When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Rigel was inspired by one poster by American artist and illustrator Katherine Milhous. It was a poster promoting the Ephrata Cloister in 1936. The letters from the Ephrata title on this poster are very concise and expressive, reminiscent of blackletter, but have a simplified look, which looks quite fresh even today. It was very inspiring to bring this font to life. In the process of redrawing and redesigning, the font has been slightly modified, but retained the character of those six letters from the reference poster. This is a header font consisting only of uppercase letters. It contains 6 styles from Light to ExtraBold. Despite the fact that the font has the character of blackletter, due to simplified forms, increased contrast and sharp lines, the font looks like a modern rethinking of Gothic script and it has found a new life. The name Rigel is taken for a reason. Rigel is a star, an blue supergiant in the constellation of Orion, and the Ancient Egyptians associated Rigel with the Sah - king of stars and patron of the dead. The human body after mummification was also seen as the embodiment of the soul. Of course, there is no direct connection between the font and Egyptian mythology, but indirectly in this way I wanted to emphasize even more the idea of incarnation, rebirth. Rigel is good for posters, large headlines, logos and any other large font compositions.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Milton Glaser on designing Babyfat: “This is the first alphabet I ever designed. For some inexplicable reason I called it Babyfat. Because I’m not a type designer, most of my alphabets are actually novelties or graphic ideas expressed typographically. Here the idea was to take a gothic letter and view it simultaneously from two sides. It started out as a rather esoteric letterform; it ended up being used in supermarkets for ‘Sale’ signs.” This forced perspective 3-D font has appeared on many LP covers and posters from the mid 1960s onward. This revival includes the original lowercase for the first time in digital form. Besides the three original styles (Outline, Shaded, and Black) made for photo typesetting, the new P22 Glaser Babyfat introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned. The Keyline, Fill, Glyph, Left, Right, and Down font styles give the user nearly infinite options to create dynamic chromatic effects. P22 Glaser Babyfat was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Arabetics Symphony is a Sans Serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. It is designed with a uniform glyph thickness and weight throughout, using a combination of simplified and clear open lines and curves and plenty of spikes and visual hints to compensate for the missing Latin serifs or traditional cursive Arabic calligraphic influence. This type family is suitable for both text and display applications. Additional Latin spacing is added to match an overall open-looking Arabic and is further maintained by a careful implementation of a typical Latin font kerning process. The design of this font family, including metrics and dimensions, was intended to make its Latin harmonize with other Arabetics foundry fonts. Arabetics Symphony fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Symphony includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the “tatweel” key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Symphony includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

Elevate Your Designs with Elegant Luxury Orliet Pro is a meticulously crafted serif font designed to add a touch of elegance and luxury to your visual creations, especially ideal for enhancing the sophistication of logos. This font stands out for its uniqueness, boasting over 50 ligatures and alternative characters with artistic flair. Its well-designed script optimizes your designs, ensuring a seamless integration into your projects. Key Features: Versatile Ligatures and Alternatives: With over 50 ligatures and alternative characters, Orliet Pro provides a wide range of design possibilities. Each character exudes a unique artistic charm, allowing you to customize your text in a myriad of ways. Elegance in Every Detail: The design of Orliet Pro aims for elegance. The serif style adds a touch of class to your projects, making it perfect for creating logos that exude luxury and simplicity simultaneously. Seamless Font Families: Each member of the Orliet Pro font family complements one another effortlessly. Whether you choose the Orliet Pro script or Orliet Pro icons, they work harmoniously to enhance your overall design. Enhanced Design Flexibility: Orliet Pro script and Orliet Pro icons contribute to the ease of design integration. The script is thoughtfully designed to optimize your creative process, while the icons provide additional elements for a professional touch. Cyrillic Alphabet Inclusion: For an added layer of versatility, Orliet Pro includes the Cyrillic alphabet in regular, italic, bold, and bold italic styles. This ensures that your designs can reach a broader audience with diverse language preferences. Optional Details: Design Concept: Orliet Pro was conceptualized to bring an air of sophistication to your designs, with a focus on creating an elegant and timeless serif font. Creation Inspiration: The font draws inspiration from classic design elements, aiming to provide a timeless aesthetic that resonates with a modern audience. Historical Context: While not a revival, Orliet Pro pays homage to the timeless elegance of serif fonts, adding a contemporary twist to meet the demands of today's design trends. Elevate your designs with the timeless elegance of Orliet Pro. Explore the possibilities of serif and script styles, accompanied by convenient font icons, all seamlessly integrated into one versatile font family. Embrace luxury and simplicity in every character.

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

Elegant, fluid and romantic are but a few of the words that describe this beautiful font. Certificate is a perfect choice for awards, wedding invitations, greeting cards - in fact any products for which a sophisticated, contemporary yet formal look is sought. Certificate was designed for situations that require: - a classical, “award” like font (for certificates, invitations, formal notices etc); - a very legible font (particularly important for invitations to events such as weddings and formal occasions where details of the occasion are very important and should not be mis-read); Certificate is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Bricbrac is a layered family that allows different combinations. The typeface is full-cap, with a squared style, the font doesn’t contains any curve. The different styles gives 3D effect to the letters and the typeface user can play with the Lines and Pattern effect. Bricabrac consists in a 9 styles family. This is a monoline typeface and the variety of combinations and style make it perfect for magazine and poster design. The fonts have an extended characters set to support Central, Eastern and Western European languages. Notice: The spacing is optimized for the version with volume, therefore the fonts should always be used with the 3d volume effect.

Monofontis is a contemporary, monospaced display typeface full of ligatures and glyphs to keep your designs stylish, modern, and standing out in a crowd. Monofontis typeface has a contrasting character that combines laconic technical forms, extraordinary details, and calligraphic grace, most noticeable in Italic. As a monospaced typeface, Monofontis will be indispensable for magazine titles, headlines, and short text fragments, logos and branding, web and interface design, posters, and advertising due to its unique nature. Furthermore, Monofontis is an excellent match for a tabular design, columns, clear and rigid layouts, and programming code.Monofontis consists of 18 styles: 9 styles in the Basic family, 9 styles in Italics.

Breton is a geometric slab serif typeface inspired by Boston. Breton has a strong personality and it is an ideal face for headings and branding design. Its most noticeable characteristic is a great difference of proportions between rounded characters (like "o", "c" or "e") and non-rounded ones (like "n", "m" or "z"). By combining them, you will be able to give your compositions a very unique rhythm. Each font style comprises 417 characters, which support more than 200 Latin-based languages, as you would expect from Latinotype fonts. Breton comes in 10 styles, from Hair to Black, and includes matching italics. Breton was designed by Daniel Hernández and Rodrigo Fuenzalida.

In the early days of printing everything had to be worked out from scratch. This set of lettering is based on section headings used by the Printer Lucas Brandis (no known relation), the first printer to operate in the city of Lübeck around 1473. They remind me of a medieval version of the spray paint graffiti so often seen on the sides of trains. A bit on the crude side, but also and importantly extremely noticeable. So whether you use it for creating old styled printing or some wild modern eye grabbing text item, its robust and sturdy shapes will be certain to grab the eye.

Hello... this is Cherries, a cute and bounch hand drawn font family. Cherries have 5 weight: light, regular, medium, semibold and bold with 2 styles: regular and slanted also included with pairing font Cherries Display. Cherries included with some alternate character and ligature to make your design awesome. Cherries is fun and very suitable for cute or girly design needs such as cover design, typography, sticker, greetings card, logo, merchandise and many more. Cherries also easy for read and you can use it for quote or caption. Add this beautiful handwritten font to each of your creative ideas and notice how it makes them stand out!

Garagin Rock was developed from the studies for the title of a publication called Garagin in 1999. Its use is indicated for the titles on posters and stuff like that, but feel free to dare. Anyway, it really was not made ​​for small sizes and is not a WebFont obviously, but again, feel free to dare. May you notice something odd in the baseline position, this is to keep leading with a defined size. But of course you can change it in any editing program. Being a heavy typeface, use in moderation... or not! Garagin Rock Lite is a version with a limited set of characters.

Qindars is a display font with a unique and fun theme, created by paying close attention to the uniqueness of each letter character, as well as the level of precision so that when used in words or sentences, it can produce a truly beautiful combination of letters, all of which we carefully designed for ourselves. Show you what makes us unique, and notice how beautiful, harmonious, and smooth each graphic treat is. This typeface is ideal for usage in a variety of unusual graphic projects, including games, book titles, outdoor activities, posters, banners, quotes, branding, and other unique projects. So, what are you waiting for? Get this font now!

On first impression, Venis is a traditional text typeface: clean, simple and elegant with nice contrast. On closer inspection, you'll notice nuances that add charm and wonder, much like its name (rhymes with "tennis"). Is this font a serif or sans serif? Hmmmm, it never really commits. Further design liberties were taken to create unique qualities in its characters, which are best exemplified by the signature lowercase y. This font family is optimized for print, and has worked beautifully for letterpress projects including wedding invitations and birth announcements. Venis will also work well in newsletters, brochures, proposals, magazines, books, and other text-heavy paper products, bringing creative elegance to your designs.

Minspire, inspired by my own handwriting. Originally started as part of my "Inspire" project during the pandemic. what was originally a personal challenge to keep my creativity level in difficult times, became a passion to learn making Typefaces professionally. (I don't think there is any school in the world that teaches you that properly). The name is a combination of my initials Mehras Irani, combined with the word inspire. Unicodes included in this family: Basic Latin Latin-1 Supplement Latin Extended-A *This is my first font/typeface design. If there are any mistakes you notice. please contact me and I will make an update to the family.

The marker has been sitting in your pen drawer for years. You can't bring yourself to throw it out, because it's the best marker in the world; but it has become worn and frayed, and you can't bring yourself to use it, either. But today you have just the project for the best bad marker in the world, and you take it from the drawer, remove the cap, and notice with glee that time has accumulated a perfect supply of ink in the frayed tip. You bring it down on the pristine white paper in front of you, and magic begins to trace itself on the page...

Flyoika is a slab serif family with a fairly low x-height, long ascenders, and considerable contrast. The family has five weights, each with an italics and it can be used for either display or text. Flyoika was not designed to meet a particular need but rather out of curiosity. Years ago I had designed two slab serif families, FlyHigh and Euroika, that I recently noticed had a lot of similarities and I wondered what a blend of the two would look like. Several corresponding characters in the two families are considerably different and in cleaning up the results, I usually opted for simplicity. The name "Flyoika" reflects these origins.

I traveled a lot: in the beginning on my own, later as a tour guide. I always used the English word ‘abroad’ to describe a trip to a foreign country, but I noticed that the English, Australians and New Zealanders preferred the word ‘overseas’. I then realised that they all lived on an island, so most of the foreign countries for them were across the sea. I had to think of that when I made this font! Overseas is a brush font with a certain rough elegance to it. I made it using poster paint and a brush. Use if for posters, product packaging and book covers.

French designer Christophe Badani developed the Linotype Rough family in 1999. The family contains nine different typeface styles, each with a slightly different voice. The forms appear to have found a unique middle ground between hand-drawn letters and pure geometry, especially Linotype Rough Outline. Make sure to pay special notice to the true-italic forms in the three italic weights! Badani's attention to typographic detail is not to be missed. Linotype Rough is perfect for headlines and display work. The medium and bold weights can also function splendidly in text. The entire family is included in the TakeType 4 collection, available through Linotype."

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

OpenType Layout features: smallcaps, stylistic alternates, localized forms, standard ligatures, uppercase-sensitive forms and spacing, oldstyle figures, lining figures, smallcap figures, arbitrary fractions, superscript, subscript. Cambria has been designed for on-screen reading and to look good when printed at small sizes. It has very even spacing and proportions. Diagonal and vertical hairlines and serifs are relatively strong, while horizontal serifs are small and intended to emphasize stroke endings rather than stand out themselves. This principle is most noticeable in the italics, where the lowercase characters are subdued in style, to be at their best as elements of word-images. This font is suitable for business documents, email, web design.

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Apparently, Lexicon is the most expensive font in the world. ‘Skiart Lexiconic’ has been on a long growing path getting to where it is now. This font family was originally inspired by the san serif font ‘Skia’, by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any actual serifs. It took a small step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. Then came ‘Skiart Serif Leaf’. and now... We present to you... DT Skiart Lexiconic. Having evolved from the Skiart family, we chose to give it the serifed styling of Lexicon. This is no way a copy or clone of Lexicon. It still has the basic bones of the original Skiart font, but the position, shape and size of the serifs were very much influenced by the world famous Lexicon font. DT Skiart Lexiconic is not the most expensive font in the world.

Gold is all new for 2021, the complete family has been rebuilt using the multiple masters technique. In this new version we've removed any alternatives that could not be shared across all weights in the family and we've trimmed a few others that just were not practical in keeping a consistent look to the whole font. All the alternates now have matching accented glyphs across all weights. Case sensitive forms have also been added to all weights. With 14 weights the difference between weights are closer together which may give you the effect of a variable font where variable fonts are not supported. For technical reasons the original Gold family has now been split into two families with Gold having ten weights and the four heavier weights under the Gold Magnum family. The Gold and Gold Magnum font families support accented characters for western, central and eastern European countries. Gold comes with OpenType features to access the alternate glyphs however you will need an application such as Adobe Creative Suite to take advantage of alternate glyphs.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The lowercase has classical Roman letterforms, and together with the cute, swirly capitals they make for a slightly more feminine take on the genre. Trajan lettering - with added sugar! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Presenting the LOVIOLA typeface from alitdesign. LOVIOLA font is designed by combining an elegant script font with a simple and charming serif font style. This font has a modern serif style combined with elegant script-style letters that make the LOVIOLA font look different and unique from the fonts you have on your computer collection. LOVIOLA is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "LOVIOLA"contains 541 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files. Thank You Alit

A great addition to every graphic designer's toolkit. Realest™ is a modern slab serif display font designed with mathematical precision. The entire typeface is crafted with consistent angles & measurements down to the smallest detail. It is built on mathematics. For this reason, it is a highly versatile display font, ideal for branding, logos, websites, ads, graphics, clothing & printable materials. What makes Realest™ stand out is its classy yet modern style. It could be classified as 'futuristic' (due to its square-shaped structure), yet the slab serif details add a touch of class that most futuristic fonts lack. This gives it a unique character, making it ready to perform well in a wide variety of creative projects. Features: • A unique fusion of Modern & Slab Serif styles. • Designed with mathematical precision. • The characters share the exact same dimensions (where possible). • Monospaced (with even spacing between characters). • Comes with a generous number of alternate glyphs & accented characters. • Available in both Regular & Extended (wide) styles. • Highly versatile Realest™ Extended is a completely free font that can be used in commercial projects.

Metrisch is new sans serif typefamily of seven weights plus seven italics uprights in each weights. The typefaces designed based on traditional geometric construction that have been built with letter size wider, the x-heights taller and short descender that almost proportioned with the basic letter shape. With little details added like clean vertical cuts on the terminals and optimized sharp corners that makes this fonts smooth and refined looks. It was represents the flavor of the most common humanist typefaces style and grotesk feels. The weights comes from extra light to extra bold suitable to make display appearance, and the book and medium weights also works well as small/medium text sizes to accompany your design, such as editorial fashion magazine, solid headline, websites heading, poster, advertising, logo, signage, etc Also, Metrisch type-family fully loaded with OpenType features such as some stylistic alternates, case-sensitive forms, fractions, small capitals,and another most common numerals features such as super & subscript, tabular & oldstyle figures, numerator-denominator, and has more extended latin diacritics characters.

A personalized cursive written with the pointed brush The strange name of this font means nothing other than ”brush,“ but only the Dutch understand it. The typeface is spirited, amusing and flashy. I made the handwritten original of DeBorstel Brush quickly and without interruption with a pointed brush. In the capitals, DeBorstel Brush appears to be almost too balanced for handwriting. In contrast, the lower case letters are intentionally very individual and uneven. A bit more life is added to the typeface with ligatures activated which are constructed with alternative letter forms — and as a result, a number of problematic letter-combinations are improved. And if this typeface is still not lively enough for you, the additional alternative character forms a e g i j l n o s t u z are available with the Open Type-Function ”Discretional Ligatures“. DeBorstel Brush is suitable for all European languages. It includes ”Unicode Latin Extended-A,“ for Central and Eastern Europe incl. Turkish, and even Cyrillic and Greek, too.