Give your documents a sense of history. The study of the ancient Egyptian Hieroglyphics has been an ongoing fascination by scholars and Egyptology buffs for literally centuries. The discovery of the Rosetta stone in 1799 provided an incredible breakthrough in deciphering the hieroglyphs, however there continues to be conflicting opinions on the literal translation of both the phonetic and ideographic symbols. As such, the interpretation provided in this manual represents an assembly of the most popular transcriptions. This series contains 62 assorted gods and deities as well as a few well known kings or pharaoh's from the New Dynasty. It is important to note that most of the gods and deities were represented in many different forms throughout the centuries and regions of Ancient Egypt, and these are but some of these representations. NOTE: this font comes with an interpretation guide in pdf format.

Superb is a new typeface based on real brush pen script and also influenced by lettering shapes from the sixties and seventies. The font includes various swashes with volume and curls.. Superb’s letters got high contrast and some psychedelic curves. This font includes negative figures and a full alphabet set with cut out shapes. Take a look at the Superb Video https://vimeo.com/94062611 It’s designed with high contrast and enhanced legibility regardless its artistic look. Superb’s original letterforms are a beautiful piece of art and elegance no matter you observe them as separate symbols or as words, text paragraphs etc. Their appropriate use could be found therefore in many different aspects – from decorative greeting card, fresh packaging or expressive headline, to artistic t-shirt design, poster or distinguished brand name. Superb has a lot more to show when you access its OpenType features.

Museum Fournier is inspired by a set of Rococo capitals designed by Pierre Simon Fournier le Jeune circa 1760. The matrices are part of a set imported to Sweden by J.P. Lindh in 1818 from Breitkopf & Härtel in Leipzig, Germany. They are now in the Nordiska Museum in Stockholm. Type designer Torbjörn Olsson has expanded the original 31 lead matrices in the collection to 55 characters. Please note that the font contains capitals only, no lower case letters and no figures either. Museum Fournier is an OpenType creation, for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Museum Fournier is our ninth introduction. Museum Fournier is part of the growing Museum type family. Museum also includes three different border fonts, an ornament font with some of Granjon's arabesques and Museum Tertia Cursive, an exquisite 1700's typeface with modern additions.

And now Arabic Scratch font is here! Based on the old Naskh based typeface, this font along with the other Si47ash dirty font Persian Grunge, is introducing new possibilities to use Arabic letters for some of your exciting graphic projects, including book covers, posters, banners, brochures, catalogs, logotypes, and more! Every glyph is unique and all the patterns and textures are distinctively designed and make the font an artwork itself! It's so convenient, you do even have to do anything! Just type the words and the magic happens spontaneously! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

This set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590. It contains two roman alphabets : the first of decorated letters, the second of single large capitals, all with Garamond style, and a few fleurons using the same background pattern style. Both containing Thorn, Eth, L slash and O slash. It can be used as variously as website titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font is conceived for enlargements, possibly strong ones, remaining very smart and very fine (especially decorated initials). This font may be used with all GLC Foundry blackletter fonts, but preferably with 1543 Humane Jenson, 1557 Italique, 1589 Humane Bordeaux, 1742 Civilite, 1776 Independence without any fear of anachronism.

Black Tie is an art-deco font with the smooth sophistication of retro design. It is very readable and can be used at all sizes. It functions well as a display font and creates attention-attracting headers and subheaders. Black Tie comes in two styles: 1. Black Tie Regular: in which the caps and lower case have different baselines. Black Tie Regular is better for sub-heads and display. 2. Black Tie Baseline: in which all characters share a common baseline. This style is better for body text and smaller sizes. Fully professional, Black Tie contains a full character set Ñ Upper and Lower case, all numerals, punctuation, symbols and accented characters. It is suitable for layout work in all major European languages Ñ Spanish, Portuguese, German, French, Swedish and Italian (to name a few). The characters are spaced for readability and have been carefully kerned.

Margit Variable is the single font file of the type family Margit. Containing two-axis, one for setting the weight and another for the italic, this convenient single font file allows you to explore and mix endless typesetting combinations. You can now precisely choose a unique combination using the two-axis sliders, fitting your exact needs. The complete family is included in Margit Variable, containing all the characters and features in Margit, including Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

As the foundry’s top–of–the–line family, Gerlach Sans was named after the highest peak in Slovakia. Its functional design is enhanced by a few subtle ingredients, adding life and giving words a more playful voice. The family has eight weights ranging from delicate hairline to the super thick black. Each of them includes a genuine italic companion with variant shapes. The large character set accessible through OpenType features provides the designer with a wealth of opportunities and supports a wide range of Latin-based languages. It is stuffed up with tabular and proportional figures, old-style and lining figures, fractions, superscripts and subscripts, ordinals, case-sensitive forms, circled numbers, arrows, icons and many more. Combining legibility and usability of its grotesque style with cool elegance, Gerlach Sans provides a strong partner for your print and web project. You can download the instruction PDF here.

This font was inspired from the so called "Insular Style" Latin script used in Celtic monasteries (Ireland, Scotland—with the well known Book of Kells—and England) from the late 6th to 9th, before the Carolingian "Caroline" (look at our 825 Karolus). It was a regular script, rounded, written slowly, used mainly for specially meticulous books, with a very few ligatures. The rarely-used capitals consisted of enlarged lowercases, but, on the other hand, there was numerous historical initials. The Titling style in this familly allows to two-color decorated letters to be created, using OTF Titling feature or copy and paste technique. We have created the font as to be adapted for contemporary users, differentiating between U and V, I and J, which has not any relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash, K,W... The specific Celtic "y" is added as an historical alternate.

Philip Bouwsma returns with yet another great manifestation of historical calligraphy. Luminari is an amalgam of High Middle Ages writing, a blend that combines the ornate Church hands with the simple Carolingian from the ninth to the fifteenth centuries. Its majuscules are particularly influenced by the versals found in the famous Monmouth psalters, as well as those done by the Ramsey Abbey abbots in the twelfth century. The minuscules also exhibit some influence from the book hand of prolific humanist Poggio Bracciolini from the early fifteenth century. Italian and essentially romanesque in style, Luminari exercises a slight tension between the round forms and the angular “gothic” styling. Luminari was updated with plenty of alternates and expanded language support in 2012. It now supports a very wide range of codepages, including Cyrillic, Greek, Central and Eastern European, Turkish, Baltic, Vietnamese, and of course Celtic/Welsh.

When I released Halogen, I asked ‘Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no?’ Go, click on the Halogen link and read on, if you're interested. Halogen was well-received, so I decided to take it further with Halogen Flare (the name kinda tips you off as to what kind of typeface it is, don't ya think?). As always, I prefer not to take short cuts and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. Now, go make cool print and digital things with it.

Create a great combination design with this font family! Leophard font family is a modern slab serif that is inspired by sporty design and vintage style. There are 6 different styles that you can apply in your design projects. This font is made with tenacious basic shapes, the visuality of strength, old school movement, and modern minimalist style. - Regular style - good for your titles, sub-headlines or body text for readability. - Bold style - recommended for your titles, naming, labels or logos. - Bold inline style - is cool for your big typographic designs that are showing the precision of the shapes. - Outline style - good for your additional text, or minimalism design purposes. - Shadow style - suitable for vintage logos, minimalist effects, and titles. - Stencil style - inspired by street art and letterpress design. Recommended for design project which visualizes strength and movement. Make a great combination on your label designs, brand, poster headlines, movie titles, storefront, monograms, sport designs and merchandise design.

Peach Plum is an elegant handwritten font style. It contains three styles: regular, oblique, and outline.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Bordonaro Spur - Bordonaro Script’s partner - is a typography strongly influenced by old beer labels and includes some serifs based on Frederic W. Goudy’s Copperplate, but with some softened spurs adding an elegant and soft texture to the text. It is ideal to be used on large bodies and has a set of special ligatures ideal to be used in branding. Psss...Check out the NEW Bordonaro Spur with Rounded corners , same version but soft! FEATURES Co = company1 Co = company2 Estd = established Inc = incorporated Ltd = limited Mc = mac Rd = Road St = street And also from Adobe CC you can activate Style Sets (SS) and get ideal ligatures for ordinal numbers: 1st = st 2nd = nd 3rd = rd 4th = th Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

A dynamic and strong new Grotesk, Lazare Grotesk is a family of 21 styles. The family comprises seven weight, from UltraThin to Black, with not only italic but with backslanted too, which allows to make fun and cool layout. In the black weight the font is particularly contrasted. This family contains many OpenType features, such as Alternates, Proportional Figure, Tabular Figures, Old Styles Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. The fonts have an extended characters set to support Central, Eastern and Western European languages. Lazare Grotesk supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

The new Bunday™ Slab Font Family consist of three main states with different moods: the crisp and distinctive slab serif, the cute script styled italic and the matching upright italic. All states of Bunday™ Slab share the same contemporary, clear and open base forms and create a space-saving and pretty homogeneous text colour with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. Bunday™ Slab ships with 9 standard, 9 upright italic and 8 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more. Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Slab Specimen PDF Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 3 Moods: Sans, Upright and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Only available applications with advanced OpenType® support

I am pleased to present you an excellent futuristic font "Chipen" in unique graphic style! This font consists of regular, expanded, regular italic and expanded italic, these 4 fonts are encapsulated in one variable. With one font variable, this will cover 4 styles and cover all the weights between regular and expanded. If you are used to working with variable fonts it will give you more weight options, if you have never tried this variable font it will be an amazing new experience for you, take a look at this video snippet: https://youtu.be/jgqNPGeoVjc Chipen comes in bold and with a “RoundCube” cut, this is perfect for modern, Sci-Fi, and technology themes. Coupled with the stripe in the middle of the makes it appear more sporty. Not only that, this stripe can also display "Eighties" if you package it in a retro concept. Another strength of this font is the lowercase ligature, we present a lot of ligatures and one of them might be suitable for your logo brand. Finally, this font is a dynamic font with a variable concept capable of covering more 'weight', unique to appearing in various eras, exploring the world of retro and even science and fiction.

Talking about the numerous types that today bear the name of Giambattista Bodoni are a kind of tribute as much to his reputation as a printer as to his ability as designer and engraver. In fact, all of them tent to be more in the way or style of Bodoni than simply copy of his letterforms. Like many other type designers, we’ve been seduced also to develop our own point of view of his work, nowadays enriched by some features of OpenType format that allows a variety of combinations: standard ligatures, discretional ligatures, stylistic alternates and old styles figures. Whereas the Bodoni serif in the capitals was of the same weight as the thin stroke but joined with a very slight fillet (Bracket) and the lowercase serif were like his French rivals, the Didots, featured straight- edged serifs that were unbracketed. The ascenders and descenders of this new Bodoni are shorter, giving in this way, more space for enlarge x high. Specially designed for editorial design and advertising, can be used in magazines, annual reports and all kind of fine print materials or web pages. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning.

“Nasser” is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. My father’s name is “Nasser”. Consequently, “Nasser” Typeface was designed for eternizing the memory of my late father. He was the person who taught me how to like arts, literature, and languages. Besides, my first cute child is named also “Nasser.” The main characteristic of “Nasser” Typeface is in its modern non-descender style for some of its Arabic characters such as “Sad”, “Seen”, “Sheen”, “Qaf” and others. The shape of the characters' “dot”, “dots”, and “point” is innovative; a triangle with a semi-circle shape. “Nasser” Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro’s exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The weights of the Metro family, Metromedium #2™ and Metrolite #2™, were each designed by Mergenthaler Linotype's design office under Dwiggins' supervision. In 2012 Toshi Omagari reworked the Metro family as "Metro Nova" with many weights into a modern type family that even contains the alternate characters from the origin Metro family from Dwiggins. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype portfolio, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments.

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

Emulating real handwriting has always been an aim of font designers in the digital age. The standard mainstream scripts and doodles that were available for the longest time have not successfully reached that goal. A letter always looked the same wherever you placed it. Some workarounds, such as letter alternates and ligatures, were used in many fonts, but they were a bit inconvenient to use, and in some cases didn't work correctly because they had to be placed in separate fonts from the main character set. Not until now, with OpenType technology, have we been able to emulate real handwriting, by including multiple character sets in the same font and programming it for smart form changes through letter sequence counting. Secret Scrypt was the first Canada Type font to make it to the bestseller list in the summer of 2004. In early 2005 a New York restaurant chain picked Secret Scrypt to use on its menus and internal signage, but they wanted to look even more like real handwriting, where two or three instances of the same letter used in one word would automatically change and look different from each other. Using OpenType technology, Canada Type produced a Secret Scrypt Pro for that restaurant chain under the direction of Mucca Design in New York City. That initial version contained three different character sets in the same font, and some intelligent programming that determines the sequence of the letters and change their shapes accordingly. Now the retail version of Secret Scrypt Pro is available, with four character sets built into the font for even more variety on the real handwriting theme. Make sure to check out the Secret Scrypt Pro PDF in the MyFonts gallery for tips on using Secret Scrypt Pro. Secret Scrypt is perfect for menus, handwritten notes, theater programmes, charity organization posters, and any design that attempts to get close to people with the personal magic of real handwriting.

Introducing: Urbano Handwritten! A fancy handwritten font with a urban style. With strong strokes and ae extraordinary style, Urbano Handwritten is perfect for branding projects, daily text, product packaging - or simple style for your photography text.

Old styled Brushwork-Font. Poisoni Pro comes with many OpenType-Features. Three Styles of Numbers, Three Styles of Caps, many Ligatures and alternate Ends with Swashes. Also Ligatures for the Glyphes "Th", Td, Tk and more.

TT Ramillas useful links: Specimen | Graphic presentation | Customization options TT Ramillas in numbers: • 28 styles: 7weights, 7 true italics, 4 decorative styles, 7 initials styles, and 3 variable fonts • 900 glyphs in each style (except decorative & initials styles) • Support for more than 180+ languages: extended Latin, Cyrillic • 25 OpenType features in each style (except outline styles): small capitals, ligatures, old-style figures, arrows and other useful features • Amazing Manual TrueType Hinting TT Ramillas is a fully reconsidered high contrast transitional serif, which is perfectly adapted to modern realities and requirements. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes, high contrast and detailed elaboration of each character. The visual features of TT Ramillas are high contrast, small flared serifs, variable slope of ovals, open aperture of signs, contrasting thin nodules and no drops. In addition, TT Ramillas has a characteristic flame-like element in the lowercase Cyrillic letter ? and a bright "tongue" in the letters ??, ductile legs in ??, ??, and ??, as well as a very interesting upper terminal in the letter a. TT Ramillas is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. TT Ramillas is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. In the process of working on TT Ramillas, we wanted to expand the functionality of the typeface a little more, and thus, after a few experiments, two pairs of decorative fonts were born: Outline, Decor and their oblique versions. These decorative fonts work great for headlines and bold accent lettering. We thought that in these decorative fonts, small caps and some specific features would not be needed, otherwise the composition of decorative fonts is identical to the basic ones. The TT Ramillas typeface consists of 28 styles: 7 weights and 7 corresponding italics, 4 decorative ones, 7 initials styles and 3 variable fonts. Each typeface style consists of 900 glyphs (except for the decoratives). TT Ramillas supports over 180+ languages, including Cyrillic support and Extended Latin support. When creating the typeface, we did not forget to add small caps, ligatures, old style figures, arrows, hands, card suits and many other useful characters and OpenType features. For the most demanding users, we have prepared a variable version of basic styles. Using the variability slider, you can adjust and select the individual thickness, without reference to the existing weight distribution. An important clarification — not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. TT Ramillas OpenType features list: aalt, kern, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, c2sc, smcp, liga, dlig, case. TT Ramillas language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

Ruckus is a simple & legible graffiti style with a thick, crisp outline style on the capitol letter keys and the matching fill style which can be overlaid on the lowercase keys. This layered type system includes a generous array of numbers, symbols, arrows, dingbats and other characters & glyphs presented in a friendly, non-threatening, classic graffiti style.

Hexatype is part of a series of typographic experiments from the young Swiss designer Michael Parson. In this font, Parson has created an intriguing system of lines that form into letters, all based off of a hexagonal grid. Text set in Hexatype takes on an interesting honeycomb-like appearance. For a different effect, try overlapping individual letters, or use a few of Hexatype's letters together as elements in a logo. A good companion to Hexatype is Linotype's Ned Std. These two fonts, as well as eight more experimental designs by Parson, are included in the Take Type 5 collection."

Gramma is a compact sans with big x-height, a robust and balanced typeface that work well both for headlines and main bodies of text. The initial constructions, assembled from a few well-defined geometric modules, were later polished into more organic forms; the letters’ arches are quite squared, and the counters and other internal negative spaces push outward, creating a tension that balances the forms’ compression. Gramma’s most evident characteristic is its “bird-beak” terminals (present in many letters, including the c, e, f, s...) that replicate the unconnected junctures between stem and curve, visible in the a,b,d,g,h.

Inspired by the hand-painted paper signs typically seen in grocery stores during the 1920s to 1970s. This is now available in a digital format that still has the appearance and feel of hand-painted letters. Take a look at a few samples in the thumbnails to see what you can do with them. Local Groceries comes with a combination pairing font. It combines both regular and script fonts. Local Groceries is suitable for vintage and contemporary marketing, branding, merchandise, and packaging designs. Features: Uppercase & Lowercase Numerals & Punctuation Alternates and Ligatures Multilanguage Supports 60+ Latin based languages

Honey Geladen is a beautiful, versatile serif font. This font is characterized by a serif style with a luxurious style in a modern form, but also a friendly and playful style in bold, Best Swashed has glyphs to give crafters more options in designing. This modern style will make a design appear more classy, elegant, unique and edgy. -Uppercase and lowercase letters, Numbers and punctuation, Multilingual support, PUA encoded fonts, Alternative styles and ligatures Thank You

Hand drawn typeface designed for one of our books. You can layer different styles over the background style to achieve lots of colorful effects. Use just one style to get a single color letter or set the fillOne and fillTwo over the background style to get a full, tree color mode. Mr Cyrk has only uppercase characters with alternate glyphs in place of lowercase letters. You can have one style for $18 or all of them for $30.

BF Garant™ Pro elegantly balances geometric design with dynamic character! (This Pro-Edition is the fully packed upgrade of the well-known Hot New Fonts #1 BF Garant.) The strict architecture is combined with open counters, tapered spurs and diagonal cut ascenders and descenders that create an open, lively character without denying the straightness of geometry. 10 weights from Thin to Black and matching (oblique) Italics ensure versatile use of the type family. BF Garant Pro’s characters include the extended Latin Unicode range (incl. Vietnamese), Cyrillic and Greek. So it is very suitable for branding and packaging. “The last modern geometric typeface you really need!” The large x-height, dynamic details and some more conventional, humanist-inspired letter alternatives (a, g, k, u, y, G, Q - some of which are grouped together in the style set “Text”), make it not only a contemporary graphic element, but a highly legible timeless design tool, is not only ideal for logotypes or contemporary branding use, but also for modern editorial design. The 1,760 characters per font include ligatures, alternates, line figures and old style figures, small caps, numerals for small caps, fractions, symbols (incl. Peace sign), currencies, different arrows etc. In addition, 23 useful OpenType features make BF Garant™ Pro a workhorse for many typographic applications. With the 11 style sets, BF Garant™ can be fully adapted to the user’s requirements without losing its unique character. And for those who ever wanted to open a bar on Tatooine, BF Garant™ Pro also includes the currency sign of Galactic Credits! Feel the Font!

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity. Macklin™ font field guide including best practices, font pairings and alternatives. Featured in: Best Fonts for Websites

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

A robust oldstyle, an elegant slab, 8 styles Geneo, created by Stéphane Elbaz, is a synthesis of historic and present-day visions of typography, a slab serif constructed on an oblique axis. Its subtle contrast evokes both Renaissance elegance and the robustness of the Egyptian typefaces that were in vogue during the 19th century. Geneo falls halfway between the classic styles of Garamond and Transitionnals, with aspects of contemporary slab serifs like Rockwell, Boton, as well a bit informal. From this blend of styles and genres, it emerges with a singular identity perfectly suited for modern illustrations of quality, savoir-faire, and culture. Geneo’s limited contrast has been carefully crafted to make the font adaptable for use as both text and headlines, as well as for small-print elements like footnotes, appendices, and captions. The variety and precision of certain weights, like Regular, allow minute adjustments of the font color in text compositions. This flexibility is especially useful for displaying on devices with high pixel densities such as the latest iPhone or iPad, on which text may appear too thin. Flexibility and sturdiness The sturdiness of Geneo makes it a perfect choice for posters, logos, print and any project that requires finesse and sophistication. It provides alternate versions of some letters such as g and a to give you the flexibility you need for your typographic projects. Geneo pairs perfectly with contemporary typeface genre. Geneo, a new typeface designed by Stéphane Elbaz Tokyo TDC 2014 Type Directors Club 2009

Mintely is a sophisticated and versatile serif font family designed to elevate your typography to new heights of elegance and legibility. With its 6 style variations and 8 weight options, this font offers an extensive array of choices to suit a wide range of design projects. This family combines classic and modern elements, resulting in a timeless design that can adapt to various design contexts. The 6 style variations in this serif provide you with a variety of typographic options, allowing you to experiment with different looks and moods. Whether you need a sleek and minimalistic appearance or a more decorative and ornate style, Mintely has you covered. Additionally, the 8 weight options in Mintely offer a wide range of possibilities in terms of contrast and emphasis. From thin and elegant weights to bold and impactful variations, this font family ensures that you can effortlessly find the perfect weight for your specific design needs. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mintely fits in headlines, logos, posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Putnam This is my font based on a handwriting project with a modern, modern-era serif style. fits perfectly with today's retro typography design. Putnam also comes with an extra version of Extruded Font. as a function to create an extrusion effect for this font. Can be used for various purposes.such as headings, logos, wedding invitations, t-shirts, letterheads, labels, news, posters, badges etc. Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. Putnam works great in any branding, logos, magazines, films. The different weights give you a full range of whole hosts of applications, while the outlined fonts give a real modern feel to any project. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office.. can also be accessed through the character map.