dimensions of the font are based on Factor 10. The general principle of construction leads to slim forms and nearly equally wide characters. So the font appears very solid but is actually difficult to decipher in longer texts. Along with the ”normal“ Guhly Regular there are also the two versions Guhly Light and Guhly Bold, whereas in each only the vertical strokes [Guhly Light] or horizontal [Guhly Bold] have been changed in strength. The result is a very individual decorative effect which slightly reflects old circus and western scripts. The lower case characters in the version Guhly Book are, therefore, optimized to be suitable for longer texts in smaller font sizes — because after all, sometimes you should read a bit more than just the headline… The design of a shampoo bottle stands behind the creation of this sans serif display font. Prominent, clearly constructed forms with circular arcs define its appearance. This is a font primarily designed for use with capital letters — for all sorts of advertising purposes, headlines and titles. But lower case letters also belong to a good functional font; so, of course, Guhly includes them and ligatures for the more ”critical“ letter combinations as well as stylistic alternates for the letters K (or k), V (v) and o. As a decorative “encore”, the Guhly family also contains the “normal” weight in two variants: on the one hand the Guhly Cutout – these are letters without counter, as if the letters were cut out and the internal surfaces fell out; and on the other hand the Guhly stencil – as the name suggests, a stencil font with the typical bars that give a stencil the necessary cohesion.

Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear. Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own. And so now, here it is. Cabrito Inverto, which features the reversed stress of the strokes from a font’s “normal” traits. Inverted stress fonts are most often associated with cowboys and the Old West. The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms. Whew, that’s a mouthful! Inverto’s bundle of alternates is accessible in any OpenType-enabled program. It contains a workforce of alternates, swashes, and alternate titling caps to embellish the font. Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates. This font family also includes the glyphs for 72 different languages. Cabrito Inverto does pair well with Cabrito. There is even an extra font weight, Black, for when you want to punch it up a bit. Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party. Buy Cabrito Inverto to give a boost to your designs every day of the week.

Generale Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Generale Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Generale Script has 300+ glyphs and alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. :) Thank You, Alpha Bento

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Welcome to the world of Stampoo, where creativity meets typography. This isn’t your run-of-the-mill typeface—this is a joyful, wild, and curvaceous font that is guaranteed to make your words pop. When you use Stampoo, your message will be transformed from a mundane statement to a laid-back expression of kindness. It’s like giving your words a warm hug, but without the awkwardness of physical contact. The rubber stamp letterforms are as natural as the grass under your feet, and the bespoke pairs will make your text flow like a mountain stream. But Stampoo isn’t just a pretty face. Oh no! This font is a true workhorse, designed to make your life easier. With OpenType ligatures, those tricky letter combinations are replaced by bespoke pairs, making your text look more natural and realistic. It’s like having a personal typographer at your fingertips, without the exorbitant hourly rate. So why settle for boring, run-of-the-mill typography when you can have the natural, creative, and joyful letterforms of Stampoo? Add a touch of whimsy to your next project, and let Stampoo do the heavy lifting. Your audience will thank you for it. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.