Looking to add a touch of refinement to your designs? Look no further than Philosykos. With its carefully crafted details and more than 80 ligature choices, Philosykos is the perfect choice for adding a cultured, sophisticated look to your artwork. This typeface comes in four styles - Regular, Italic, Bold, and Bold Italic - making it versatile enough for a wide range of designs. Whether you're creating a logo, designing packaging, or working on a book cover, Philosykos will help elevate your work to the next level. So if you're looking for a typeface that exudes elegance and style, look no further than Philosykos. Try it out today and see the difference for yourself.

Introducing fresh PELORIC sans serif typeface which is well crafted for the classic and modern outlook. It can be read easily from a small size to a large size. Feeling fresh & trendy with it’s distinctive visual. It is well suited for branding, website & mobile layout and many more. It can also be used for branding materials, business cards, social media, packaging, prints, quotes & posters, etc. It comes up with 12 different weights as thin, thin italic, light, light italic, regular, italic, medium, medium italic, bold, bold italic, inline & inline italic. So, if you are looking for a new stylish and unique font, then here is the best font just designed for you and supporting any operating system and platform.

ED Muskrat is a display font family that looks elegant classic and modern, this font is designed from a combination of serif and semi blackletter fonts that add a unique feel to the font. ED Muskrat has 9 styles: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, and Black. ED Muskrat is equipped with ligatures, alternative characters, and supports multiple languages. and also this font is perfect for your design needs such as branding, poster design, books, fashion, social media design, logos, etc. Features: Stylistic alternates ( C, E, F, I, J, N, Q, S, Z ) Ligatures ( fi , fj , tt ) 9 Styles ( Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, and Black ) Multi Language Support 373 Glyphs

Some scribbles on a bar napkin, a note from a cute girl passed in history class, what is there to say but why not a typeface? Actually it's that late night, �let's get this typeface done� madness that causes these flights of fancy. Anything to relieve the boredom of doing all those kerning pairs. Or maybe it's sunspots? Ms Kitty is all uppercase letterforms so there are two versions of each letter, one in the cap position, another in the lowercase position. Besides the regular weight and bold, there�s a bolder and much bolder in the works. And perhaps there will be a "too bold to be believed" version. Depends on the sunspots.

The art of paper folding in dingbat form. The uppercase alphabet is made up of origami animals and the lowercase offers those shapes decorated in traditional origami paper patterns. Full patterns, flowers, and partial foldings fill out the symbols and numbers.

A revival of old hand painted sign in Old Jaffa, from the mid of 20th century.

Some old broken characters. It reminds me of old labels on walls, streets or on tanks.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. This type design was the central part of the project for a wayfinding and information system to guide pilgrims and tourists through Rome. Capitolium also continues Rome’s almost uninterrupted two-thousand-year-old tradition of public lettering . It is a modern typeface for the twenty-first century and strongly related to the traditions of Rome. Soon after the completion of this project Unger began contemplating the possibility of bringing the atmosphere of this design to newspapers. Though Capitolium works well in most modern production processes and also on screens, it is too fragile for newsprint. For newspapers sturdier shapes were required as well as more characters to a line of text, and Capitolium News has a bigger x-height than Capitolium. Capitolium News is a thoroughly modern newsface, with classic letterforms linked to a strong tradition. Capitolium News for running text comes in the variations regular, italic, semibold, semibold italic, bold and bold italic. As is possible with most of Unger’s type designs, Capitolium News can be condensed and expanded without any harm to the letterforms. The update to this beautiful font family, Capitolium News, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

Sweet Raspberry is a cute and casual handwritten font with an incredibly friendly feel. It is a playful and adventurous display that radiates authenticity. 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! This font is PUA encoded which means you can access all of the stunning glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures. What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Kota datoma an luxury and unique calligraphy font. Carefully designed to work together in harmony that makes it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires unique, formal or luxury. Try Kota datoma, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Included Multilingual Support And Special Ligatures Your download will include OTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

Presenting Riethalica Jope Babes luxury chic handwritten font Handwriting that is light and made as natural as possible to give the impression of pure digitalized handwriting, So that in its use it can give the true beauty of handwriting. And suitable for use in various media such as advertisements, web templates, invitations, social media templates, posters, weddings, and many more Riethalica Jope Babes luxury chic handwritten font include ligatures, capital letters and alternate letters. You need a program that supports OpenType features like Adobe Illustrator, Adobe Photoshop CC, Adobe Indesign and Corel Draw. and you can also access alternative flying machines via Font Book (Mac users) or Windows Character Map (Windows users).

Andit is an unique calligraphy font. Carefully designed to work together in harmony that makes it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classics, formal or luxury. Try Andit, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Included multiligual support and special ligatures Your download will include OTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

Puggu is ideal for headlines or posters where slightly unusual or unrefined type is required, though paragraphs of text are quite readable. The font includes 57 ligatures of fairly common letter combinations (such as at, ee, ss, tt, Ar, RD,) with alternative letter-shapes used, to give some random variations and avoid having too many repeat letters looking identical. (The full list is included with the zip-file.) And there's a wide range of accented characters giving compatability with many European languages. The zip contains OTF and TTF versions - only install one version of a font on the same machine, either the OTF or TTF, but not both as that could cause various conflicts and erratic behaviour.

Jochen Schuss, the Biedenkopf, Germany, designer who was most recently responsible for ITC Vino Bianco, has created in ITC Whiskey a condensed display face that's both angular and soft at the same time. While the letterforms of Whiskey are clearly roman, there's a slight reminiscence of blackletter in the face's narrow proportions, its dark weight, and its persistent internal angle - not quite the 45 degrees common in a classic German textura, but a gentler angle of 25 or 30 degrees. And the counters are all rounded, as are the ends of all the strokes, giving Whiskey a comfortable friendliness despite its severe structure. The character set includes an alternate z" and an "ft" ligature."

Alfa Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. To use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) Thanks and happy designing :-) Thank You for purchase! Designers: Afri Giani Publisher: Gian Studio

Naylah is a casual handwritten font with personal charm. With a quick sweep and a very different style, Naylah is perfect for branding projects, household design, product packaging - or as an overlay. Nalyah Alt and Alt 2 contain alternative characters, with lowercase and uppercase characters that are completely new. If you want to avoid the letters that are visible all the time to recreate custom styles, or try different tenses, just switch to this font for additional layout options. Naylah includes ligatures for several lowercase letters (double letters that are more natural). This can only be accessed through software with different devices or flying machine panels, eg Photoshop / Illustrator. Come and say hello on Instagram! https://www.instagram.com/aseprendii.otf/

BLASTER is a casual, fun display font, created by using a brush pen. It has an urban and trendy feel and it will most definitely fit a wide range of designs. This font is perfect for brand announcements, packaging, quotes, branding, advertisements, blogs, logos, invitations, and more! This font is PUA encoded which means you can access all of the stunning glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures. What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

One of the first messy typewriter fonts to hit the market, Chandler 42 was compiled with forensic care from the voluminous output of a circa 1942 portable. All the eccentric personality of this particular machine is intact: a slightly angled "m," filled in gaps in the most-used characters; even the number "4" is reminiscent of gasoline pump numbers of its day. Chandler 42 features edges meticulously redrafted by hand, fully developed Western character sets and is available in 4 weights, plus obliques. Chandler 42 is everything you need to type a 1940s business letter, prep your own vintage facilities report or write that hard boiled novel you've been planning to start.

Mecanica is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Mecanica is a futuristic, techno-looking and expressive typeface with an appearance of metal-like parts with some very sharp edges. This attractive display comes in roman with lower case and lining figures. The font also is available with true-drawn slant italics. Other design style variations include Swash as well as Ornamental Italic Capitals along with a few Ornamental Symbols to embellish and enhance the possibilities.

We count three inspirations for the László font family. The upper case was inspired by Yomar Augusto’s amazing font Unity, used on last year’s German World Cup Team jerseys; the lower case from a few letters a poster for a Bauhaus show. The name László is an homage to László Moholy-Nagy, peerless Bauhaus designer and teacher. The László type family is stripped down to the typographic core, lean, clean and definitely machined, at home in either a formal or casual setting, i.e. you can take László anywhere. Inspired by watching the World Cup and the German Team’s jerseys. Very clean, simple, Bauhaus-style design, European and highly legible. Usage recommendations Automobile ads, anywhere a European feel is desired.

Motoring at top speed calls for your own high-performance machine and a special racetrack font to run it on. Speedway was built with blacktop smooth caps to ease you through those short and dangerous curves. And its sleek, aerodynamic lowercase linking makes getting your speedy cruiser to the checkered flag a breeze. Developed in typeface alley for discriminating designers. And for the more adventurous, Speedway SG is now available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The Gleams serif playful display is unique, this font and is equipped with multilingual to be able to handle most typographic applications ranging. will be perfect and look luxurious for many projects such as fashion, magazines, logos, branding, photography, invitations, quotes, blog headings, posters, advertisements, postcards, etc. The Gleams serif playful include ligatures, capital letters and lowercase alternate letters. You need a program that supports OpenType features like Adobe Illustrator, Adobe Photoshop CC, Adobe Indesign and Corel Draw. and you can also access alternative flying machines via Font Book (Mac users) or Windows Character Map (Windows users). For sans style please check at https://www.myfonts.com/fonts/alandya-typefoundry/gleams-sans-display Happy Designing . . .

Named after the steadfast doctor from Albert Camus’ The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them. Rieux is available in 5 weights and is ideal for uncatalogued, magazines, short publications and company collateral. In addition to supporting Western, Central and Eastern European languages, Rieux includes an array of OpenType features to provide a range of typographic options.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese