Introducing Supremely Luxurious, Access your OpenType features to access the large selection of alternate letters and ligatures. Use this font for any branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time Hope you enjoy it.

A chunky stamped font with lots of texture. Best used at large sizes for detail. "This font is heavy to load and may freeze or crash in some programs. Windows Users: You should avoid previewing it before installing it (do not double-click on the font file, but right-click > Install)"​

Have you ever played with Lego™ and built letters? With Billund Side and Billund Top you can do it again and create colourful headlines on your Mac or PC. Billund is a font-system consisting of the two base-fonts Billund Side Outline and Billund Top Outline, extended by layer-fonts for one or five colours. Use the Outline-fonts alone to get »transparent« letters in one colour, use it with the Fill-fonts to fill the whole letter with one colour, or use the five Colour-fonts to get colourful letters in every colour you want. Billund contains cyrillic and greek glyphs and can be used for nearly a hundred languages. To expand the typographic possibilities, small caps, old style figures, numerals for small caps (c2sc), three stylistic sets, different symbols, forms, standard- and discretionary ligatures have been added, furthermore contextual alternates to avoid colliding letters. Each Billund-font contains 870 glyphs and more than 1600 kerning-pairs. Billund is named after the city of Billund (Denmark), where Lego™ was invented, the Lego™-headquarter still resides and the first Legoland™ theme park was opened in 1968 and still exists today.

Dialogist is a display serif font animated in balanced beauty with curvy lines on each letters’ edges to make it look elegant and classic. Due to its bigger size than any other serif fonts, it becomes a noticeable and eye-catching font design. Proportions among letters equal to low contrasts, but it is still legible due to the font’s wide spaces. As a result, you may apply this font for any text sizes. Additionally, you can enjoy various features available here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Dialogist fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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.

It is complicated to find an aesthetically charming font in a professional look. The thing is that a wrong font choice can damage your projects. For that reason, Honey Ponds is here for your needs. Honey Ponds is a simple display font in a plain, yet interesting, professional design. To create a better display and to be legible, the font’s form or geometry is presented in a simple style without many details. Additionally, this font provides you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Honey Ponds fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. 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.

Novus, meaning new, is a contemporary slab serif that introduces soft curves throughout, creating a typeface that conveys a softer tone while retaining the robust feel of a great slab serif. Novus is an ideal choice for headlines, branding, advertising, websites, social media and packaging. It also works well for short and medium-length text. Novus supports Central, Eastern as well as Western European languages and comes in seven weights. Opentype features include; ligatures, subscript, superscript, numerators, denominators and fractions.

The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. Be intimidated, be very intimidated. You don't believe it? Just push the stylistic alternates button and see it disregard the laws and spit pebbles on the sidewalk. Then run to the hills if you want to live.

For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet ABI by Reza Bohloul. Sans serifs are commonly used on small screens to save space and carry a modern tone and Abi is the best one. Abi now provides a serif option for these restrictive digital environments. The screen has met its serif match. Abi was created from and for the digital world. Abi supports Arabic, Persian, Urdu and Kurdish languages.

ฟอนต์อุตสาหกรรม เป็นอักษรแบบสลับเซอริฟ ที่มีแข็งแกร่ง หนักแน่น มั่นคง มีทั้งหมด 9 น้ำหนักและตัวเอียงของแต่ละน้ำหนักรวมทั้งหมดมี 18 สไตล์ รองรับหลากหลายภาษา เหมาะสำหรับการใช้ผาดหัว ป้าย ข้อความโปรยสั่นๆ ฟอนต์อุตสาหกรรมสามารถช่วยส่งเสริมมูทแอนโทนให้ดูหนักแน่น มั่นคง น่าเชื่อถือ เหมาะกับสินค้าและบริการที่เกี่ยวข้องกับ เครื่องจักร, โรงงานการผลิต, เครื่องมือช่าง หรืออุตสาหกรรมหนัก Utsahakam is a slab serif typeface look strong, solid, stable. Comes with 9 weights and italics of each weight total 18 styles. Support multi-languages. Suitable for headline or sub-headline. Utsahakam can help you to create a mood and tone of strong, solid, stable and reliable. For a product and service about machine, manufacturing factory, mechanic tools or heavy industry.

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a fanciful geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Marseillette is the nasty one, with sharp hook terminations that require careful use. Don�t slip and accidentally stick one in your hand � it will hurt pretty bad and make you blubber like a baby. It�s good for surreal warning signs on dark, forbidding docks where gooey monsters live.

Hiroko is a remix of the multi-functional Hiruko typeface, with a bigger, bolder look and extra textured surface. Hiroko takes the functionality of its predecessor and turns it towards making an impact, so it does more than pass the message along, it makes it stand out and ensures that people read it. Hiroko comes with support for a number of languages, and has a finely crafted set of both upper and lowercase characters, round and friendly for a positive tone.

I am thrilled to present you the KULTURE GROTESK, a brand new sans serif font meticulously crafted to elevate your design projects to new heights. This contemporary typeface seamlessly blends modernity, chic aesthetics, and boundless creativity to offer a truly unique and captivating visual experience. With its clean lines and refined forms, this grotesk font embodies a perfect balance of simplicity and sophistication. Designed with the utmost attention to detail, it brings a breath of fresh air to the world of typography. Its versatility knows no bounds, making it the ideal choice for a wide range of applications, from editorial design and branding to web design and advertising. Whether you are looking to create a sleek corporate identity or add a touch of elegance to your personal projects, this font will undoubtedly leave a lasting impression. One of the most exciting features of the new font is the inclusion of over 300 alternate letters and ligatures.These unique characters offer a world of possibilities, allowing you to create stunning and original typography. From distinctive logo designs to captivating headlines, this grotesk font enables you to break free from the ordinary and infuse your creations with a touch of individuality. KULTURE GROTESK - Modern Sans Serif Font Includes: Over 300 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. Happy creating everyone!

I'm happy to present to you luxurious handwritten script font West Byanetta Cyrillic. It's the best option for your branding, logo designs, invitation designs wedding stationery, social media, product packaging and other projects that require an elegant touch. West Byanetta Cyrillic is an elegant, graceful handwritten script font, as well as a West Byanetta Symbols font with 36 lovely hand-drawn flourishes and illustrations. West Byanetta script font contains the Cyrillic glyphs too. West Byanetta script Latin part contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, initial and final forms). To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) And 40 ligatures - which can be used to create a handwritten look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Also Cyrillic part of the font contains 31 handwritten Cyrillic ligatures. West Byanetta Symbols is a font with over 36 hand-drawn elements, floral illustrations, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included West Byanetta Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Language Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Brume font is a bold, attractive and beautiful font. "Easy to read, modern and elegant look but stylist", this will be the first words that your client says to your design using this font. Comes with uppercase and lowercase. It has many alternates character with nice curve that you can arrange to create a nice logo lettering, or use it as a display face on a poster and add a few alterations to it to make a beautiful eye catching words. Brume font is best for logo lettering, headlines, product packaging, t-shirt design, wedding theme, poster, book cover, wedding invitation, Christmas and more To access alternate: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs

A comprehensive and faithful rendition of Rudolf Koch’s first release, usually referred to as “Fette Deutsche Schrift” or "Koch-Schrift". In addition to the regular character set, the font includes a large number of alternates and ligatures, plus two sets of ornamental initials (Initialen mit Zierstrichen und Punkten zur Koch-Schrift, and Initialen zur halbfetten deutschen Schrift von Rudolf Koch). The main sources used during the font design process were a sample page from Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (p. 164), and several specimen sheets from the Gebrüder Klingspor Type Foundry for Koch’s “Deutsche Schrift” type family. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Deutsche Schrift” Font Page.

Step into the beauty of Belda’s elegant form and discover the richness flowing from both its historic influence and its strong elements. At its heart, Belda's graceful style embodies the classical calligraphy of the Roman capital, best known from such Roman monuments as Trajan's Column. To lessen the possibility for error, the builders of these defining structures brushed their templates onto the marble before taking their first cuts from the expensive stone. These simple strokes now mark a simple but wonderful path full of life and mystery. Beyond a copy of the past, Belda has grown from its roots to offer a brave, new world of potential through its still-simple structure. The new design strongly contrasts thickness and stroke. Its delicate shape, curves and sharp serifs provide a unique style of harmony and beauty. The resulting balance? The lighter weight design remains subtle and elegant, while the combination in its bolder counterparts provides an intense luster and sparkle, pulling the reader’s eye to the font’s captivating features. A quick look beyond its surface of standard forms also reveals Belda has more layers to discover with OpenType small capitals, titling capitals and more. With a wealth of weights and many widths beside, the font is capable of serving as both text and titling. While especially strong as a movie title or poster font, it’s also great for book jackets, advertising, and packaging. So start your journey with Belda. The possibilities to explore on this path are practically endless. Production assistance from Lucas Azevedo and ikern.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Free interpretation of the classic Gothic Tuscan 1, by William Hamilton Page.