Hey there, cats and kittens! Are you tired of the same old fonts cramping your style? Well, look no further than Hickertown - The Cat's Pajamas of Retro Comical Fonts! Hickertown will transport you straight to the Roaring Twenties, where flappers and dapper gents ruled the scene! 🍸✨ It's the bee's knees for all your design needs! These fonts are the real McCoy, capturing the essence of the speakeasy era. Your designs will be the talk of the town! Whether you're jazzing up your posters, covers, websites, social media, logo, branding, or invitations, Hickertown Fonts will add that authentic touch of yesteryear. Your projects will be the duckiest thing since sliced bread! Packed up with many Ligatures and Stylistic Alternates to elevate your design experience furthermore. Don't be a flat tire. Get Hickertown now and let the good times roll!

Excited-Alphabets is a lowercase display font. The letterform is sans-serif with a few appendages to give the letters a life-like and cheerful form. Also, each Letter has two poses (i.e. s and S) which makes it easy to design the perfect headline, characters can also be chosen individually from the glyphs menu to get a unique look. Its dynamic or ‘dancing’ look makes it perfect for (short) editorial headlines, celebratory lines, fun branding, social media posts, website headers, posters, ads, products, stationery designs and more. Excited alphabets was born in Frankfurt (Germany) when two ‘almost-neighbours’ met at a coffee shop. Inspired by the illustration of Sumbo Pinheiro, Excited was designed by Harald Geisler and Sumbo Pinheiro. From quirky illustration to font, this was a fun project to work on because each alphabet comes with its own sassy character.

It's a bold, It's HOT ROAD! A realistic hand brushed font just raring to get going. HOT ROAD is handwritten made with a wet brush, dynamic spontaneous flow and natural. It's perfect to leave a realistics impression on social media posts, advertisements, posters, products packaging & more. HOT ROAD FONT comes with several alternates character, ligature, punctuation, numerals. Also included is a bonus extras swashes. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc HOT ROAD Font is coded with Unicode PUA, Allows full access to all the extra characters without having special software designing. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor / app. Thanks so much for looking and Enjoy it!

DOCTOR OCTOPUS! BOOM! DOCTOR DOOM! 'SHROOM! DOCTOR EVIL! BA-THROOM! DOCTOR FRANKENSTEIN! KRA-KOOM! Never let it be said that Comicraft does not possess a Varied Vocabulary of Vile Villainy or a Tremendous Thesaurus of Terrible Tinkerers! It's our belief that every Medley of Madmen, every Rogue's Gallery of Ragged Rascals and every Sinister Selection of Scoundrels, Scalliwags and Sick Scientists --even they deserve a Nefariously Notorious Name-Finagling Font to announce their Apocalyptic Arrival. That font is here, towering murderously above the city blocks of Manhattan even as we speak... It's a Despicable Doctor of Dastardly Deeds, it's a Master of Evil Scheming, an Infamous Infidel, your Arch Enemy, your NEMESIS... IT'S THE END OF THE WORLD AS WE KNOW IT! FING... FAN... FOOM!

Irish Penny is based on the lettering from Percy Metcalfe's beautiful and influential pre-decimal coinage of Ireland, the Barnyard Collection. The font is more monoline than is conventional for Irish insular styles, almost giving the feel of a modern soft sans, and perfect for small and large scale display purposes. Irish Penny contains a full complement of Latin Extended-A accented characters, Irish lenited consonants with the dot accent, and the tironian et which is commonly used in Ireland instead of an ampersand. Lowercase characters are provided small caps style, slightly reduced in size and subtly thickened in weight. The licensed font comes with a faux italic, and although obliques are not common among insular typefaces, Irish Penny Italic is a useful smart and sporty extra. Although the insular G/g is usually understood, Irish Penny also includes a more latinised option as an alternate G/g. The supplemental 'Irish Penny Alternate G' font places the latinised G and g characters at the normal G/g keystrokes, and makes the original insular glyphs the alternates. An alternate E/e with an angled crossbar is also included. The font contains a selection of discretionary ligatures, these include the ligatures that were used for pre-decimal coins: AC/ac, AE/ae, AL/al, AO/ao, AU/au, AT/at (halfpenny, half crown), AX/ax, AY/ay CA/ca, CC/cc, CE/ce, CO/co (half crown), CU/cu, CY/cy EA/ea (halfpenny, half crown), EC/ec, EE/ee, ET/et, EU/eu (sixpence), EY/ey FE/fe (farthing), FF/ff, FL/fl (florin) GI/gi (penny), GU/gu KA/ka, KE/ke, KI/ki, KO/ko, KT/kt, KU/ku LA/la, LE/le (halfpenny, half crown), LL/ll (shilling), LO/lo, LT/lt, LU/lu, LY/ly RA/ra, RC/rc, RE/re (three/sixpence), RH/rh, RI/ri (florin), RK/rk, RN/rn, RM/rm, RO/ro (half crown), RR/rr, RT/rt, RU/ru, RY/ry TA/ta, TE/te, TO/to, TU/tu NOTE - Irish Penny contains some characters that are not accessible directly from your keyboard, but which may be copied from a font viewer such as Character Map, Font Book or FontExplorer, and pasted into documents. They can also be accessed from the Glyphs browsers within OpenType-aware applications like Adobe InDesign and Illustrator, and Affinity Photo and Publisher.

Another example of 1930s French Art Deco lettering from the 1934 publication L'Art du Tracé Rationnel de la Lettre (which roughly translates to “The Rational Path Art of the Letter”) resulted in the digital typeface French Slab Serif JNL. This bold and slightly eccentric slab serif design is available in both regular and oblique versions.

Balburdia is a font based in the street art letters of Brazil. Inspired by "pixação" from the brazilian cities of Rio de Janeiro and São Paulo, Balburdia can translate the street culture and add a little extra to your designs. Balburdia can be used for art, branding or fashion itens that contain this theme.

Anziano follows the direction staked out with Delicato. When creating traditional typefaces, it is inevitable to be influenced by earlier designs. Anziano does show touches of another classic typeface – Weiss (by Emil Rudolf Weiss, 1926). Weiss is often misjudged and overlooked. Perhaps the most well known Swedish typeface – Berling (by Karl-Erik Forsberg, 1914–1995) is actually based largely on Weiss. MRF have appreciated the design of Weiss uprights for a long time. When Stefan Hattenbach bought the first Swedish edition of The Lord of the Rings (1959–61), in 2004, he was amazed by the excellent flow of the text presented on each page. Despite the very original character that Weiss has, it was a pleasure to read a book set in such a typeface. MRF realized that several major foundries had already done interpretations of Weiss, more or less true to the original. MRF didn’t want to add on to that list! Instead Stefan tried to find his own path. Anziano consists of three core styles, Regular, Italic and Bold; each with small caps, ornaments, stylistic ligatures, and extended Latin accents. Lining, tabular, oldstyle and smallcap numerals help round out Anziano’s typographic range and function.

Tokoloshe is a name in African mythology for a mischievous leprechaun-like figure that loves practical jokes and tricking people. There are many books of such African stories, for example Tales of the Tokoloshe by Pieter Scholtz. The letter shapes that I used in the Tokoloshe font have inspiration from two sources: -- the spiky character of the font was derived from the wonderfully imaginative, wooden carvings of the Makonde people of beings called "shetani". The word "tokoloshe" is used by other tribes, but from his behaviour, he is certainly a type of shetani. -- some of the letter shapes were informed by Art Deco styles of fonts, for example: Kunjani, Black Tie SF, Selznick Normal, Zaire SF, Binner Gothic and ITC Anna. But the Tokoloshe font, like its namesake, is much more freespirited. Use this font whenever you want to suggest the rich artistic, cultural and spiritual heritage of Africa. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Do you want something prominent yet legible? This is Long Vacation, our new handwritten font, ideal for all of your design needs. Long Vacation is a visually interesting handwritten font showing a unique handwriting style giving the natural, lovely nuances on your designs. The flowing letters are interconnected and the scratches that connect the letters make the font look more natural. Details on each letter and curves on the edges show high contrasts. Due to its great legibility, you can apply this font to both big and small text sizes. Additionally, enjoy the features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Long Vacation fits best for various design projects, such as brandings, posters, banners, invitations, greeting cards, magazine covers, quotes, printed products, merchandise, logos, 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.

Start good day for new font! present to you, Aminah! Aminah is a retro serif font that brings a classic and charming vintage touch to your designs. This font combines elegant serif elements with a stylish retro feel, creating a unique and eye-catching combination. Aminah is suitable for use in a variety of retro design projects, such as posters, greeting cards, logo designs, and brand displays that want to convey a vintage, classic yet modern feel. With Aminah, you'll have an elegant, stylish, and full of character retro serif font with a large selection of ligatures to bring that special touch to each of your designs. This font will be the perfect choice for designers who want to explore design inspiration from the classic retro era but still trendy. What did you get? Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Aminah font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Shakira Studio

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

It may be a hard challenge to find an attractive, prominent font in a unique way amid the abundant font options available. Due to the significant reason to find the right font to deliver appropriate messages and emotions, we would like to introduce you to the Monthir, the perfect choice to express any of your project designs. Monthir is a capitalized brush font in brush details to produce authentic looking handwriting displays. The font’s bold, firm displays which are the advantages of such a font can create more interesting, prominent designs. Besides, people can feel closer to the brands or designs created through its personal, natural nuances. The letters’ proportions are relatively consistent, yet its dramatic, bold styles are suitably applied for bigger text sizes rather than the text body. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Monthir 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.

SG Scratter is a dynamic and eye-catching display font that is sure to make any design stand out. With its sharp and crisp edges, this font exudes a sense of boldness and confidence that is perfect for headlines, logos, and branding projects. This font is available in six distinct styles, each with its own unique personality and character. From the sleek and sophisticated SG Scratter Regular to the more daring and adventurous SG Scratter Bold, there is a style to suit any design need. With its clean lines and modern aesthetic, SG Scratter is versatile enough to be used in a variety of design applications, from print to digital media. Its legibility and clarity make it a great choice for everything from posters to websites. So if you're looking for a font that combines elegance and edge, look no further than SG Scratter. With its sharp angles and bold lines, it's sure to make your design pop and stand out from the crowd.

Are you feeling a little dazed, silly, or light-headed? Are you talking incoherently as if you've received repeated blows to the head? Would you perhaps describe yourself as punch-drunk? Happy-go-lucky? Have you recently been sleep deprived or are experiencing excessive feelings of fatigue or tiredness? Have you become prone to inane semi-maniacal rambling? Have you been making strange and/or meaningless remarks? Are you demonstrating fits of random and inexplicable behavior? Did you just give yourself a wedgie? Experiencing bouts of uncontrollable laughter -- at your own jokes? Standing on a silver surfboard holding a hot dog and wondering why?! You're off your rocker, dude; Slaphappy!

During a ‘type walk’ at the 2007 AtypI conference in Brighton, typographer Phil Baines pointed out what he considered to be a particularly egregious example of over-decorative art nouveau lettering on a war memorial. This made me determined to use it as the basis for a font. Released in Opentype, it now features ligatures, swashes and alternates. It’s not certain if the curved top bars on the E and F are a feature of the original design or due to climbers using them as footholds, but I incorporated them anyway. It has recently been used for invitations and supporting print material for formal charity dinners at the House of Lords.

A bottle party is a party where you are supposed to bring whatever you wish you drink. When using my Bottle Party font, you need not bring anything at all! The font does all the partying itself - all you need to do is type, and the contextual alternates makes sure that your text doesn’t repeat the same letters over and over again! How is that? As I said, it happens automatically as you type, because the font cycles through the 4 different versions of each lower-case letter! The font is handmade with a brush feeling to it, legible at even very small sizes and it’s quite full of international characters!

HAPPY FRIDAY is a font that looks ahead to the long weekend. This typeface is cute and clean, but with an undercurrent of sickening sweetness. The font turns up the volume on your social media posts, making them stand out from the crowd. Along with HAPPY FRIDAY MIX, an adorable set of dingbats made up of doodles and swashes, this font pair is perfect for your marketing collaterals and your at-home DIY projects. MIX HAPPY FRIDAY comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³ªº¡¿₱¢€£¥½¼¾¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕŌŐØŒŔŘŚŜŠŞȘŤȚÚÙÛÜŮŬŪŰŲẂẀŴÝŶŸŹẐŽŻÞẞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõōőøœŕřśŝšşșťțúùûüůŭūűųẃẁŵýŷÿźẑžżþß MIX HAPPY FRIDAY MIX (Dingbats) comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()

Red Tape is three fonts that were designed by sticking letters together with red tape. It makes for a wonderful makeshift set of fonts. And I really enjoyed sticking those letters together. Of course I did it on screen using bits and pieces of scanned red tape. Just use it as you like, I won't give you any red tape in how to use the fonts. »Red Tape« is since February 2012 on permanent display in the »German National Library« – next to the likes of »Bodoni«, »Garamond« and »Helvetica« – being part of the exhibition about type through the ages. Your (now a little famous) unproblematic type designer, Gert.

Boston Skyline is a carefully hand-crafted duo of premium Sans & Script fonts, designed to create a bold, authentic, and timeless lettering combination. The contrasting yet complimentary strong sans and free-flowing script lend themselves perfectly as primary and secondary fonts for logo designs, product packaging, eye catching quotes and display text. Here’s what’s included in this product: Boston Skyline Rough • A hand drawn script font with authentic textures built-in. Contains upper & lowercase characters, all punctuation and numerals. Boston Skyline Rough Alt • This is a second version of Boston Skyline Rough, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Boston Skyline Sans Rough • A bold Sans font with a built-in rough 'letterpress' texture. Contains uppercase characters, all punctuation and numerals. Boston Skyline Swashes • This font contains 26 swashes, perfect for underlining your script text and adding some extra custom flair. Simply install this font separately and type any a-z character when using this font to generate a swash. Clean Versions • Are included for all fonts with textures completely removed and edges smoothed. Language Support; All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Remastered in 2019. Wasabi is the re-imagining of my very first release, Iru. Like Iru, Wasabi was heavily influenced by the monument lettering style, Vermarco. The simple, geometric forms allowed for small lettering sizes to be sandblasted cleanly and has been a monument lettering workhorse for decades… the only issue centered around the lack of a lowercase or any other letters beyond the 26 uppercase glyphs and the numerals. Wasabi solves this with the same simple, efficient line reminiscent of the old Vermarco while bringing it into the 21st century. Visual and optical incongruities of the original uppercase were replaced with new interpretations for the capital letters, a new lowercase and small caps were​ produced and the original single weight alphabet was replaced with six new weights. Wasabi has several ‘lighter’ weights primarily because the thin lines and simple transitions produce very elegant relationships… and I wanted to make sure those relationships could be explored regardless of the scale of letter. Stylistic Alternates show up through the upper, lowercase and small cap glyphs that attempt to simplify these shapes even more when the opportunity arises. Wasabi is as much a utilitarian typeface as it is a headline face. This realization led to the decision to produce a companion Condensed version shortly after the initial regular weights were developed and tested; so, try them all!

Syaquita Bold Display is a very versatile font.perfect for magazine images, to branding, poster design, and more. Thanks so much for looking, I really hope you enjoy it and please don't hesitate to drop me a message if you have any issues or queries :)

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Marat Sans is a clean and lively sans serif typeface designed by Ludwig Übele. It is characterized by excellent legibility and suits a wide range of typography. The entire family contains 27 styles & weights and includes many OpenType features: various numerals, alternate glyphs, fractions, superiors and inferiors, language features, arrows, case sensitive forms and many more. Marat Sans is the perfect companion for Marat, a soft and elegant serif typeface.

Belgiana Script is elegant calligraphy font. This font is casual and pretty with swashes. It can used for various purposes. such as logo, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Belgiana Script features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions.How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Belgiana Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks & Happy Designing!

Argentina Script is a romantic calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, labels, news, posters, badges etc. Argentina Script features 360+ glyphs and 160+ alternate characters. including initial and terminal letters, alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to Access Alternate Characters : • https://www.youtube.com/watch?v=xFlMwARHusY • https://www.youtube.com/watch?v=XzwjMkbB-wQ There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: • https://www.youtube.com/watch?v=Go9vacoYmBw If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks & Happy Designing!

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

The 1907 Barnhart Brothers & Spindler type specimen catalog called this unique typeface simply "Umbra". Since that name is already taken, it now has another. Due to the highly ornate nature of this face, the font has a limited character set (all accented characters, but no math operators or fractions). The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Willow Eden is a Modern Handwritten Font. Willow Eden is a magical script font carefully created with a touch of elegance. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art! Willow Eden also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!