PF DIN Mono is the latest addition to the ever-growing set of DIN super-families by Parachute. It was based on its proportional counterpart DIN Text Pro but was completely redesigned to reflect its new identity. DIN Mono is a monospace typeface which is comprised of characters with fixed width. Traditionally, monospaced fonts have been used to create forms, tables and documents that require exact text line lengths and precise character alignment. DIN Mono, on the other hand, can prove to be more than a useful typeface for technical applications. In the world of proportionality, DIN Mono stands out as a fresh new alternative to the popular standard, particularly for publishing and branding applications. Additional care was given to the aesthetic form and its pleasing characteristics. The spacing attributes of the glyphs were redefined and legibility was further improved by revising or changing the shape of the letterforms. Furthermore, kerning was not included in order to preserve the monospace nature of this typeface. The family consists of 12 weights including true-italics. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Brigade is a heavy, but cute font. The contrast of bold and thin stroke left a strong impression.

"PGF Caprina Pro" is an audacious and rough geometric sans-serif font inspired by the wild and untamed personality of mountain goats (the word "caprina"‘ in Spanish is related to or resembling ‘goats’)—amazing animals which can skilfully climb up slopes and withstand very cold temperatures. Was originally developed under the Latinotype team supervision and is now upgraded to this Pro version that comes in 20 font styles, with 739 glyphs each, supports now more than 200 Latin-based languages and includes a wider OpenType features range like: Stylistic Alternates ‘set 01’ for b, d, g, p, q, i, j, t, y, &, I, G, M Stylistic Alternates ‘set 02’ for d, g, j 4 Stylistic Alternate from ‘set 01’ to ‘set 04’ for Enclosed Numbers (circles and squares) Stylistic Alternate ‘set 05’ for curved 3 and ‘Zero with dot inside’ Contextual alternates automatically turns ‘zero’ into a ‘slashed zero’ in alphanumeric contexts Contextual alternates automatically turns “Il” into a serif for improve its legibility Case Sensitive when "All Caps" is activated for ß, ¡, ¿, () [] {}, ‹› «», •(bullet), *(asterisk), -(hyphen) Standard Ligatures for fi, fj, fl Discretionary Ligatures for tt, tr, www, LL, TT Lining Numbers Old Style Numbers Tabular Lining Tabular Old Style Numbers Slashed zero on every number figures Numerators and Denominators from 0 to 9 for any Fraction expression Superiors and Inferiors from 0 to 9 for any scientific notation Ordinal forms for ‘a’ and ‘o’ Localized language customization for German, Dutch, Polish, Catalan, Romanian, Moldavian, Turkish, etc. Every OpenType option is also accessible via Character Map allowing users and designers to choose an alternate design for a particular character. “PGF Caprina Pro” is well-suited for high-impact action publishing and advertising as well related with adrenalynic and extreme sport design stuff.

Hey there! Are you looking for a typeface that exudes rugged individuality? Look no further than Hit! This display font boasts a textured design that gives your words a raw and weathered edge. With Hit, you can add a touch of crusty confidence to any message. Whether you’re creating a bold poster or a striking logo, this typeface will help you stand out from the crowd. Its unique, rough aesthetic is perfect for brands and designs that want to convey a sense of personality and authenticity. But don’t let its rough edges fool you—Hit also has a playful side. Its levity adds a touch of humor and lightheartedness to any design. Plus, its versatility means it can be used for a wide range of projects—from vintage-inspired graphics to contemporary designs with a twist. Overall, Hit is a typeface that dares to be different. So why not let your words stand out with its textured design? Give your message the voice it deserves with this intriguing and rugged typeface. 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

After watching a bunch of Danish series like Dicte, Bron and The Killing, I figured it would be nice to give my newest font a Danish name. It became Hyggelig. Hyggelig, like the Dutch word 'Gezellig', cannot be translated into English, but it means something like 'cosy'. And a 'cosy' font it is. Hyggelig is a very cute, very threedee-ish typeface. It works great in poster ads and as a display font. It comes with upper and lower case letters and a whole bunch of diacritics. Enjoy!

Kitchen is an expressive sign painting style brush script family with three weights. Kitchen is equipped with Contextual Alternates and Ligatures that add variety to the flow and if that isn’t enough there’s Stylistic Alternates for all characters and Swash Alternates for lowercase. From the Glyph Palette you’ll also find 16 swooshes that can be used as underlines or swashes. Kitchen is an outstanding display font that works great for any display use from branding to packaging to logotype.

Bonhomme Richard evokes the cursive penmanship of Chevalier John Paul Jones (1747–1792), celebrated Continental Navy commander during the American Revolution, in letters from the late 18th century. The font’s name comes from Jones’s famous frigate, lost during his victorious engagement with the British in the Battle of Flamborough Head in 1779. During this battle Jones is said to have exclaimed, when urged to surrender, “I have not yet begun to fight!” (In fact, his likely words were, “I may sink, but I’ll be damned if I strike!” – i.e., surrender.) A legible script, Bonhomme Richard has an elegance about it while also conjuring the colonial era of its source material. Use to simulate historical handwriting in film props, games, formal invitations, product labels, and the like.

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker. C.P. Company communication makes use of media such as the press and the web and that’s the reason why we have always felt the need for a font that would not show incongruities through the monitor. Therefore we have decided to change the structure of glyphs like a, e, g, s… in the most contrasted versions to prevent the serifs from touching the internal parts of the letters and in this manner we have made a really unusual stylistic choice for a group of types. The difference between the height of caps and smalls is very low (about 20%) so that the smalls are easy to read even when their dimensions are on a very small scale. Moreover this stylistic solution gives the possibility to avoid using the small capitals in case of charts and catalogue codes (i.e. Tricot M5) and provides more vertical compactness between the lines. Even a sentence written in capital letters next to another one written in smalls does not look so much contrasted from a typographical point of view and then it is not unpleasant. The limits due to different constructive principles have been overcome by means of a grid based on the automatic division of EM square of 9-point type and in this manner the letters have a wider face. The font is even more unusual owing to the style chosen that belongs to the classical tradition of hair-lined types for glyphs like e and also thanks to ligatures like ? in the characters set. CP Company is a geometrical font whose alphabet makes use of the style of types that preceded the Helvetica, matched with more experimental and updated solutions. Numbering is monospaced. The bending of number 2, the slight raising of the oblique serif of number 4 and the presence of a hair-line in number 7 are the solutions adopted to make the types match in a more balanced manner.

The source of inspiration for Haute Monde Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a wonderfully elegant traditional smallcap-Capital-smallcap monogram alphabet known as “Elite Monogram Initials”. This elegant typeface is now digitally remastered and updated for modern use with functionality beyond its original intentions. Download and view the MFC Haute Monde Guidebook if you would like to learn a little more. MFC Haute Monde Monogram comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

"Banana Moonpie" is a fresh and whimsical addition to the world of fonts. This unique sans serif handwritten font combines the casual charm of handwritten script with the clarity of a sans serif typeface, resulting in a delightful and versatile font that's as fun as its name suggests.

Stu is based on the penmanship of the late Raoul "Stu" Stuart. Raoul's penmanship was always admired by those who saw it; it was a first glimpse into the artistic and creative side of an otherwise easy-going, funny guy. The print variants exude a soft yet masculine feel, while the scripts evoke a sense of sentimentality and romance. Stu features dingbats which say something about Raoul: affectionate and romantic (heart), a big coffee drinker (coffee cup), a great cook (spoon and fork), a music lover (musical note), and a prankster (winking smiley). (The winking smiley is available in all the font styles, while each of the other four dingbats is unique to one font style.) Stu is a tribute to the coolest dad in the world.

The most popular Persian / Arabic handwriting fonts! Yaddasht [means Note], is a child-like, fantasy and simple handwritten font which supports Persian, Arabic and basic Latin. This font which comes in 2 weights, brings a full diacritics set with it. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Jan Regular combines an experimental, bold, mono-weight geometric sans serif with the Arabic writing system's means of joining letters. Adding in script-like letter connections, a feature that is found in both western cursive and Arabic type, as well as distinctly Arabic-like accents above and below certain letters, Michael Parsons has created a cross cultural typographic statement. Jan Regular is best used for headlines, and small strings of text, in sizes large enough to view and appreciate the unique counter forms within the letters. This font is one of 10 creations from the young Swiss designer Michael Parson included in the Take Type 5 collection, from Linotype GmbH."

Welcome to the world of Sakend! A display font that describes the strength and courage of a superhero. Whether you are working on film projects, games, or designs with strong and action-packed themes, Saikend is the perfect choice for you. With a style inspired by superheroes, Saikend will make your designs the center of attention. The courage and strength that radiate from each letter will bring your project to life, giving it a bold and unforgettable look. Not only has an attractive appearance but Saikend is also equipped with special features. Alternate ligatures and characters provide flexibility in usage, allowing you to create unique and creative typographical combinations. In addition, Saikend supports multiple languages, so you can get your message across the world. It’s time to show the power of Saikend in your projects. Bring a touch of hero to your designs with this font, and create an unforgettable look for your audience. Feel free to express courage and thickness through Saikend, and create stunning and inspiring pieces. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Alkalis: Modernity Meets Elegance Meet Alkalis – Modern Elegant Serif, where modern meets timeless. This serif offers the perfect contrast for versatility. It’s crafted for both text and display needs. Alkalis brings a touch of elegance to any project. Balanced Contrast With Alkalis, experience the ideal balance in font design. The contrast is just right, not too sharp, not too soft. This balance makes it perfect for an array of uses. Plus, it’s designed to be as fitting for body text as it is for headers.

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

Altertypo, a font family on a never-ending quest for the "perfect" sans-serif style. Inspired by the early 20th-century pioneers like Gill Sans and Johnston Sans, Altertypo seamlessly blends their classic elegance with contemporary flair. This unique typeface is your passport to creative freedom in graphic design, serving a multitude of purposes from editorial and corporate to web and interaction design. This font allows you to craft compelling designs that transcend the ordinary, providing the versatility and innovation you seek. It invites you to explore a world of creative possibilities, where every character is thoughtfully placed to ensure a smooth, organic flow of words. Step into the realm of Altertypo, and leave behind the constraints of conventional fonts. It's your gateway to exceptional design, where each letter harmonizes effortlessly to deliver a captivating visual experience. Say goodbye to the limitations of standard fonts and embrace the boundless potential that Altertypo offers.

Proudly Present, Naoufumi a Rough Brush Font. Naofumi come along with Multi-Lingual Support to fulfill your need. We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Naoufumi is perfect for any tittle, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

The handmade title on the cover for the 1939 edition of “A Wand’ring Minstrel” [from Gilbert and Sullivan’s “The Mikado”] was rendered with a round nib lettering pen in an Art Deco style. This type design is now available as Cover Letter JNL in both regular and oblique versions. However, the font’s name is a bit of a pun, as it has nothing to do with cover letters, but rather the lettering found on the cover of the sheet music.

This font has been used for signage and wayfinding in the new Mbombela Stadium built for the FIFA World Cup 2010 - and it looks strangely appropriate there: the font has a certain hand-painted, relaxed charm so fitting of the south African culture. Interesting and bold choice of the architects. :) Anyway, the font has now been updated with our usual multilingual glyphset, and is ready to use around the world by soccer fans and typo fans alike. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

This font was created while looking at the various shapes my handwriting consistently took, especially in the ways that letters would have breaks in them. Over the course of a few months I continually tweaked the letter forms and shapes, and lo and behold, I developed Deco Sans. This family currently only includes a thin weight, as I'm only one person, and very busy with college. I'm continuing work on a regular, bold, and possibly a future italic weight, but these may not be released for many months to come. As this is a very thin font, it should be used at sizes no smaller than around 16 or 18pt as it tends to get lost in whitespace, and looks best at large sizes. As such, this weight should be considered more of a display font than a text font, however, I predict a regular weight to be very readable and much more useable for the everyday.

Deep in the bowels of the earth a tortured creature tries to mimic the writings of mankind. It labors long and hard carving the letter forms on the walls of its cave. Many years later, rubbings where taken of these impressions and fashioned to create this hideous font. All kidding aside, with such a formal training in type design, it was not easy for me to create these ill-shaped letters. I kept wanting to smooth out the outlines. Anyway, it was a good exercise and we now have this antique heavy-weight.

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living. Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility. This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

Meet Haggis! Inspired by the Insular Half-Uncial and Uncial typefaces that have long been associated with Scotland, Ireland, and their Celtic cousins, Haggis is an unusual creature. Unlike traditional Uncials, he's monoline, rounded, sausagey, and distinctly lighthearted! Use him for posters, signage (especially pub signs!), kids' stuff, and packaging — anyplace a little quasi-Celtic flavor is desired, but with a fun twist. Must we say it? He's a Funcial! Tongue-in-cheek though he may be, Haggis has some great features. He comes in Lean and Overstuffed forms, and has full true small caps, standard(ish) Roman alternates for the more out-there characters, lots of ampersand forms (including a true[ish] "Et" and a Tironian and), fun quasi-Celtic bullets, and lots of ligatures. Try him out today — with some tatties and neeps!

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Ganache is a smart, intricate, fun, and deceptively simple font. This distinctive hybrid is a unique blend of script, Roman, and italic. My fascination with letter-fitting makes this an intriguing exercise in negative space. The uppercase letters are boldly stylish, and here some of the counters display unexpected shapes. Between some letters, the negative space is transformed into a type of swash itself. Customize your design with Ganache’s 185 swashes and alternates and 10 ornaments. *NOTE* Basic versions DO NOT include swashes, alternates or ornaments See what’s included! http://bit.ly/2bUfPmt These fonts have 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/

Sometimes, just one font style is not too optimal. With this font, I present a unique and cheerful font with three styles for you. Easy and fast to use in design projects such as accessories, book covers, crafts, logos, birthday greetings, backgrounds behind, quotes, unique packaging designs, and much more that you can explore. See some of the previews above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Ligature -Alternate Note: Use a program that supports the Opentype feature and the glyph panel is available, so you can see the various alternative characters available. Examples of programs such as Adobe Illustrator, Corel Draw or Inkscape.

MIX SASSITUDE is a cutesy, basic, swirly monoline print font that adds a touch of quirk and Sassitude to your designs. With its mix of basic letters and a few quirky ones, this font strikes the perfect balance between plain and cute. Other than that, it’s not quite extra, just a bit ordinary. Some attitude, a whole lot of sass. Whether you want to add a playful twist to your projects or simply want a font that stands out, MIX SASSITUDE is the perfect choice. Mix Sasitude comes with the following glyphs: includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥•· ÷×+−±≈=≠≥≤[]:;'”,.\|/?{}<>‹›‚„“”‘’-–—_…©®™«»†°¹²³¡¿₱¢€£¥§ ÁÀÂÄÃÅĂĀĄÆĆČÇÐĐÉÈÊËĖĒÍÌÎÏĪŁŃÓÒÔÖÕØŌŐŒŠȘȚÚÙÛŰŪŲÝŸŹŽŻÞ áàâäãåăāąæćčçðđéèêëėēíìîïīįłńñóòôöõøōőœśšșțúùûüűūųýÿźžżþ

Do you want to maximize your design project? Garden Marker is a beautifully designed font duo to add distinctive touch wherever they are used. This duo projects warm, friendly energy, elegant, as well as slightly cuteness feel. It is versatile enough to be used as title, body or button text. Furthermore, this font duo also offers a special extras i.e. 15 illustrations in total. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuation It is suitable for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing our premium fonts! Happy Designing!

Neona is a font in the spirit of the standard 'no frills' sans-serif 4-inch-high neon sign text used in cheap bars, coffee shops, bakeries and tattoo parlors around the world.