Kolker is a brushy script style based on the use of a camel hair brush. It's easy on the eye!

This font has complete kerning pairs for all languages. Designed for books, leaflets and for outdoor use like a banner.

Shakila Script is a handwritten font created at the end of March 2021. It is a unique bold font with a pretty and charming casual style with many variants of beautiful swashes, as well as an alternative to capital letters. Shakila is a lovely and delicate font duo (script and sans serif), that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Also, this font is perfect for branding projects, logo, product designs, invitation cards, wedding cards, stationery designs, advertisements, label, photography, blogging, social media or watermark. Key Features: - Multilingual Accents - Alternative capital letters - Stylistic Alternates up to 20 choices - Has a heart connected feature for a-z and A-Z letters - Available shortcut for Stylistic Alternate by simply adding "period" (.) and “number” (1-20) to each letter. - Has lots of ligatures so the letters connect well together - Has OpenType and PUA Encodes features. This font has a total of 885 glyphs, including capital letters, uppercase alternates, lowercase, numeral and punctuation, multilingual accents, beginning and ending swashes for lowercase, and includes a large number of stylistic alternates and heart swashes (for lowercase-lowercase and uppercase-uppercase). The advantage of the Shakila Script font compared to other fonts is that the alternative capital characters are in 1 font file, so it will make it easier for you to work. Therefore, you are free to choose it as you like, especially this font has the OpenType and PUA Encodes features which means you can access all of the glyphs and swashes with ease. As I mentioned earlier, Shakila Script has a large number of Stylistic Alternates features, up to 14 options for letter a-z and up to 20 options for letter b d h k l. In fact, there is also a swash feature in the form of a connected for the combination of each lowercase-lowercase and uppercase-uppercase letters. Interestingly, you can activate all Stylistic Alternates that are owned by each letter, just by typing; letter + period + number. For example: a.1 a.2 a.3 or b.1 b.2 b.3 and so on. As for activating the heart connected for each letter a-z or A-Z is quite easy. Namely by simply typing; letter + underscore + underscore + letter. For example: a__a or A__A and so on. Shakila Script is a Font Duo pack that pairs with Shakila Sans. The two were created at about the same time, but made in separate file packages. The reason I created this font duo is to make your projects more harmonious and unique. At the end of the sentence, Shakila Font Duo is a very authentic and amazing. If there are things you want to ask, don't hesitate to contact my email. For complete details, please visit my Behance profile. Alifinart Studio alifinart@gmail.com Thank you.

Cover Sans is a humanist geometric typeface with an orthogonal structure, which provides stability when composing a text. Open shapes and low x-height give this font balance and makes it an air-breathing typeface. Cover Sans is a stable and strong condensed font that works well for magazines and publishing. The strong personality of its alternative characters gives the font a modern and elegant style, which makes it ideal for use on annual reports as well as on business logotypes.

Solaris is a sans serif or a grotesque as we still call it where I come from. (it is an old term which means strange compared with Roman which was the normal font) The face is an open sans, which means that the round signs take the air into the form, minuscule d is drawn kind of backwards like in Gill Sans, which sets off on minuskel a. Here is the Regular version, with a slightly difference between stems and hairlines.

Buche - a brief introduction Buche is a contemporary serif font designed for logo and brand design. It exudes an air of affluence and sophistication, despite its curvy appearance. The ligature fonts will come in handy for whatever your imagination can think up! 6 Weights & 2 Styles (Regular & Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

This typeface was drawn to create short headlines (quickly) for one of my projects (a set of illustrations featuring The Evil Rat, imagined character). Each character (here I mean "glyph") has it's own personality, mostly evil one (jokingly) — that is why the font is called "The Monsters". The font was drawn on paper, then scanned and traced. It has both Latin and Cyrillic sets, since it was used with both. Monsters are good for short notes of comic or ironic style.

Sopi is a typography of ornaments, borders and combined frames. It was inspired by the design of limestone tile floors, located in different places in Buenos Aires. All characters have the same measure, which enables the possibility of any desired combination. In the case of edges or combined frames, the typography was programmed in a way that is possible to generate textures with 2 or more colors, attempting to rescue the colorful designs that were original thought in the limetone tile floor.

The new Religan serif font is luxurious and elegant which will bring a unique style and trendy look to your designs. This modern serif relogan has several on-trend ligature binders and special characters to make it look more unique in all design projects and work perfectly to pair with other fonts. It's perfect for logotypes, branding, wedding monograms and invitations, blog headlines and more. Here we prepare some fasteners: ab ar an am ah ara ap ti tr st tu tt ct et ff ty ffi fu ft fj fy th tm tn in im ir it ta ri er eh em en ch cr ra ng li eb cb fr ck fb fh fk jj gi and more.. Religan also includes the full set: Uppercase and lowercase Multilingual symbol Number Punctuation This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Religan! Feel free to use the #Dora Typefoundry tag and # Religan Modern Serif Font to show what you've done. If you have any questions, you can contact us by email: doratypefoundry@gmail.com Thank You!

Over the past couple of years I received quite a number of unusual and surprising requests to modify my type designs to suit projects of personal nature, but none top the ones that asked me to typeset and modify tattoos using Burgues Script or Adios. At first the whole idea was amusing to me, kind of like an inside joke. I had worked in corporate branding for a few years before becoming a type designer, and suddenly I was being asked to get involved in personal branding, as literally “personal” and “branding” as the expression can get. After a few such requests I began pondering the whole thing from a professional perspective. It was typography, after all, no matter how unusual the method or medium. A very personal kind of typography, too. The messages being typeset were commemorating friends, family, births, deaths, loves, principles, and things that influenced people in a deep and direct way, so much so that they chose to etch that influence on their bodies and wear it forever. And when you decide to wear something forever, style is of the essence. After digging into the tattooing scene, I have a whole new respect for tattoo artists. Wielding that machine is not easy, and driving pigment into people’s skin is an enormous responsibility. Not to mention that they're some of the very few who still use a crafty, hands-on process that is all but obsolete in other ornamentation methods. Some artists go the extra mile and take the time to develop their own lettering for tattooing purposes, and some are inventive enough to create letters based on the tattoo’s concept. But they are not the norm. Generally speaking, most tattoo artists use generic type designs to typeset words. Even the popular blackletter designs have become quite generic over the past few decades. I still cringe when I see something like Bank Script embedded into people’s skin, turning them into breathing, walking shareholder invitations or government bonds. There’s been quite a few attempts at making fonts out of whatever original tattoo designer typefaces can be found out there - wavy pseudo-comical letters, or rough thick brush scripts, but as far as I could tell a stylish skin script was never attempted in the digital age. And that’s why I decided to design Piel Script. Piel is Spanish for skin. In a way, Piel Script is a removed cousin of Burgues Script. Although the initial sketches were infused with some 1930s showcard lettering ideas (particularly those of B. Boley, whose amazing work was shown in Sign of the Times magazine), most of the important decisions about letter shapes and connectivity were reached by observing whatever strengths and weaknesses can be seen in tattoos using Burgues. Tattoos using Adios also provided some minor input. In retrospect, I suppose Affair exercised some influence as well, albeit in a minor way. I guess what I'm trying to say is there is as much of me in Piel Script as there is in any of the other major scripts I designed, even though the driving vision for it is entirely different from anything else I have ever done. I hope you like Piel Script. If you decide it to use it on your skin, I'll be very flattered. If you decide to use it on your skateboard or book cover, I'll be just as happy. Scripts can't get any more personal than this. Piel Script received the Letter2 award, where they selected the best 53 typefaces of the last decade, organised by ATypI.

Elkysis is a striking, contemporary slab serif type family of six weights designed for use in titles, headlines or branding. With a distinctive look, this family aims to provide a unique voice for small passages of text yet remains surprising legible in smaller point sizes. With a full extended latin language support and a Variable family, Elkysis aims to provide a creative and striking solution.

A complete figurative alphabet was published by one Peter Flotner (ca. 1485-1546) in 1534. In Flotner’s alphabet, naked or nearly-naked figures are posed singly or disposed in pairs to form the various letters. Unlike de Grassi’s alphabet, we find only human figures here, no other animals. And unlike Tory’s illustrations, these letters seem an end in themselves, rather than the means of demonstrating a design strategy. Flotner’s alphabet was imitated by other engravers. The letters G and N are reproduced from an alphabet published by one Martin Weygel in Bavaria in 1560. Peter Flötner , c.1485-1546, German medalist and artisan, possibly Swiss by birth. He was active in decorative sculpture, wood carving, and other crafts, making medals and plaques and furnishing designs of classical motifs for silversmiths. He was in Nuremberg by 1522 and did most of his work there, although he made two trips to Italy. Flötner is now regarded as a pioneer of the German Renaissance. His Kunstbuch was published in 1549. In the Metropolitan Museum are five of his bronze plaques illustrating biblical episodes. A stylistical tip : Use this caps with SchneiderBuchDeutsch, as shown in the banners above, to create a perfect historiated layout.

TagBanger WADE1 is the first in a short graffiti font series. This series will showcase the hand-styles of various mature street artists that Okaycat is working with. This first release highlights the style of one such graffiti writer, WADE1, who has an eclectic writing style after many years proliferating street art. Long-term graffiti artists develop their own style over their careers, spending as many endless hours honing their letter-forms as any full-time professional typographical artist. Style, individuality, and originality are everything. These attributes are key to the graffiti artist's tao. A writer who copies, or "bites" loses respect -- their work will be painted over or "crossed out" by all other writers. Okaycat's TagBanger series aims to demonstrate just how widely these individual styles can diverge, likely due, at least in part, to the social pressures of a community that ruthlessly punishes copycats. WADE1's tags were transformed into vector format from a generous sampling of their most recent scrawls. Our TagBanger series may not be composed of the most legible or beautiful fonts, but we imagine there are uses for these whenever highly unusual handwriting is needed. TagBanger WADE1 is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Proba Pro is a geometric sans with lowered x-height, prominent ascenders and descenders and a subtle humanist touch. It comes in 7 weights + matching italics each supporting numerous Latin-based languages as well as major Cyrillic languages. It is packed with OpenType features like ligatures, small caps, 4 sets of digits, 2 stylistic sets, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for i/ı in Turk languages. Some of the styles of Proba Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Are you ready to add some fun to your designs? Khews is the perfect font for you! It has a modern and playful vibe with its unique cutoff letterform and inspiration from graffiti tagging. You'll love the casual and bubbly twist that Khews brings to any project. And here's the best part: Khews comes in two styles - regular color and outline - so you can mix and match to create the perfect design. Give it a try and see the magic for yourself! Ideal for posters, flyers, logos, and headlines. It pairs well with sans-serif and serif fonts. Despite its imperfections, it is casual yet legible and has a good blend of modern and casual styles.

Payload began as an early concept for Loaded magazine, and here is developed into a clean outline and rough splattery spraycan version. In this font, the upper and lower case characters are subtly different enabling a more realistic appearance to be achieved by ßipping between cases whenever characters occur together in pairs. Wide and Narrow styles of this popular font have been subsequently been added. This font is reminicent of military stencilling, urban graffiti and freight packaging. The "Outline" version, as before, is a carefully weighted addition where the thickness of the stroke is identical to the stencil gap. It has also been respaced and rekerned to allow for the additional character spread.

The Alamia type family is a sans serif in 20 weights, ranging from Hair Line to Black with matching italics. Each style contains more than 900 glyphs. Alamia comes with an extended coverage of the Latin and Cyrillic Script. All weights of this family are equipped for complex, professional typography with OpenType Features including: Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols and fraction.The construction of the characters combines clean grotesque style with modern, that gives the font an organic, warm and friendly touch. The Alamia font family is a perfect choice for body text, branding design, web design, editorial design and more.

Gradia is a serif font in the form of a unique & elegant typographic design. very suitable for making your choice of design work from invitation cards to magazines, logos, branding, signage and many other creative projects. Gradia features OpenType 765+ glyphs, also has 270 character Alternates, 116 Ligatures that are perfect for various uses, and is also equipped with multiple language support. What is included: Gradia Regular Gradia Regular Italic Gradia Light Gradia Light Italic Gradia Bold Gradia Bold Italic To access these OpenType features, you will need Opentype-enabled software such as: Adobe Illustrator, Word, CorelDraw, Photoshop, Indesign and many more. Check out Bagoni Type which is a great pair for Gradia.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

Introducing Ranked Script, A Retro Bold Script font. It was inspired by retro typography designs in 70's. There are more than 504 glyphs in this font including Multilanguage Support. OpenType features with Stylistic Alternates, Contextual Alternate and ligatures in some characters that allows you to mix and match pairs of letters to fit your design. Ranked Script also comes with Extrude Font version, so you can create your retro effect font in ease. Ranked Script is perfectly suitable for made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Jagerlay was brought to life to cope with diverse and complex data gathered in presentations, corporate identity and other office documents. Its geometric shape and characteristic endings are reminiscent of classic typography from Sci-Fi Movies from the 80's. The simple design makes Jagerlay outstandingly easy to use for every user. Jagerlay pairs with other typefaces in the blink of an eye – it goes well with display, serif or script fonts. The whole family consists of 9 weights and matching italics. Every style has almost 900 glyphs. Jagerlay has many opentype features such as tabular figures, fractions, superscript and subscript, small caps and arrows. Low contrast makes it easy to read. The rest makes it easy to use.

Printers Drawer JNL continues building on a library of letterpress illustrations, cartoons, ad builders, Art Deco ad panels, ornaments, embellishments, and general miscellany. The images are re-drawn from vintage source material, and this font is jam-packed with 89 images spread throughout most all of the standard keyboard positions. This is officially the 1000th release from Jeff Levine Fonts since its inception in January of 2006. Jeff Levine Fonts aims to preserve the almost-lost artwork and lettering styles of the past within a digital type format, and often recreates the designs complete with their evident flaws, idiosyncrasies and eccentricities; allowing for a “real world” and nostalgic look to the computer generated art projects of today.

Devils Haircut is an explosive font duo, consisting of two completely different styles, creative and expressive in their own way, with a touch of punk and counter-culture aesthetic. Together they make a decidedly eye-catching pair and a rad option for numerous display moods, from album covers to food packaging, from title screens to editorial pages. Both fonts are all caps with different designs stored on upper- and lower-case slots, so you can reach the alternate forms easily through the keyboard. Or use the Contextual Alternates OpenType feature to instantly cycle the alternate glyphs and get an even more uneven look. Make Devils Haircut yours and fire up your designs, hell yes!

A modern humanist sans serif made for the screen. Broad open letter forms are combined with precise geometry to create a functional and legible font that’s ideally suited to the web and on-screen applications. To reinforce readability and create more distinction at small point sizes serif like details have been drawn into uppercase ‘I’, ‘J’ and lowercase ‘i’ and ‘j’. Other characters of distinction include a serifed number 1 and a crossed out zero. Nauman is a highly legible font family aimed at large interface based projects. Details include over 800 characters with alternative lowercase a, e, I and M. 7 variations of numerals, true small caps with accents, manually edited kerning and Opentype features.

The Octa fonts are primarily intended for heading, display and decorative use. A close relative to Alert, Octa is angular by its structure but soft-outlined typeface with modern industrial strength expression. The Octa group fonts consist of five families - Octa, Octa Stencil, Octa Mono, Octa UniMono and Octa Tile: Octa and Octa Stencil - each family carry two weights of complete characters. Kerning pairs feature is included in both fonts. Octa Mono - two weights font of upper and lower case monospaced characters. Octa UniMono - two weights font of unicase (caps) monospaced characters. Octa Tile - single weight of capital letters, numbers and ornamental dingbats placed on tile squares with white and black backgrounds.

Rikkia is synonymous with glamour and innovation and has an immediate high-end look that is both timeless and universally appealing. The font family is distinguished by modern ovals and subtle architectural angles. Stylish and versatile, Rikkia comes in wide and standard widths – from hair to bold. The font also has an alt character set for key glyphs like "a" and "R." You'll find a professional set of ligatures, multilingual options, fractions, and a the estimated symbol. Cosmetics, AI, engineering, healthcare, sports, editorial – and all points in between, Rikkia has you covered for a variety of layout needs. Clean, distinctive, memorable, and easily readable — an ideal choice for both print and screens.

A bit of happenstance and accident are always full of possibility — Richard Lipton’s Dunhill Script is based on observations of the work of his left-handed calligraphy students and then from a small detail generated by his own freehand sketching. Like his other script typefaces, Dunhill was born from the desire to achieve a certain visual drama. Many details show the pen at work, like the terminal shapes and the caps and ascenders. Dunhill also has a range of alternate stylistic glyphs and contextual features that can transform it into a connected script. It’s a great choice for editorial display or advertising and branding settings on its own or paired with a Roman sans or serif.

Jatheedo is a typeface created with original handwriting that may anesthetize your eyes and give a wonderful and beautiful impression. This font is highly versatile in its use. Because of its strong character, this font is attractive when used alone, but it is also stunning when paired with sans or sans serif letters. So, what are you waiting for? Enjoy and give your project a unique appearance. This typeface was created with a natural touch of handwriting that has been developed to generate parts and compositions that meet your requirements. As a result, this typeface is ideal for crafts, children’s writing, adventure posters, food banner titles, wedding invitations, and logos for product packaging.

Introducing, North Valley - A cute display font duo. This font has two styles, sans and script. Both fonts are paired perfectly to used for casual and playful theme design. This font also perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Sans and Script uppercase and lowercase numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The name of the font Titla emphasizes it heading and display functionality. At the same time low contrast, narrow proportions, wide variety of weights and clear glyph constructions make it possible to use it for long texts as well. Combination of modern serifs with flexing stems (see n, p,…) brings to the font fresh, informal and noticeable appearance. The character set includes alternative variations and specific 'vertical ligatures' for paired letters that are built with the help of diacritical forms of letters placed above basic ones. This feature also was reflected in the name of the font as Greek 'titlos' means diacritical mark. The font was designed by Oleg Karpinsky and released by ParaType in 2009.

The design of the Jeunesse font family derives from a study of primers which the designer undertook earlier in his career. Jeunesse was designed with the intention of combining excellent legibility and character recognition with the ability to create compact, distinctive words and lines while maintaining basic flourishless letterforms. The sans serif style is pre-dominant in this design, but serifs or rather parts have been added where necessary, mostly at the top left hand parts of the characters, to aid readability. Use Jeunesse as a text and display face. There are also fully sans serif and slab serif versions available which can be used on their own or mixed with each other and the parent fonts.

Designed by Werner Schneider and Helmut Ness, the Vialog® 1450 typeface family has been drawn within the standards of the German DIN 1450 regulations. The typefaces conform to the DIN specifications for proportion and line thickness and also contain characters designed in accordance with its requirements. These include characters that can be easily confused, such as uppercase I and lowercase l, and the uppercase O and figure 0, with the corresponding accentuating graphemes and ligatures. In addition, letter pairs that can readily seem to merge together under less than ideal reading environments have also been redesigned. Characters like the g, J and R have also been redrawn to be more legible. Normal glyphs are available as alternatives.

Loew is a geometric sans serif font influenced by the methods of the early industrial designers. Pure mechanical shapes are carefully adjusted to give the characters the right form, function and usability. These subtle human touches combined with the technical detail provide great readability at both large and small point sizes. Loew is a versatile sans serif font with simple and honest geometry aimed at a wide range of modern applications. Details include over 800 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, manually edited kerning and Opentype features. For additional non-latin language support in Cyrillic, Greek and Arabic, visit Loew Next and Loew Next Arabic.

Maria Martina Schmitt was born in Vienna, Austria in 1950. Since 1998, she has been working as a freelance designer, focusing on cultural collateral, economic publications, illustration, type design, and logo design. Airam blends contemporary legibility with historic blackletter forms, creating a contemporary text face that speaks to the old European past. Airam certainly appears darker than most other contemporary text faces. Airam’s letterforms are slightly broken, too. They display angled joints in lieu of smooth curves. This “broken” aspect actually aids legibility at smaller point sizes. While Airam may not be suitable for setting whole books or newspapers, this font will add a splendid touch to short tracts of small text. Additionally, Airam looks superb in large headlines.