Sylfane graffiti display font, fun character with a bit of ligatures. To give you an extra creative work. Sylfane graffiti display font support multilingual more than 100+ language. Uppercase. Maulana Creative

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

Loaded with personality and functionality, Cresta is built to look good while surviving the worst conditions. It is at home on screen and in a magazine. Its six weights are intended to be used everywhere. Unlike most typefaces, Cresta was built without a reference. For this project, everything design choice was based on what worked best for a workhorse sans serif family. Cresta was originally created as the primary typeface for this website. This meant it needed to work in copy, headlines, and navigation across all devices, browsers and operating systems. This meant it needed to be sturdy and have enough character to make it stand out from other UI typefaces. With its large x-height, ample counters, and giant apertures, Cresta is meant for easy utility in rough conditions. Even with all of this, that doesnít mean that its dull; as the weights increase, the style of Cresta becomes more appearant. This style is defined most apparently by the terminals on the lowercase r and the angle of the joins between the curved and straight strokes (such as in the connection on the n).

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. Bunken Tech Sans follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 10 styles with widths ranging from Light to ExtraBold with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) and standard (Std) edition with a reduced range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 12 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Looking like happy frosting on a cupcake at a twiddle bug party, this bouncy food entry from Canadian designer Haley Fiege turns the original Jellybrush type into organic happiness you can spread on pancakes, ice-cream, sorbets, sauces and condements, oh peanut butter! Yeah, all kinds of sandwich fillings. Anything really. What else? People who own rubber factories. Anybody in the food business, like green grocers or your local bakery. Thrift stores. Falling somewhere between cushions and cat food, this flexible and inviting letter mixes simplicity with organic character and humor for a wide range of uses. Soft Serve’s compact cursive forms and bouncy friendliness draw on artbrush scripts and the typo-italic model of Renaissance Vatican scribe Ludovico Arrighi. A versatile workhorse ideal for: * Dairy & beverage * Sweets & soft drink * Five minute food & sauces * Pet food & accessories * Bathroom & kitchen * Cushions, pillows, rubber & swimming pool, etc.

CFF Corporaet is a corporate brand typeface that comes in 5 sans serif weights; Light, Regular, SemiBold, Bold & Black. Its character is warm, friendly, humane, clear and soft. The humanistic design style is rooted in the cursive style of handwriting, clearly visible in letters such as the e, f, g and y. The spurless letters round it off. Striking characters, such as the z, and small quirky details make it both a corporate and a friendly typeface. The proportions of each character are carefully constructed in such a way that they're balanced and create an even colour in text. That’s why it works extremely well with long body copy. Making it a hero for magazines and editorial design challenges. The Corporaet fonts can be applied in large sizes for print or web, bringing out the refined details that give the fonts its distinctive personality.

Gina is an unbiased humanist sans. The simple skeleton of the characters and the organic strokes are essential features to the design. It is a typeface that looks to the future while keeping an eye on classic letterforms. If we have a closer look, we will notice there is a tendency towards vertical proportions. Ascenders and descenders are long, making for a light texture in small text sizes. The type family includes 8 weights and 8 italics. There is a clear link between styles, both in the structure and shape of the letterforms. The italic counterpart uses a moderate inclination and some letters adopt characteristics of cursive forms. Besides Latin, the character set of Gina includes Cyrillic and essential features for covering current typographic needs. Gina has a wonderful set of ligatures, which indeed will catch the attention of those who love connected letterforms.

Hanstoc Script is a formal calligraphy typeface. A sporty cursive, this retro lettering works as a cool team logotype or a vintage headline. Drawn and created by Mans Greback in 2022, it has a fresh style and a bold personality. Use underscore _ to make a swash. Example: Baseball_ Use multiple underscores to make different lengths. Example: Beauty____ The Hanstoc Script family consists of four professional styles: Regular, Bold, Italic, Italic Bold; complimenting each other for greater design opportunities. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Quatre is a clean, friendly, monoline display script with a number of subtle but significant features. Originally based on the style of cursive you may or may not have been taught in middle school, Quatre has a clean geometric flow to it while containing a robust set of OpenType features such as ligatures, swash capitals, and stylistic alternates that give it a unique look. With over 700 glyphs, coverage for over 30 languages, arbitrary fractions, contextual alternates and more, Quatre will have you covered for whatever situation you may run into. I mean, probably. I can’t know every single weird way you might be trying to use it. The point is, it’s got all of the bells and whistles you could reasonably hope for. Make sure you open up the OpenType panel in Illustrator, Photoshop, and InDesign to make use of all of those features.

Frasa is a contemporary serif family with characteristics that arise from the charms of Caslon and a touch of transitional style; the design offers distinctive proportions to serve long-running small text and the sturdiness of its own form to help as a headline font. Frasa shows that the family is shaped by the traditions of its ancestors through small details that show the personality of the typeface, such as pointed ball terminals and strong shoulders. The italic weights have their own beauty, which is created to humanize the form based on a stylized and natural cursive style with the aim of emphasizing the text's essential elements. The addition of small caps, old-style figures, ligatures, etc. to this type family satisfies conventional typographic requirements. Frasa typefaces can eventually lead to the use of powerful design tools to create editorial and casual design styles.

Greetings! Introducing Mustopha, the brand new Arabic font, inspired by Latin classic handwriting and Arabic letters called 'hijaiyah'. The letterforms designed by a combination of Carolingian typography which visualizes a humanism feel and the Arabic calligraphy that mostly showing decorative with the long-swash of the letters. Feel the humanism with this font, neat, elegant, and luxurious with an extra set of alternates characters and Arabic symbols as a decoration of your typographic design. Musthopa created to bring back the classic typography (specifically cursive typography) between the many styles of design trends. This beautiful font also designed to be versatile that you can use this font for many themes, not only Islamic or Arabic. Perfect choice for poster, logo, branding, greeting card, wedding, apparel, cosmetic labels, packaging, Book cover, short body text, quotes, and many more! Fonts Featured : Uppercase Lowercase Numbers Symbols Stylistic alternates SS01 - SS05 Ligatures Extras

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

Fondue: an eclectic-flavoured contemporary typeface. Designed by Jorge Alberto Martínez and Latinotype Team. Fondue is a type family of eclectic shapes, inspired by Art Deco designs, in particular, the lettering used by the Mexican cartoonist Ernesto “El Chango” Cabral on almost the entire publication Revista de Revistas ("Magazine of Magazines"). Far from being a copy, Fondue expects to be an adaptation of the thinking of that time to be used in contemporary context. Fondue has a cursive ductus, wide horizontal proportion and large x-height. Its friendly consistent rhythm makes it ideal for medium-sized text, headlines, branding, and so on. The family comes in 6 weights, from Thin, which reminds of the cartoonist’s loose strokes, to Ultra Bold, the version with powerful and unique voice. Fondue has a set of 496 characters that support 207 different languages.. OpenType features include standard and discretionary ligatures as well as stylistic alternates.

Gothic is a basic sans serif with thick strokes and minimal contrast. Designs of this nature first appeared in wood type catalogs around the 1840s, and proved extremely popular in advertising and broadside printing. This version is based on a wood type design manufactured by Hamilton Manufacturing Company.

Introducing Black Aroug, crafted to capture the essence of design from the 1890s. Inspired by the ornate aesthetics and artistic intricacies of the period, this typeface combines the elegance of Victorian-era typography with a touch of modern refinement, creating a unique blend of old-world charm and contemporary

Typemonger JNL is based on Two Line Sans Serif from the British type specimen book of Vincent Figgins (circa 1860), and is available in both regular and oblique versions. The word ‘monger’ is an old term for a merchant specializing in a certain commodity (such as printing type).

Diegeometrische is an all uppercase geometric-based serif typeface featuring Latin, Extended Latin and Cyrillic character sets. - Latin, Extended Latin and Cyrillic character sets offer multilingual support. - Over 1000 kerning pairs for optimal letter spacing. - Unique combination of serif, geometric, and stencil design elements provides a distinct design.

Listen to the rumbling roar of the mighty Kadonk! This barbaric typeface will strike fear into the hearts of your enemies with its brutal and spiky design. Its sharp edges and aggressive curves are as merciless as a battle cry. With Kadonk, you’ll never be held back by plain and repetitive characters. This savage typeface features unique letter pair ligatures that break up the monotony and give your words a ferocious edge. Incorporate Kadonk’s primordial, savage war cry into your messaging and let your audience know that you mean business. With its powerful presence and fierce spirit, Kadonk will help you dominate the battlefield of design. So, sound the drums of war and unleash the fury of Kadonk! 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.

Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard

MMC INSIGNIA PRO, is an Iconic & Emblematic Neogothic Geometric Display… Assembled by Trivial Squares and Diagonals Symbols Pattern from a puzzled grid Aftermath!! Includes Small Caps & Stylistic Alternates!! +Extra Monospaced Figures. In 22 styles, with Obliques, both for single display and layer Typesetting, plus OpenType Features & Bonus Blocks Fonts! MMC Insignia Pro, is the cursive version of MMC Insignia and the default or main lowercases in ‘SC’ feature plus cursive stylistic alternates and sets such as Monospaced figures… Its atmosphere stands by on both Corporative to Decorative, Modern & Fashion, Federalist, Bohemian, Romantic, Ludic, Treasured Look, Etc. This Display font-family is the result of the repeated applications of this unique infamous Icon or Symbol, of two counterpointed triangles, implicit as hourglasses, in order to compose an innovative and unprecedented typographic pattern and modulation concept through the letterforms, in an extremely Geometric style. The Graphic Sign used throughout this type, is a remarkable trend used already in Logos of different businesses, whose most famous case refers to a famous International Bank, which doesn’t need to be mentioned, as it is instantly associated! This characteristic innovation was the main motivation while creating this type. Usage Suggestions: Type Fancy Titling texts, Display Remarkable Logos, Branding Projects, Labels, Emblems, Fashion Patterns, or in everything Noble and designed for Excellence as a type of Insignia, or distinguished marks and attributes of Royalty and Power!! That’s also forwardly, the reason why it was named MMC Insignia… TIPS: 1-Combine styles into innumerous possibilities of Chromatic Typesetting, by ‘central pasting’ layers… You may dislocate layers for improvisations! 2-USE BLOCK “FREE-STYLES” 1 & 2 also to add default 3D! Change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. Greetings! André, MMC-TypEngine.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

A fresh friendly font with upper and lower cases inspired by the Casual Style of Sign Painters. It features well-designed curves, four versatile styles (including Regular, Bold, Halftones and Outlines), latin language support and sexy built-in signs and catchwords. Suitable for titles, Branding, package design & more. If you are looking for a fine Hand-drawn font Family with great curves, Casual Crew is what you want.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

The main difference between Accord Alternate and Accord is in the way curved strokes join with vertical stems in letters such as "bpn".

Beautiful curved shapes of this serif font family make it a high legible and distinctive companion for setting texts as well as headlines.

Kylemott was developed from an earlier font called Quadlateral. It was a look at the curve and line used in an angular fashion.

Yardbird, insinuating prison numerals, was lifted from a wooden block print poster press, that would have indeed besides providing dates for the local carnival would have just as easily ink-chucked them over the backs of those denim blues. Part of Market LTD, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.

This font was inspired by the so-called Litterarum latinarum, quas italicas, cursoriasque vocant, scribendum Ratio (Louvain 1540), a manual intended for calligraphers by the well known scientist Gerhard Mercator. It was a magnificent “Cancellaresca corsiva” design, enriched with many alternates, final loops and ligatures. We have added a lot of accented and other characters required for modern use that did not exist in the original.

Transylvanian punchcutter Nicholas Kis cut a leading figure in 18th century Amsterdam. Series of his matrices survived at the Ehrhardt typefoundry. From these Chauncey Griffith at Mergenthaler cut the Janson series in 1936. Morison at Monotype followed with Ehrhardt. David Berlow takes full advantage of current techniques to produce these splendid and adventurous display series to complement one of the great oldstyle texts; FB 2007

Candy coloured clown is a unique and quirky display font created to invoke feelings of fun and carelessness that one might experience while visiting a carnival or circus. The font has a comic strip or cartoon aesthetic with it's thick outline and bubbly appearance. Candy Coloured Clown features a broad range of highly legible characters in both uppercase and lowercase, making it a guaranteed eye catcher.

Geometric typefaces are a staple in every typographer’s toolbox since the 1920s. It was a time when iconic faces such as Futura, Erbar, and Kabel appeared on the scene and turned the world of type upside-down. Inspired by those early giants as well as later epigones with a legacy of their own (such as 1970’s Avant Garde Gothic), Flink Neue is the Identity Letters take on this genre, characterized by a clean and focused appearance. With neat shapes and the look of pure geometry, Flink Neue adapts to a vast range of applications and topics, from the fine print in contract to website body copy to logo design to billboard-size slogans. Its x-height is considerably larger than in classic geometric sans-serif fonts; its proportions are harmonized as opposed to strictly constructed. This makes for a more contemporary look, setting it apart from the classics. With three different widths, Flink is a true all-rounder. Geometric fonts are usually quite wide, which often leads to text-settings problems with headlines or small print. The Condensed and Compressed variants of Flink Neue solve this problem easily. This font family comes along in 18 weights from Thin to Black with matching Italics. There are almost 1400 characters per style, including nine stylistic sets that offer variations to the look and feel of Flink Neue, making it even more versatile. Besides the default mood of Flink Neue, there is also a Text and Bauhaus variant, where different letters have been changed to create a new mood. In theory, you just need one single font file to change between all three moods, but to make it easier for you, we also exported each mood within a separate file. Plenty of additional Open Type Features like ligatures, small caps, case sensitive forms, old-style figures, tabular figures and symbols make Flink Neue a valuable tool for the discerning typographer. Flink Neue is the reimagination of a classic genre, designed to suit the needs of our time.