Alfabet is the result of over 3 years of work on a typeface inspired by Swiss and German designers & researchers. The main idea was to create a sans-serif with geometric and strong feeling. Whole family will work wherever we want to emphasize modernity and a rational way of visual thinking. Alfabet will be perfect choice for multiscript branding purposes, all styles support Latin (+Vietnamese), Greek and Cyrillic scripts (with Ukrainian,Bulgarian and Serbian forms). The whole family consists of 20 styles – 10 weights and matching italics. In addition to the rich set of characters, Alfabet includes Alternates, Superscript, Subscript, Ligatures, Arrows set and 7 different styles of digits.

Aztek emerged as a custom face for an ethno-music festival, and gradually developed a more robust, geometric base. The original ethno roots can still be seen in some of the alternative caps, and the ease with which Aztek forms decorative elements and borders. There is also an alternative “Tall Caps” set, that goes alongside normal uppercase characters as if they were Small Caps. The font features Latin (extended to support German and Polish) and Сyrillic character sets. Though Aztek is an accidental face designed primarily for display work, it holds well at smaller sizes and can endure high ink gain printing found in letterpress and silk-screen processes.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

German type designer Ingo Preuss created this sans Super-family between 2010 and 2015. The family has 84 weights, ranging from Light to Ultra in Normal, Compact, Condensed and Compressed (including italics). It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows. The "Adora PRO family" is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Let your hair down and enjoy the ride with Havana Sunset! Analogue meets digital in this font duo, pairing a carefree & textured script font with a trendy all-caps sans-serif - creating the perfect typography contrast for fun, free & stylish design projects. This font duo is packed full of extra features; The script font includes a full alternate set of characters, and the sans font includes both a filled and an outlined version - giving you a variety of layout options. It's a lot of fun to experiment with! All fonts include language support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay

Fruit Shake is a smooth and bold script font with a relaxed theme, featuring a lovely style. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any design. So what's included: Basic Latin, numbers, symbols, punctuations, and ligatures Simple Installations: works on PC & Mac Multilingual Support includes Afrikaans Albanian Catalan Danish Dutch English Estonian Finnish French German Italian Norwegian Portuguese Spanish Swedish Zulu. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word PUA Encoded and fully accessible without additional design software Thank you! We hope you enjoy our font!

German type designer Ludwig Übele created this serif FontFont in 2011. The family has 12 weights, ranging from Extra Light to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, music and nightlife as well as small text. FF Tundra provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2011, FF Tundra received the TDC2 award. The typeface was also selected as one of Typographica’s favorite typefaces of 2011.

German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont in 1998. The family has 6 weights, ranging from Regular to Bold (including italics) and is ideally suited for advertising and packaging and logo, branding and creative industries. FF Info Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. In 1998, FF Info Correspondence received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Display and FF Info Text.

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table

Allow me to introduce Pinky Love Font. A carefully crafted collection of fonts combining informal, romantic, sweet, lovely design elements and hand-drawn typographic design elements. Pinky Love Font has many alternative characters, including multiple language support. You can use this font for your work very easily. Because there are many features in it. Contains a full set of upper and lower case letters, punctuation marks, numbers, and multilingual support.

Hiyagh Ahey Script & Sans font with original handwriting style, looks very natural and beautiful. It is suitable for boutique brand, photography, magazine, quote, business card, logo, poster and many more. There are two types of fonts: script and sans, script is equipped with opentype features such as ligature, contextual alternates and multilingual support. Opentype Feature : Standard Ligature. Contextual Alternates. Multilingual & Punctuation. PUA Encoded. I hope you enjoy and thank you.

I have always liked the word ‘quite’ - you can stick it in a sentence and all of a sudden that sentence looks quite sophisticated! Quite Something may not be all that sophisticated; in fact, it is a rather messy font. But that’s where the fun begins! Use it for your children’s book covers, toy packaging and posters. I am sure people will say that your designs are Quite Something!

Hamerald inspiration from seasonal Halloween Themes, Hamerald Decorative style inspired from bones illustration. Hamerald font is perfect for use as a poster design, branding, logos, apparel design, tattooo or other design needs. Hamerald font containing uppercase and lowercase, plus numerals and a full range of punctuation. There are alternate stylystic version and ligature. To access these, simply turn on 'Stylistic Alternates' or access them via a Glyphs panel.

Brazza is a a font that fuses the look of handwriting, brush and comic script. It is loose, very versatile and informal, yet it is very readable. Suggestions for use: - music video marketing - greeting cards - valentines day media - comic books - captions The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present).

Inspired by Bell Bottoms pants which are trending through the disco days of the 80s Skinny Joe features a reverse contrast style with a retro and vintage look. That’s simply ideal for summer theme concepts such as posters, book covers, t-shirts, branding, logo, and many more. Consists of 5 weights from thin to bold and a variable format. Skinny Joe also has alternatives for more decorative and unique looks.

So I made Smithens Villa Script, sort of classic decorative with a modern twist. It is a display font meant for vintage logos, fashion labels, custom cards headers, badges, food packaging designs, as there are a lot of fancy letter connections. Also I offer a decent amount of stylistic alternatives for many letters. Smithens Villa Script contains standard characters, lowercase, uppercase, numbers, punctuation,stylistic style and international characters.

Aguellera is an elegant font with a romantic appeal; this font is for those who are in need of an elegant and appropriately modern calligraphy script. Aguellera will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Craw Modern was designed by Freeman Craw in 1958 and first released by The American Typefounders Company, (ATF). In typography, 'Modern' is a style of typeface (classification) developed in the late 18th century that continued through much of the 19th century. Characterized by high contrast between thick and thin strokes and flat serifs. Bodoni is among the most popular of the Moderns. Moderns are also known as Didone and New Antiqua.

Fortima is a 12 style angular sans serif that utilises subtle modular shapes, designed by Stew Deane. The result is a font with character that adapts to a variety of sectors and brands, and is suitable for anything from advertising and branding to web and screen. The angular shapes help create a unique aesthetic that are instantly recognisable and have impact and character in large or small sizes.

Real Enemy - Original Handmade Brush Font is an Authentic brush Font that is written casually and quickly. Letters are made with Procreate. Then trace down into vector format, and carefully crafted into a typeface. That is why Real Enemy has a rough, authentic, and strong characteristic more natural look. Real Enemy Perfect for designs, branding projects, Logo design, Quotes product packaging and another Project that require cool strong brush font.

William Jameson is a monoline signature handwritten font. Its distinct and well rounded letters make this font a masterpiece. Fall in love with its incredibly versatile style and use it to create spectacular designs! William Jameson is made using opentype technology which makes the connection between letters more fluid, there are 3 types of tails in each letter that will automatically change according to the letters in front of it.

Say hello to Hoffers. A bold and casual script typeface with implementation of markers handwriting vibes. Some are connected and the others aren't. Perfectly fit for casual logotype, food and beverage branding, book covers, anytime you need to tell fun stories, Hoffers is the answer. Packed up with 30 ligatures to make it look seamlessly handwritten. Carefully crafted click by click to keep it clean in every strokes.

Porker was an experiment in making a barely readable but very simple and very bold typeface with no curves. It is caps only with some of the letters on the lower-case keys giving alternate versions. Include are three variants, a tall version, a striped version, and a randomized version. The striped version can be placed in a layer above the regular version to give two-colored letters.

Uno font family comes in two weights and two styles. Generally, rounded fonts seem funny and pretty. This feature is valid for also Uno Font Family but although the characters of Uno Font Family are rounded, they seem masculine and serious. It is legible in small type sizes. With its decorative view, you can get matchless products in typographic works, t-shirt prints, posters, logos and every kind of graphic works.

Bold and angular. SbB Powertrain's glyphs are constructed from simple shapes. All straight edges and lots of right angles, but surprisingly friendly. A wide range of weights and widths make Powertrain perfect for branding projects, posters, logos or any project where you need maximum flexibility. Ten weights and five widths Small caps Stylistic alternatives Opentype figure styles Complete version includes a variable typeface with three axes: weight, width and slant.

Our Ultra Pro is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Its powerful and dramatic letterforms are both serious in form but friendly in appearance yet it is still easily legible. Perfect for power headlines and titling for impact, the SmallCaps and extensive figure sets only work to further expand the usefulness of the typeface across a wider gamut of design options.

A casual sans that harks back to the very English style of book jacket and poster art of the late 50's and early 60's. The turned-in terminals are reminicent of Stephenson Blake's Grotesque 9, and the italic provides unique cursive versions of the lowercase characters. Available in a "narrow" version as well as two standard weights, this face lends itself to the wider letterspacing that evokes hot metal.

Norfolk is a vintage-inspired font based on the styles found on packaging from the early 1900's. It evokes a genuine and timelessly crafted look from this period. Three styles are included in this family: Fill, Inline and Outline. The styles can be used together or layered to create a variety of vintage looks for any project. Norfolk works well as a header or title for branding, packaging or publications.

Bazoka font is a display style that mimics the look of hand-drawn graffiti lettering. The letters are rounded and bubbly in shape, with a bold appearance. This style is perfect for informal or urban-themed designs, such as posters, flyers, and street art. Overall, graffiti bubble font is a fun and energetic way to add personality to your design. and this font include 3 styles regular, outline and extrude.

Donatella - Handwritten Fonts are elegant handwritten fonts, with texture, to be as authentic as possible while still being able to read clearly on your project. Donatella is a truly versatile font - combining sophisticated, casual and even fun sides depending on the style you use. A complete set of upper and lower case letters, and a second set of lowercase letters, Donatella - Handwritten Font also has 37 Ligatures for question just email.

Tapas is a delicious multi type family with a little something for everyone's tastes and needs. The family consists of four distinct members that share same traits but communicate different aspects. Together they’ll create a bold and effortless mix of various flavors and accents. Naturally, the fonts can be used individually too. Use the Tapas type family in packaging, branding or editorial – wherever some delicious flavors are needed.

Activity is an energetic hand styled script. It is beautiful for wedding card design, logotype, website headers, fashion design and much more. It includes multi-lingual and swash characters. There it is! I really hope you enjoy it - comments and likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Ripley is a handwritten fully connected script with ligatures and contextual alternates to help with flow and readability. Every lowercase letter has three variations. When the font is used in OpenType-savvy applications, the 3 variants of glyphs are automatically alternated to achieve a random-like effect. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages. Ripley's design is inspired by Neonoir.

Hi guys! How are you guys? I bet it's great! Introducing our latest product, we call this product the Non Blok font Non Blok hight is a display type font With a unique and firm touch Non Blok hight font is great to use on: fashion magazines, logos, photography, landing pages, flyers, social media and so on What's included - multilingual support - alternatives - ligatures Thank you, best regards Liarttyype

Throughout the history of typography there have been countless attempts to simplify the alphabet. In the early 20th century, modernist designers experimented with reducing the alphabet to basic geometric shapes. Prozac pushes this utopian experiment further by reducing the roman alphabet to just six shapes. These shapes are then flipped or rotated to make up the 26 letters of the alphabet. Prozac is available without prescription in lite and max versions.

Bambina is a stylish retro font inspired by 19th century architecture and decoration. It looks amazing at display sizes and is easily readable in text size. There are two versions of this font : REGULAR and OUTLINE. Bambina Font is a display font made mainly for headlines, titles, and other short texts and is well-suited for advertising, vintage mood board, branding, logotypes, packaging, titles, editorial design and modern and vintage design.

Introducing " Gyro Serif Display ", Gyro Serif Display is designed with a conical stem to create a unique style and easy to read. Which are all equipped with plenty of language support and open type features. Gyro Serif Display was made to function especially well at large sizes. Gyro Serif Display is a very versatile font, covering a wide variety of projects, from bold magazine imagery, to branding, poster design, and more.