Introducing Inertia - Logo Typeface - 5 weights Inertia is futuristic, logo typeface loaded with alternate glyphs, ligatures, 5 weights and multilingual support. It's a very versatile font that works great in large and small sizes. Inertia is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Black Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Sorcha Display font + Swashes Sorcha is bold, vintage font loaded with ligature glyphs, alternates, swashes and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Sorcha is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol ligature glyphs alternates swashes Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Jano Sans™ Pro is a neo humanist sans serif that was initially created to be used as a text and display typeface in brand communication. The result is a type family with a relatable character and a collaborative profile. Designed with elegant forms, low contrast and a geometric feel, Jano Sans™ Pro is a highly legible typeface suited for any text application and typographic reproduction. Jano Sans™ Pro has 18 styles and its a workhorse type system. It covers 290+ languages, including Extended Latin, Cyrillic and Greek writing systems. With over 1800 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localized forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. The techie personality and the huge set of features and glyphs makes Jano Sans™ Pro an excellent choice for a wide range of applications, such as branding, editorial, web and broadcast.

Gummies - The fat bubble font is a stylish and playful typeface that features rounded and inflated letterforms, resembling bubbles. The letters are often chunky, with exaggerated curves and soft edges, giving them a plump and rounded appearance. This type of font is popular for its fun and whimsical nature, making it suitable for designs targeting a young audience or those looking to create a lighthearted and energetic atmosphere. The thick and rounded letterforms give a sense of friendliness and approachability, adding a touch of playfulness to any text. The fat bubble font is versatile and can be used in various design applications, such as logos, headlines, posters, invitations, stickers, or website headers. It adds a touch of personality and uniqueness to designs, helping them stand out and grab attention. Overall, Gummies font is an eye-catching and cheerful typeface that captures the joy and energy of bubbles, making it a popular choice for designs that want to exude a sense of fun and playfulness.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “Standard” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “/fonts/sweet/square/” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

We Redesigned this Slantblaze-Pro. Slantblaze Pro is an exteme slanted display script with characteristics: Simple, Thick, Contrast, and Dynamic. First launched in 2011, and now we present it again in a new version to provide the best user experience. As italics (default), Slantblaze Pro has aloof challenge as a display font. It was designed as an alternative for headline, title in any purpose such as header, brands, packaging, identity, automotive logo, etc. What’s new and changed: This version 2.02 comes in a True Type OT-flavor version. The outline were designed to be smoother than before. Redesign of ‘C’, ‘E’, ‘F’, ‘G’, ‘T’, and some changes to all other smallcases Removed: question.sc, questiondown.sc, exclam.sc and exclamdown.sc assuming they will never be used Rewrite the features structure and adding some new related to all changes New swashed glyphs: A-Z The writing system of numbers is completed with the old-style version and each tabular and proportional method New contextual (calt) to an alternative look of “A" when combined with all lowercase. Also in this feature we have another way to access Ornaments is more interactive by combining dlig and calt features. Another new glyph may be access only in feature (salt)

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Nympha Family Features: 4 Styles 2 Weights Over 800 characters per style (3200 in total) Up to 10 stylistic variations for each character (!) European Language Support Hundreds of Ligatures, Swashes and Stylistic Alternates Old Numerals True Italics & Much More Trailer: https://vimeo.com/471556131 Nympha is an elegantly crafted and luxuriously exuberant serif typeface, exuding femininity and glamour but also a side of exquisity. Its hard contrast and refined details, along with its opulent swashes and voluptuous curves, create a beautiful and powerful statement to any typographic composition, mixing glamour with a contemporary aesthetic. One could say Nympha has two distinct, yet connected, personalities in the form of two stylistic sets of characters: a contemporary and elegant one and an exquisite and unusual one, both can (and should) be mixed to achieve surprising results. Nympha offers a vast amount of swashes, alternates and ligatures, featuring up to 10 stylistic variations for each character, making it possible to generate endless compositions with ease. Available in 4 styles, 2 weights, offering over 3200 characters. Visit https://www.behance.net/gallery/106734865/Nympha-Typeface/ for a full walkthrough of everything Nympha has to offer.

Awardos is a complete solution for awards, badges and all kind of certificates. This font allows to mix various borders, laurels and icons to create a very unique badges. To quickly create an unique badge, type any number, any uppercase character and any lowercase character, for example 0Aa, 5Gk, 9Kl, 7Fr etc. To add starfield, start with a symbol (!"#$%&'()*+,). Glyphs included: 12x starfields - characters: ! " # $ % & ' ( ) * + , 16x borders - characters: 0 1 2 3 4 5 6 7 8 9 : ; < = > ? 36x laurels and outer elements - characters: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z À Á Â Ã Ã Ä Å Ç È É Ê   12x crown icons - characters: a b c d e f g h i j k l 12x cup icons - characters: m n o p q r s t u v w x 12x number one digits - characters: y z à á â ã ã ä å ç è é ê It is not required to use a symbol from every category. For example only laurel with crown icon can be used, or only starfield with the cup icon. Awardos Inverse is an inversed version. The outline borders are still included, used symbols are: [ \ ] ^ _ { | } ~ ¢ £ ¤ ¥ ¦ § €

Galix is a technical sans designed to look futuristic without any of the retro appearance often found in this genre. It has a squarish, slightly condensed anatomy, and is characterized by thin joints and deep ink traps that add a sparkle to the otherwise monoline typeface. In the italic styles, these cuts are accentuated even more which creates a feeling of speed in the letterforms. Galix is optimized for display typography (the ascender height is the same as the cap height, and the spacing is somewhat tight) but the middle weights are very readable at smaller sizes, where I'd recommend adding a little tracking. OpenType features include ft and tt ligatures, stylistic sets/alternates, automatic fractions, tabular, superscript and subscript figures, case sensitive forms. Perfect for websites, apps, infographics, magazines and logotypes, Galix is technical but with a warmth and personality that is often missing from this genre.

Donsky is a dry brush font. Suitable for any projects such as logos, branding projects, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, labels, photography, watermark, and more. Use this gorgeous and unique handwritten font to bring any DIY project to life!

Bigail condensed design makes it an ideal choice for display purposes, such as headlines, titles, and logos. Its clean and legible appearance makes it suitable for short text applications, such as captions or taglines, where space is at a premium. Bigail is versatile and well-suited for a variety of design fields, including branding, advertising, editorial design, and web design. Its condensed design is particularly useful for designs where space is limited, such as packaging, signage, and mobile app interfaces. Overall, Bigail is a high quality font that offers excellent readability and legibility while conveying a sense of modernity and sophistication. Its sleek and streamlined design makes it a great choice for a wide range of design applications, making it a valuable addition to any designer’s font library.

Amadi - Quirky Serif Font is a delightful typeface that dances to its own beat, infusing a dash of whimsy and charm into your designs. With its quirky serifs and playful letterforms, Amadi takes the traditional serif style and gives it a whimsical twist. This font is the perfect choice for projects that aim to stand out and make a statement with a touch of quirkiness. Whether you're working on invitations, posters, or any creative endeavor, Amadi adds a distinctive and charismatic touch. Its irregular flows and unique character shapes inject a sense of fun and individuality into your designs. Amadi is like a joyful dance in the world of typography, making it an excellent choice for projects that want to break free from convention and embrace a playful, quirky spirit.

Ador is a humanist sans serif especially designed for contemporary typography and comes up with 8 weights from ultralight to black plus true italics and 343 ligatures. A large x-height not only creates space in the letters for extra-bold styles, but also lends Ador an open and generous character in the more narrow and semi-bold versions. The nice balance between sharp ink trapped and soft, dynamic shapes helps to work in small sizes. Diagonal stress, angled finials and the 4 degree true italic styles give Ador a dynamic look. The font contains 981 glyphs including small caps, tabular, old style, fractions … and a wide range of flexibility for Latin language support for every typographical needs. Ador is a contemporary sans serif typeface, special for logotypes, brands, magazines and editorial.

Firing Imaginations and lively connected script family of three weights, ornament and banner sets and separate caps and small caps designed to support the script. Frost is influenced by the hand lettering and sign painting of the 1950s and 1960s with more polished appearance to better suit contemporary design trends. Frost is equipped with loads of automatic ligatures to make the text better flowing and has minimum three alternatives to every basic letter: To activate the alternates click on Swash, Stylistic or Titling Alternates in any OpenType Savvy program or manually choose from even more alternate characters from the Glyph Palette. Frost is an effective and easy to use font family for creating ambitious headlines, logos & posters with a custom-made feeling. For the absolutely best price purchase the complete family!

Natalya Swashes provides a diverse set of flowing swashes and ornaments originally designed to complement the popular insigne script Natalya. The basis point for Natalya's ornate swirls is the golden ratio, and this makes for especially harmonious swashes with timeless appeal. These poised and graceful flourishes can be easily adapted to many design situations, even in situations that don't call for Natalya Swashes' script companion. Natalya swashes can be resized and rotated easily without any loss of quality and converted to outlines and modified. Combine them to form unique compositions or insert them into your copy to create interest. Please see the sample .pdf to see all 56 ornaments in action. The Natalya Swash package comes with an inDesign sample file to quickly reference ornaments and copy and paste them into your layouts.

Arek is Rosetta’s award-winning collection of Latin and Armenian families. Originally designed for use in textbooks and the schoolroom, Arek is an active typeface that holds the reader’s attention with kinetic details tucked into restrained letterforms on the page. For clarity and ease of reading, Arek pairs its nuanced upright and its perky italic styles for both scripts. Though first designed with school books in mind, Arek equips the typographer with eight styles covering a wide range for editorial and other challenging typesetting environments. Essential expert features such as ligatures, lining and ranging figures, and contextual alternates ensure Arek is ready for any assignment. Extras like a full array of bullets, dingbats, and manicules make this family nimble enough to make the grade with readers in all sorts of editorial projects.

Lumien – Display Serif: All-Caps Elegance Introduction to Lumien Meet Lumien, a captivating all-caps display serif font that exudes elegance and sophistication. Its timeless design makes it a versatile choice for various applications. Design and Style Lumien boasts a classic serif design with all-capital letters. Its clean lines and sharp edges give it a modern yet timeless appeal, making it suitable for a wide range of display projects. Versatility and Usage This font shines in display settings, making headlines, titles, and logos stand out. It’s an excellent choice for branding, editorial design, and high-impact graphics that demand attention. Distinctive Features Lumien’s all-caps characters ensure clarity and legibility, even at smaller sizes. Its versatility extends to both digital and print media, enhancing the visual impact of any project.

Tofes - Modern Serif Font Tofes - Modern Serif Font is a versatile typeface that exudes elegance and sophistication. This font is perfect for any project that requires a touch of luxury and class, such as branding, packaging, logos, and more. The font's name is inspired by the Hebrew word for "apple," which symbolizes beauty and perfection. With its clean lines and modern look, Tofes is a must-have for any designer looking to create stunning and professional designs. If you're looking to create a romantic and elegant branding, Tofes is the perfect font for you. Its clean lines and modern look give it a timeless quality that works well for a variety of design projects. This font is particularly well-suited for use in packaging and logos, where it can help convey the quality and sophistication of your brand. Tofes comes with a range of features that make it a versatile and useful typeface. The font includes both uppercase and lowercase letters, as well as Opentype features such as alternates and ligatures. It also includes support for a wide range of languages, making it a great choice for designers working on international projects. Additionally, Tofes comes with number, punctuation, and symbol glyphs, allowing you to create a wide range of design elements with ease. In the font package, you will find Tofes in three different file formats: OTF, TTF, and WOFF. These formats ensure that the font is compatible with a wide range of software applications, including Adobe Creative Suite, Microsoft Office, and more. This means that you can use Tofes in virtually any design project, whether you're creating graphics for a website, designing a logo, or working on a print project. In summary, Tofes - Modern Serif Font is a versatile and elegant typeface that is perfect for a wide range of design projects. With its clean lines, modern look, and support for multiple languages, Tofes is an excellent choice for designers looking to create sophisticated and professional designs. Its features, including Opentype alternates and ligatures, make it a valuable addition to any designer's toolkit.

Agustus Signature is a sophisticated and stylish font that embodies elegance and refinement. Drawing inspiration from the grace and poise of a personalized signature, Agustus Signature delivers a timeless and luxurious feel to any design. Each letter is meticulously crafted with intricate curves and fine details, mirroring the fluid strokes of a genuine signature. This font is perfect for high-end branding, luxury products, and exclusive invitations, adding a touch of prestige and class to any project. With its versatile nature, Agustus Signature seamlessly adapts to a wide range of creative applications, showcasing its impeccable style and leaving a lasting impression of sophistication and distinction

NorB TypeWriter is my emulation of the IBM Selectric 'Light Italic' ball witch was used by my grand-brother for his correspondance during the 70’s and 80’s. It's however a slanted mono-spaced looking typewriter font. You may want to use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB TypeWriter features 677 glyphs, OpenType features and comes in 8 weights each with their matching italics and in a Thin, Light, Normal and Bold version.

Welcome Ramadhan is an Arabic-styled display typeface. This font features irresistible characters which make this font unique because it looks like the standard Arabian alphabet or is written in Arabic style. This Islamic Ramadhan Arabic font is perfect for any graphic design related to the Islamic style. Using this font, you will get an Arabic feel for every text you type. Made with serif characters so that it can be read internationally and does not have to be able to read by Arabic characters It is PUA encoded which means you can access all of the glyphs and swashes with ease! Add it confidently to your projects, and you will love the results.

You've been shot down over enemy territory and you've managed to survive for weeks thanks to your training and instincts*... but now you're being ruthlessly pursued by MAPPO's footsoldiers... The ELEPHANTMEN! Will your commanding officer go against orders in an attempt to rescue you or will his mission be abruptly aborted, stranding you behind ENEMY LINES? In order to survive, you may have to betray your own rebel forces, your allies and the entire free world! The future of mankind hangs in the balance! Failure is not an option! Bummer. *This font's modus operandi bears no relation to the story of any other font that may have been shot down behind enemy lines, real or imagined.

Aure Westra embodies the liquid look of a broad-nibbed ink pen. These bold forms engage the reader with a subtext of exotic wisdom. Westra’s entrancing flow brings a dramatic intrigue to text and titles and an esoteric savor to astrological expressions and chartwheels. Westra is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. The unique look of Aure Westra stands on its own as a text font. Where needed, use the clean lines of Aure Jane to provide contrasting text that will showcase Westra’s exotic nature. Give Aure Westra a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Introducing From the Internet, a sleek and pragmatic sans-serif typeface that exudes technical sophistication. The narrow and square shapes of this typeface create a compact and organized appearance, perfect for modern industrial design. With softened edges, the boxy letterforms have a sense of approachability that is sure to draw in any reader. From the Internet’s austere and uncomplicated style ensures that your message is delivered with clarity and precision. Its lack of intricate detail prevents any distractions, keeping the focus on the essential message. This typeface avoids clichés, ensuring that your designs are always fresh and unique, without any conspicuous sci-fi influences. This font’s versatility is enhanced by the “stylistic alternatives” feature available in OpenType-savvy applications, allowing for access to alternate versions of the “f” and “t” letters. From the Internet offers a range of styles, including Regular, Italic, Bold, and Bold Italic, each with its unique personality. Whether you’re looking to create sleek tech manuals or modern business presentations, From the Internet is the perfect typeface to convey your message with sophistication and style. Its pragmatic and precise style ensures that your designs will always be on-trend and highly readable, making it an excellent choice for any designer looking to create an impact. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Contentor is a display type originated in the habour and made for long journeys. Inspired by the industrial lettering on containers, hardcases and boxes, Contentor and Contentor Stencil are a condensed and bold typeface fit for any voyage.

Highland Morning is a thick weight serif font in slight watercolor or ink textures with fun retro nuance and complex styles. Its main characters are the addition of small lines/hooks on the top or bottom of the letter and the curvy ending wipes on some of the letters’ edges. With a number of alternative symbols, Highland Morning provides your designs with unique edges and has other interesting features you can utilize. Features: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Highland Morning fits for any design projects, such as posters, banners, logos, book covers, album covers, invitations, quotes, greeting cards, name cards, headings, printed products, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thank you and happy designing.)

My first encounter with brush lettering that has turned into a lovely bold font. I really loved the process of hand lettering with ink and I am so pleased how it developed into a lovely font. Melidia Font it’s a multilingual lettering font with Greek (of course), Cyrillic and Extended Latin characters and diacritics. The style of the font is perfect for your modern graphic design needs. For all the typography lovers, this typeface is a must-have. Also, Melidia Font is the ideal typeface for the food industry, for food branding, for restaurant menus and packaging. Additionally, you can use Melidia Font for a lovely wedding and baby shower invitation design. Especially if you are looking for a font for Instagram quote posts or any other social media content, this typeface is for you!

Fifth Reign is a decorative medieval typeface. This wonderful typeface of brings us to the golden times of epic knight sagas. Fifth Reign is the typeface of a Royal House, of vikings, kings and queens. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. The Fifth Reign family consists of three styles: The weights Thin, Bold and Medium, made to balance against each other and allow for usage in any scale. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Fox Single is a strong and incredibly cool Sans Serif Fonts. For publications, logos, business cards, or printed on t-shirts, this font will look outstanding on everything, no matter the topic. This font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation.

Chubby Melisa is a Cute and Thick Handwritten Font with a relaxed theme, featuring a lovely style. No matter the topic, but this font is awesome for every kids or child project, this font will be an incredibly asset to your fonts’ library, as it has the potential to elevate any creation.

Based on lettering from Eric Gill for the British bookseller WH Smith, Colins Banks made the Gill Facia family for Monotype in 1996. This lettering from Eric Gill was one of the first alphabets that was used for corporate branding. Gill Facia is an elegant signage face for advertisements and for displays.

Racnegut is high contrast serif font features a mixed modern-classic design. Racnegut support multilingual languages, numbers, punctuation and alternative-ligatures. Create unique & amp; beautiful logotype, use it as an elegant solution for your next magazine layout, or choose Racnegut for any graphics that require a sleek look with a elegant flair.