Designed originally for the BBC's listings magazine "Radio Times", this dingbat font has been extended to include the US rating as well as the UK ones and a selection of symbols for use on DVD film packaging and satellite listings. The font used is Paralucent, and an ideal accompaniment. Note: the icon for sexual content comes in two versions, one with genitalia and one without.

Originally presented as an alphabet suitable for movie title cards, this font is based on a 1920 work by showcard artist E. C. Matthews, and named after the eponymous 1940s radio show about a local saloon and its never-present owner. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Appetite is a bold sans font with a lot of sweet ligature glyphs. Specially designed for logotype, packaging & editorial design projects. Look at the new Appetite version — Appetite Pro — Release 2016!

Smoothy Pro, is a new version of Smoothy, our brushy textured font launched last summer. This summer we propose a smoother version without textures and also a light and slanted version

DIN Text Universal is the most advanced DIN superfamily ever. It combines the powerful DIN Text Pro with DIN Text Arabic bringing the number of glyphs to 3320 per font. In fact, this set of fonts contains the most complete and powerful array of arabic features commercially available. It supports all variations of the Arabic script such as Persian, Urdu and Pashto. It is also enhanced with 30 advanced opentype features and kerning for all languages. The four major scripts Latin, Arabic, Cyrillic and Greek are now matched across the design of the whole family, respecting at the same time each one's modern cultural identity. With its vast array of weights, the extended support for numerous languages, its careful and detailed design, it will prove to be extremely valuable for many complex corporate projects and corporations which operate internationally.

Take a trip to a tropical paradise. This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. The OpenType Pro version offers extra alternate characters.

Tobi Next is the improved version of Tobi pro, which in the extended version contains 213 ligatures, contains Greek and Cyrillic, as well as contains its basic version at a lower cost

Only You Icons, with more than 300 options between icons, ribbons and frames that will make your project very attractive and romantic. Only You Icons is brilliant. Also available Only you Pro.

The source of inspiration for Voyeur Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a charmingly sophisticated diagonal monogram alphabet known as “Broadway Monogram Initials”. This wonderful typeface is now digitally recreated, revived, and updated for modern use. Download and view the MFC Voyeur Guidebook if you would like to learn a little more. MFC Voyeur comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

This is a unique design by Elyahu Koren. He wanted to design another version of his Koren Tanakh sacred font that was for Biblical use only. So he designed Koren Siddur to be used for page numbers etc. OpenType Pro Excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. OpenType Pro includes new advanced features like Dagesh Hazak, ShevaNa, Qamatz Katan, Holam Haser and wide letters. Best used with Adobe InDesign CC that support complex Hebrew text. Please check these advanced features in this link: tinyurl.com/2fbkuy95

Euroscript Pro is the handwriting of Ralph M. Unger, a very talented and hard-working German type designer. Unger has redesigned a large number of beautiful ancient typefaces during the last few years. Peter Rosenfeld of profonts persuaded him to try and produce his own very beautiful handwriting. Kind of hesitant at the beginning of the design process, Unger's joy and excitement about the project was continuously growing during the design process. He designed not only the standard character complement West, but added all of the Eastern European Latin glyphs and, on top of that, even the complete Cyrillic characters. Born and grown up in Th�ringen, former East Germany, Unger has a fair knowledge of Polish and also Russian (Cyrillic). Euroscript Pro is a very beautiful, casual, informal and modern handwriting of a contemporary type designer. Even though a digitized handwriting, it keeps a very natural and pleasant look, at the same time being generous and well-readable. The individual characters combine quite easily and perfectly with no need for extra variants.Euroscript Pro is well-suited for plenty of applications, e.g. personal correspondence, invitations, greeting cards, headlines etc.Euroscript Pro is supplied in the complete Latin character set (West + East) plus Cyrillic.

Blackstock has a distressed alternate for every capital letter, consecutive characters are controlled with the OpenType Ligature feature. Blackstock Pro extends the character set to support Eastern European Latin, Baltic, Greek and Turkish.

A font inspired by regime propaganda inscriptions found in Italian institutional and civic architecture of the 20’s and 30’s. Bold, severe lettering, suggestive of pre-war Italian Art Deco and American Depression Modern aesthetics.

Isaac Newton, father of the theory of gravity, used several forms of handwriting in his life, in numerous texts about numerous scientific subjects. Here, we propose a handwritten font, using a particularly legible script form, coming from texts written in 1672, the year he presented a new reflecting telescope to the Royal Society. It is a Pro font containing Western, Eastern, Central and Northern European, Icelandic, Baltic, and Turkish diacritics. The alternates and ligatures allow the font to look as closely as possible to the real thing. The features allow OTF software to vary the characters of a word automatically, with no more work than selecting contextual alternates and standard ligatures.

P22 Slogan is a non-connecting script font that captures the essence of the lettering used in 1950s European advertising. Bold strokes of this brush-drawn face make this design a great choice for both retro design and contemporary work. The font is based on the 1957 design Slogan by Aldo Novarese for the Italian Nebiolo Type Foundry. At the time of its original release, it was touted for "striking publicity work". This new digitization accurately reproduces the outlines of the original not found in previous digital versions of this design. P22 Slogan is a non-Pro Opentype font that includes Central European characters.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

ATTENTION COSTUMERS! A new version of this font was released in 2019. Take a look: Breathe Neue Reaching a total of more than 1000 glyphs, Breathe Pro is Maximiliano R. Sproviero’s gift of the year. The aim of the designer was once more to give the user the chance to play and travel from very formal and conservative letterforms to the amazing world of swashes and flourishes. Possibilities of alternating and ligating characters in this font are absolutely fantastic. After his last creation, Parfait Script, Lián wanted to make a more universal font. Delighted by typographic works of Didot and his followers of the beginnings of 1800, Maximiliano R. Sproviero started what became another obsessive project, which is now named Breathe, “cuando las letras respiran...” what could be translated as “when letters breathe”, due to the feeling that you are reading letters that are alive. Breathe comes in two styles which have a significant difference as regards to the quantity of glyphs available inside. If you want to get the most complete style, with over 1000 glyphs, (including contextual alternates, stylistic alternates, swashes, terminal forms, titling alternates, historical forms, stylistic sets, standard ligatures, stylistic ligatures, decorative ligatures and frames) then your choice should be Breathe Pro. On the other hand, if you are interested in having a less decorative font with the nice touch of Lián’s style, then your choice should be Breathe Standard, a more limited version of Breathe, including terminal forms (leaves) and frames. With Breathe Pro you will surely have fun at the same time you are designing and that is not an unimportant thing. The world of type-designers is growing each year, and the features of Open-Type are letting them think their creations as if they were truly pieces of art. At least, Breathe Pro is inspired in the Art of our predecessors, those who with a pen loaded of ink would decorate each letter, each page in such a lovely way. Yes, -lovely- is the word. We would not have the amazing lettering artists, calligraphers, typographers of nowadays if that -love for letters- had not traveled from generation to generation. Breathe Pro is an example of this love. An example of what Maximiliano R. Sproviero feels about typography and letters. Pssst... Look for more images and the User’s Guide at the gallery section to see it in use! http://origin.myfonts.com/s/aw/original/89/0/46067.pdf

Fiorista is a pretty brush scrip with thin and curly line. Florists works best for greeting card, wedding ceremony invitation or shop card of fashion or apparel. It could also be used for film, magazines, advertising and websites. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

With open palms, place your hands together at the center of your chest, close your eyes and bow the head slightly. Namaste! Welcome to a beautiful spiritual journey. Namaste is a font collection, designed by Coto Mendoza, consisting of two variants: a capital sans and a script font (based on watercolor calligraphy strokes). Each variant comes in 5 weights—Thin, Light, Regular, Bold and Black—and 2 versions: Essential and Pro. The script font, in its Pro version, provides a wide range of OpenType features such as swashes, alternates, ligatures and different stylistic sets. The Namaste family also includes a set of ornaments inspired by Hindu and Buddhist symbols—that Coto Mendoza saw virtually everywhere on her trip to India—like Mandalas and Yantras, and others found in textiles and monuments. Namaste is the perfect choice for wellness, healing and therapy oriented products. Its smooth shape and soft curves allow the user to create beautiful designs for essential oils, bath salts, quartz crystals, mindfoodness, candles, incense and aromatherapy products packaging. The font is well-suited for publishing design (short text); self-help and healing handbooks; tarot and divination cards; and women’s empowerment and spirituality publications. Namaste is an ideal typeface for yoga (and other body disciplines) center branding; holistic centers; and group meditation, womb blessing and circle of women invitations. Namaste is a beautiful journey full of love and inspiration. Namaste: a spiritual journey.

This unusual display face is another in a series of works based on the work of lettering artist Samuel Welo. The sinewy curves and radiant inline decoration give this typeface a cozy, warm and inviting charm. Named after the informal radio addresses popularized by Franklin Delano Roosevelt in the 1930s. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.