MGN Carleigh is a font that combines strength, beauty, and classic style in a unique and captivating way. The font has a bold and solid appearance, with a strong and commanding presence that makes it perfect for creating titles, headlines, and other prominent text. At the same time, the font has a certain elegance and beauty to it that makes it stand out from other more traditional fonts. Its classic elements give the font a timeless quality, making it suitable for designs that require a touch of vintage or retro feel. The shape of the MGN Carleigh font is both strong and refined, with a unique look that is both distinctive and memorable. The font has a certain energy and intensity to it, with a commanding presence that makes it perfect for use in designs where the text needs to be prominent and powerful. At the same time, the font is also beautiful and sophisticated, with a certain classic charm that makes it a great choice for designs that require a more traditional look. The combination of strength, beauty, and classic style in this font makes it a versatile choice for a wide range of design projects, from modern and edgy to classic and timeless.

FF Kievit Serif subtlety melds oldstyle design traits and a 21st century mien into a clean, straightforward suite of typefaces. As part of the FF Kievit super family it helps brands carry their voices effectively and legibly. This includes small text to display sizes, in both print and digital environments, for internal and external audiences. FF Kievit takes inspiration from classic designs like Garamond and Granjon, and is available in seven weights, plus italics. Drawn as a collaboration between Michael Abbink, Paul van der Laan, FF Kievit Serif is a natural extension to the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Slab. FF Kievit Serif stands on its own as a multi-talented and exceptionally legible design. Large counters, a generous x-height and ample apertures ensure that FF Kievit Serif translates well to both hardcopy and interactive environments. FF Kievit Serif is available in carefully defined weights, ranging from Light to Black. The Regular, Book and Bold weights are ideally suited to long form text copy. Ligatures, several suites of numbers and small caps are also available. In addition, FF Kievit Serif benefits from the same extensive language support of the other designs in the family.

Introducing Gyoza - Font Family (4 Fonts) Gyoza - was designed in late 2022 and published on January 2023. The Typeface was inspired by the 90’s playful cartoons and comic books. This font comes with 4 weights; Regular, Semibold, Bold, and Black. Gyoza - available with the variable fonts in weights and the Ink Trap. With the regular style, you'll have the correct anatomy of the fonts. with the Ink Trap style, it added more extreme space on the Ink Trap. Gyoza - contains everything you need to create stunning typography – from headline fonts to body text fonts - all in one place. Whether you're starting out or you've been designing for years, Gyoza has everything you need. Can be used for modern and vintage designs, and also can be easily paired with some graphic elements (Illustration, Photography) this font is perfect for, Logotype, Branding, Title, and Packaging. So take your design skills up a notch and get started on some fresh new projects with Gyoza today! Similar Item: Gunydrops : LINK HERE Kelpo : LINK HERE Swipe : LINK HERE Replay : LINK HERE What you get : Gyoza Regular Gyoza Semibold Gyoza Bold Gyoza Black Features : Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Please contact us if you have any questions. Enjoy crafting and thanks for supporting us! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Regards, Dharmas Studio

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

Based on a old standard, Tudor Black, this version offers a dramatic inline treatment that adds sparkle and grace. The typeface takes its name from Ford Motor Company's old designation for a sedan. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

Introducing, Les Palmiers, an old handwritten script! Les Palmiers is a vintage and rough handwritten script. This font include alternates and swash that will make your project more attractive. With rough and imperfect side, this font will also make your design looks more vintage and old. Les Palmiers also support multi language!

If you are looking for some wild extreme grunge this is it. No holds barred this is some bad stuff. Let your imagination go there is no stopping here.

In winter when cold time comes, when animals with thin fur play drums, there’s one guy who keeps you warm, his name is Lumberjacky and he’s stronger then storm!

Turia is a casual script font with a lot of OpenType features, which let you create your own design logo or lettering artwork.  This font contain 768 glyphs: discretional and standard ligatures, stylistic and contextual alternates, small caps, titling, swashes, old style figures, ornaments and support CE languages. The Turia font has been thought especially for an expressive and dynamic design. Its glyphs are carefully drawn without loosing readability for use in a large text.  This font could be used in a advertising, booklets, children books, labels, packaging, logotypes, cards or whatever your imagination wants to fly.

The Droid Serif Pro Family (4 fonts) is a contemporary serif typeface family designed for comfortable reading on screen. The font is slightly condensed to maximize the amount of text displayed on small screens. Vertical stress, sturdy serifs and open forms contribute to the readability of Droid Serif while its proportion and overall design complement its companion Droid Sans. The fonts were designed by Steve Matteson, the Type Director at Ascender Corporation. The Droid Serif Pro Family (4 fonts) includes Latin 1 and WGL character sets, along with Old Style Figures (requires an application that support advanced OpenType typographic features).

As the basis for this new font artist and designer Lena Schmidt used an old font design by her mother Jutta. At a young age, her mother drew and illustrated a lot with pen and ink. She made beautiful illustrations and many font designs. Schmidt chose one of these drafts - delicately drawn Donovan lyrics - as the basis for this digital handwritten stencil font. What emerged from it is a stencil text and display typeface that relates to Auriol's art nouveau typefaces and the era of impressionism. More weights will be published in soon. Published by Spirit & Bones www.spiritandbonesdesign.com Designed by Lena Schmidt www.lenaschmidt.com

Meet Grand Cru – a new approach to serif type. The type family is divided to three groups – Small, Medium and Large – according to the amount of contrast in letterforms. Forget about those old Text/Display categories – it’s up to you how to use your typeface. While the Grand Cru Large fonts are highly decorative, the Small versions function as reliable workhorses. All Grand Cru fonts come with thoughtful Open Type features – built-in small capitals are found in all of them, while the italics come with handsome Swash capitals. The romans are equipped with intelligent numeral styles including subscript and superscript and fractions.

Virzo is a modern serif with loads of style. A unique modern font that is a mix of old and new. It's soft curves mixed with high contrast glyphs lend it self to both feminine and masculine qualities. Virzo Perfect for branding projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. Virzo has more than 60 upper and lower case ligatures that to give your logo, business card and another project to a unique vintage look. I hope you have a blast using Virzo. Thanks for use this font ~ Khaiuns

Since 2005, I have repeatedly attempted to create a neutral-looking grotesque with a humanistic character. I wanted a pleasant, soft typeface. The typeface should appear similar to Helvetica or Univers, but with more open shapes and therefore better readability. The features are deliberately reserved with 4 gradations plus italics. The onum feature for Old Style Figures contains additional alternative letters such as a looped g. The italics have a swash feature with some decorative shapes. As a sans serif, HGB Bacco does not appear to be technically constructed, but has a friendly, open character and is also suitable for longer texts.

Robert Trogman originally designed Buxom for Fotostar in 1975 with lettering from Herman Spinadel. Trogman’s design is an old-fashioned headline face, whose style feels at home in a number a different periods: the Wild West, the 1960s–70s, and once again today! Buxom is an all caps typeface with a three-dimensional effect: each character looks like it sits atop a trapezoidal shape, whose right side is always shaded. An inline around each letterform enhances this shadowy image. Buxom is best used in large display sizes as a single word, or single line of text.

Archimoto V.01 Responded to the design of working drawing techniques in the world of architecture and letters on old stuff photography lens bodies, archimoto is designed with a more modern form, a little touch of detail in the corner area is so smooth that it aims to provide comfort to the eyes, by bringing 20 sizes including italic archimoto can be used more freely and can be adjusted more extensive exploration of its use. archimoto can be used as headlines and body text, the level of readability that looks comfortable makes the arrangement of letters more beautiful.

Urbane Condensed is an addition to the popular Urbane series, a versatile all-purpose sans-serif family of six weights plus italics. Perfect for headlines and running text, it is clear, classic and authoritative. It explores the same idea-space as early geometric modernist sans such as Futura, Erbar, Spartan and Elegant Sans, with a single-story a, a contemporary high x-height and very slightly condensed bowls. Unusually for a geometric moderne sans, letter-widths are optically balanced, giving an even colour in setting. Includes a full international character set, lining, tabular and old-style numerals.

Urbane Rounded is a curved, friendly version of Urbane, a versatile all-purpose sans-serif family of six weights plus italics. It explores the same idea-space as early geometric modernist sans such as Futura, Erbar, Spartan and Elegant Sans, with a single-story a, a contemporary high x-height and very slightly condensed bowls. Perfect for headlines and running text, it is clear, classic and authoritative. Unusually for a geometric moderne sans, letter-widths are optically balanced, giving an even colour in setting. Includes a full international character set, lining, tabular and old-style numerals.

Maculature features grunge, uneven look inspired by letters from old posters and advertisements. Capital glyphs are, although damaged, satisfactorily legible, whereas instead of lowercase letters, capital glyphs are placed, also featuring nearly abstract, hard to read dirty looks damaged spots and stains. The overall visual experience is rough. Capitals are legible and of small size, whereas the second group can be used only in bigger size, whereby rendering an interesting text texture in the course of alternate use. The font contains all the Latin accented characters used in European languages​​, Cyrillic and various ancillary graphemes, ornaments and rough lines.

Metronic Slab Pro is a slab serif typeface with a technological and minimalist look for text and headlines. It has six versatile weights from Air to Black with an alternative glyph set to improve its use in different graphic contexts. Metronic Pro has a wide range of OpenType features such as: old style and proportional figures, ligatures, case sensitive forms, fractions, stylistic alternates, arrows and an icons/ornaments set. This set of 60 icons, directly inspired from the typeface improves the OpenType features and can be quickly and easily use in your web design, GUI design, graphic design or any other graphic work.

MVB Gryphius is a digitization of uncommon type from an era normally associated with the work of Nicolas Jenson. Produced by Otto Trace, the fonts come from types used by Sebastian Gryphius in Lyon in the early 16th century. The italic appears in a book from 1524 and the roman and small caps appear with the same italic in another book printed by Gryphius in 1541. Retaining the rough contours and uneven texture of its source, MVB Gryphius is best used at text sizes from 12- to 15-point, but its old world character can work in display settings too.

Legible and dynamic shape, tons of OpenType options, different scripts – that’s Mato Sans. Difficult small size, long text in Vietnamese, huge heading in Russian or table full of figures to create? It’s not a problem with this family. There are over 2000 glyphs in every weight with such features: superscript and subscript characters, tabular lining and old style figures, small caps, fractions, arrows or even case sensitive parenthesis. Mato Sans was designed for use in Latin as well as in Cyrillic script. Every font contains an extended set of Cyrillic characters including special, local glyphs for Bulgarian, Macedonian and Serbian.

A roughened and worn version of Daily Tabloid JNL was originally created as a non-exclusive custom font for a client. The design emulates the look of old letterpress wood type and has now been released commercially as Regional News JNL; available in both regular and oblique versions. A special acknowledgement goes to Michael Hagemann of Font Mesa Fonts who partnered with Jeff Levine Fonts for the original project. His creativity and skill resulted in the textured look needed for the typeface. For some beautiful antique typefaces or fine text face collections, please visit Font Mesa Fonts.

Initially inspired by an untitled typeface from an old hand-lettering book, Berber has been extensively developed over two incarnations to function as a very strong and confident sans. The 2011 Berber revisions have enabled Berber to be used across longer settings as well as its more conventional use on larger applications such as signage. Berber was used as the text face for issue 46 of Eye, the graphic design journal. The typeface now features both king caps and small caps. Extensive additions to the numerals sets and complete opentype sets of international diacritics also extend its usage.

Gezart is a modern sans serif with geometric touch in 32 weights - 16 uprights and its matching italics. The weights are ranging from Hair to Heavy, with one of them (Extra Thin) is for free of charge. Each weight of Gezart contains more than 700 glyphs. The family is equipped for complex, professional typography with Open Type Features including — small caps, localized forms, old-style figures, standard ligatures, subscripts, superscripts, numerators, denominators, numbers in circles arrows, currency symbols and fractions. The Gezart font family is ideally suited for branding & layout design, posters, body text, web, editorial design, and more.

Linotype Really, designed by Gary Munch, is a typeface family of six weights with italics and small capitals that offers a broad palette of expressions to draw from, sensibly light to brightly stentorian. The moderate-to-strong contrast of the vertical to horizontal strokes recalls the Transitional and Modern styles of Baskerville and Bodoni, and the subtly obliqued axis of the stoke weight recalls the old-style faces of Caslon. A strong belt of sturdy serifs completes the Realist sensibility of a clear, readable, no-nonsense text face whose clean details offer the designer a high-impact display face.

Jobst Gutknecht was a highly successful printer in the city of Nuremburg from 1514 to 1542. He published the "Achtliederbuch" (the first Lutheran hymnal, with a whole 4 tunes) and many works by Martin Luther. This font is an accurate "recutting" of the font face Gutknecht used for the body text in his printed works. It has been extended to over 900 glyphs adding hundreds for modern use. It also presents many ancient things like old ligatures such as "tz", a hedera, and alternate style pilcrow for visual interest. And for those conservative types the modern lower case "k" is also available.

Must a letter always have a symmetrical basic form? What happens when the shape of the letters stretch like an arc in the reading direction? When writing with a broad nib, this is easily achieved. The HGB Santo examines the effect of this formal principle on the readability of a text. First attempts have shown a warm and reader-friendly typeface. Six shades from Light to Black, each with an italic should be sufficient for most applications. Small caps and old-style figures are available via OpenType features as well as some ornamental forms in the italics.

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

Humber is a rational sans serif typeface designed with a large X-height to provide clarity at both text and display sizes – with subtle features that really shine at larger sizes. Inspired by 20th century typefaces and modern European designs, Humber is suitable for a wide range of projects and audiences looking for a typeface that feels professional – without being overly familiar. Featuring seven weights and matching italics, discretionary ligatures, lining, old-style, and tabular figures, and conditional kerning for accented characters, Humber is truly versatile. With over 738 glyphs, Humber supports over 339 latin-based languages.

The titles struck me as handsome -- the titles and captions and place labels on a page I have of Henri Abraham Chatelain's Atlas Historique. I'd already modeled Antiquarian Scribe after the neat, slanted penmanship used in the body text of Chatelain's famous old world atlas; now I felt compelled to digitize this legible roman handlettering, as well. The letterforms are strong and handsome. They've got a certain deft, organic character. A personality. I can't fully explain it. But this antique alphabet seems suitable for many applications. Antiquarian is a full-featured font that works well with Antiquarian Scribe.

Beleck is a bold and horror display font. To make your creations look amazing, this font has the potential to take your creative ideas further. It is perfect for your horror designs and also a unique alternative to display designs. Beleck was designed for the needs of Halloween themed design concepts and events in October and November. Beleck is also perfect for quotes, greeting cards, invitations, posters, business cards, presentations and more.

Introducing Cheesy Bread, a super playful bold font. This font is perfect for your projects related to kids, which is playful and fun. This font also has 2 versions, clean and rough. Cheesy Bread also perfect for branding design, posters, apparel, logotype, header, quote, invitation, greeting card, cover, poster, fashion design and any more. Come with lot of ligatures character, its help you to make great lettering. This font is also support multi language.

Roter Hoody font is a retro serif and bold display font. You will get three types of fonts in this pack, Regular, Outline and Shadow version. Use this display font to add that special retro touch to any design idea you can think of! Very suitable for logotype, Stickers, Packaging design, Cricut Project, headlines, brand identity, t shirt or apparel industry, posters, magazines, books, YouTube, Instagram, websites, or any of your creative design projects. Enjoy!

Geometra is a new font family from Swedish type designer Bo Berndal and the T4 font foundry. Somewhere between a slab serif and a sans it has a crisp, geometric feel and is both 20’s retro and modern. Its soft curves and openness makes it very readable in smaller print. The powerful serifs give the font lots of character in larger sizes. Geometra comes in three weights, regular, semibold and bold.

Blackmon is a retro, bold script font that will bring you back to the 60s – 80s. This typeface has an extruded version, so you can create a retro effect with ease. This typeface is perfect for logos, invitations, labels, magazines, books, greeting/wedding cards, packaging, fashion, make-up, stationery, novels, labels, or other advertising purposes. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Is it modern, is it retro? Is it flowing, is it angular? It's all of these and more. Elegant and sophisticated, Joyeux© Script is a multilingual typeface in two weights that is perfect for any project that requires a touch of refinement, from invitations, labels, greeting and wedding cards, packaging, fashion, and logos to book covers and magazines. Includes: uppercase & lowercase regular and bold numbers and punctuation multilingual characters alternates ©2023

Arrear is a modern sans-serif font family. It includes three weights: regular, medium and bold. Has cut corners for lowercase letters. This is a versatile font that suits any project and is modern and easy to read. With it, you can create websites, logos, use in advertising, packaging, magazines and much more. This font will inspire you to create impressive designs that will amaze everyone! Multilingual support: extended latin and cyrillic.

Introducing, new font, Billy Magie - a stylish stencil serif with ligatures and alternates! Billy Magie is a stylish and bold stencil serif with a bunch of ligatures and alternates that will make your presentation looks amazing and sophisticated! This font will make your project looks more clean and modern. You can use this font for logo, poster, event, or your social media post. Billy Magie also support Multi Language. and already PUA Encoded!