Hommy Land is a beautiful and simple handwriting script font, contemporary and fashionable. Hommy Land looks elegant for a wide variety of designs. This elegant font can be read and looks good as a title or body text. This font will be perfect for many different designs for magazine headlines, social media, branding, wedding invitations, cards, etc. Hommy Land script fonts include ligatures, stylistic sets, capital letters and lowercase letters. You need a program that supports OpenType features like Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw X6 / X7 and you can also access alternates via Font Book (Mac users) or Windows Character Map (Windows users).

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera Cyrillic has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera Cyrillic shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Cyrillic Text and Bandera Cyrillic Display sister families as well. Please check also Pro verion for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for 'flag'. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

Agakê is a typography for comics with 03 weights, variations in italics and shadow. It has 432 glyphs with support for multiple languages and was designed to adapt to a variety of styles and narrative genres, whether adventure, fiction, graphic novel or even superhero. Traditionally, the typeface in the comics are applied in capital letters, seeking the optimization of the space without losing the readability. But Agakê was designed to work also in lowercase, allowing a greater number of combinations and an incredible reading experience. Valuing the foundations of the graphic narrative, Agakê obtains total harmony next to the most diverse styles of illustration of the comic books.

I used to live in the English Lake District - in a town called Ambleside to be precise. It was a nice time in my life, as living in the Lake District gave me the opportunity to go out every day and enjoy the beautiful nature! Troutbeck is a small, old fashioned village on the narrow and hilly road from Windermere to Penrith. If you ever make it there, you will discover that the area is a walhalla for hikers! Troutbeck font is a pleasing, handmade all caps font. It would look great on product packaging or book covers, or maybe postcards reading ‘Greetings from the Lake District’.

»Cristal Text« has nice to read lower case letters. It contains 636 letters per font style and some Open Type features: Different stylistic alternates and different sets of numerals. It is not monospaced: Therefor it stays not true to an underlying grid like it’s bigger brother »Cristal True«. But this offers a better legibility. The basis of this font is a Union-Jack or sixteen-segment display (SISD). I have found myself in the need of a precise and well-made font, that simulates the look of such a LCD display. Also it should offer enough letters and language support for the whole European region as well as different font styles.

OpenType Layout features: smallcaps, stylistic alternates, localized forms, standard ligatures, uppercase-sensitive forms and spacing, oldstyle figures, lining figures, smallcap figures, arbitrary fractions, superscript, subscript. Cambria has been designed for on-screen reading and to look good when printed at small sizes. It has very even spacing and proportions. Diagonal and vertical hairlines and serifs are relatively strong, while horizontal serifs are small and intended to emphasize stroke endings rather than stand out themselves. This principle is most noticeable in the italics, where the lowercase characters are subdued in style, to be at their best as elements of word-images. This font is suitable for business documents, email, web design.

The Daytona™ typeface family grew out of a desire to provide improved fonts for use in televised sporting events. Jim Wasco drew the design as sturdy squared letters based on humanist shapes and proportions. Letters were kept narrow for economy of space, and inter-character spacing was established for easy reading. While televised sporting events may have initially been his target, the design considerations he incorporated into the Daytona family also enabled it to perform well in a variety of other video and on screen environments. Daytona Variables are font files which are featuring two width axes and have a preset instance from Thin to Fat.

SK Boncuk is a very special font family I designed for my pet. Bead is a very smart and special rabbit. It can understand all commands and do whatever is said. It is very lively and fun in his daily life, but also monotonous. For this reason, I designed a fun font for him, with a single weight but with surprises. This font represents Boncuk's fun but monotonous life. SK Boncuk offers full support for the Latin alphabet and includes all the typographic elements you will need. This font family consists of 8 different fonts and 3288 glyphs and it supports hundreds of different languages thanks to the characters it contains.

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Pressroom is a modern "legibility face," designed to be easy-to-read under even the harshest conditions. As you might expect of such a typeface, it's got an ample x-height, robust serifs, and minimalist descenders -- but Pressroom displays more grace and allure than most families of this kind. (Its designer nonetheless describes Pressroom as having "the sophistication of a crocodile.") Pressroom has regular, italic, and bold italic styles, along with a special black weight intended for headlines, callouts, and other display uses. Numerals are semi-cap in all but the black, where they are fully lining. Would work well in newsletters, flyers, office forms, or even periodicals.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

Sirba, a serif typeface family with a friendly personality, was conceived especially for the demands in complex text environments like dictionaries, academic texts, annual reports, novels and magazines. It has many design features that were particularly designed with Sirba’s purpose in mind. Because of its open counters, the large x-height and its short ascenders and descenders, this typeface conveys a pleasant reading experience and high legibility even in small sizes. Sirba is a low-contrast typeface, contemporary but with a classical touch, revealing its beauty in design details, such as the asymmetrical bottom serifs, curved bracketing and calligraphically reminiscent terminals. Furthermore, the capitals appear integrated into the text, thanks to the low cap height, and the constant width of all tabular numbers between the weights make this typeface very usable in annual reports and tables. Sirba is available in the four classic styles plus a special heavy (Black) version, which is particular in that its proportions are designed so the counters remain big enough when set in very small text sizes. This means that Sirba Black’s spacing and letter width are rather generous in comparison to other typefaces of that colour. This ensures excellent legibility. During the design of the typeface family, much attention was given to the italic and regular as counterparts of each other. The italic distinguishes itself just enough while reading without creating strange spots within the text when looking at the text as a whole.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

Say hello to Golden Clouds :) A charming and cute font duo with handwritten letters and doodles!! Bring some irresistible fun to your design with Golden Clouds Font Duo! This playful font duo consists of a fast-flowing signature font and a charming font with small capital letters as the perfect companion. But that's not all - the set also includes a bonus Doodle font containing hand-drawn drawings designed to give your "Golden Clouds" fonts the appeal of handmade. Golden Clouds Script • A clean, smooth handwritten signature font containing uppercase and lowercase characters, numbers and a wide range of punctuation marks. Golden Clouds SmallCaps • Clean, charming handwritten font with capital letters. Golden Clouds Doodles • A set of hand-drawn drawings designed in combination with Script and Small Caps fonts. Just set it as your own font and enter any character to create each drawing. "Golden Clouds" is ideal for everyday use in greeting cards, illustrations, quotes, original branding, book covers, children's books, packaging and much more :) Font Features: A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Elaina Family Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters, its stylistic alternates, and a companion font, Elaina Semi Serif, useful for body text and complementary contexts. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Script Elaina Script is a tidy, precisely penned script face — perhaps closest of all of Laura’s faces to her own handwriting. In its standard form, with its sober x-height and restrained ascenders and descenders, it’s a pleasure to read at smaller display sizes and in short blocks of text. It is accompanied by an unconnected version of the lowercase characters. Of course, like most of Laura’s typefaces, it includes hundreds of swashes, alternates, and ligatures, for attention-getting effects at large sizes and in brand identities. Elaina Semi-Serif Elaina Semi Serif was designed to complement Elaina Script. Both faces share calligraphic roots and typographic and allow them to mix harmoniously. Its modulated strokes and subtly flared terminals give it a humanist feel that adds warmth and positivity to any setting.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Proudly present "Otamendi Signature Font" Otamendi is beautiful signature font which has a beautiful and natural arch shape, this font is very suitable for various types, such as logos / brands, posters, magazines, Instagram templates, and many more. I really hope you enjoy it - please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Please fell free to contact me if you have any question Thank you

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

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic."

Galberta, a cutting-edge futuristic font, embodies the essence of tomorrow’s typography with its sleek and innovative design. Its geometric, sans-serif characters seamlessly blend bold, crisp lines and subtle curves, exuding a sense of modernity and minimalism. The font’s minimalist aesthetic is complemented by its distinct fusion of sharp angles and graceful arches, creating a visually captivating harmony. Galberta offers a dynamic and versatile typeface that can effortlessly elevate the aesthetics of any design, from sci-fi movie posters to forward-thinking digital interfaces, making it the embodiment of typographic innovation in the digital age.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Plumage is somewhat unusual in that it has elements of calligraphy as well as script in a semi-loose form that gives it a pleasing appearance for both large and small sizes, and interesting flare finish strokes add to its unique character. As I read a dictionary description of "plumage", I realized that in many ways there is a parallel between a bird's plumage and how it is utilized in the context of writing: Plumage varies in pattern and arrangement for different purposes; what it expresses can of course be even more interesting. Plumage is disposable after a season, as new ones become available... imagine, a self-sustaining quill! - I guess that's equivalent to a refill or disposable pen. Historically, quill pens were made from feathers of a variety of birds, each chosen for its special characteristics. The sturdiest and most reliable feathers, however, come from turkeys, swans and geese. Feathers used to make pens are the stiff-spined flight feathers on the leading edge of the bird's wing. Pens for right-handed writers come from the left wing, and pens for left-handers, from the right! Each bird yields 10-12 good quills, and sometimes only 2 or 3 - so small a yield that the geese reared in England could not furnish nearly enough for local demand, and quills were imported from the Continent in large quantities. At one point St Petersburg in Russia was sending 27 million quills a year to the UK. It is said that geese were specially bred by US President Thomas Jefferson (1743-1826) to supply his own vast need for quills - in his lifetime he wrote almost 20,000 letters. The name "Plumage" was selected to pay homage to the noble birds that supplied countless quills for centuries of literary works. Plumage is recommended for any formal or informal invitation, decorations, awards, poetry, plaques, etc. We hope you will have the pleasure of using Plumage.

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Melissa Hella is a beautiful, modern script font that's perfect for wedding invitations, t-shirts, branding, and other romantic projects. The font includes OpenType features with alternative styles, ligatures, and multiple language support. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to alternate / swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use a style font set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs

English HU Cookie is a cute handwritten typeface that can be used to express any lively or active moment. The alphabets are not aligned or evenly written but are crooked like scribble, which gives you funny and informal vibe. There are 2 weights of HU Cookie : light, semi bold Greek Το HU Cookie είναι μια χαριτωμένη χειρόγραφη γραμματοσειρά που μπορεί να χρησιμοποιηθεί για να εκφράσει οποιαδήποτε ζωντανή ή ενεργή στιγμή. Τα αλφάβητα δεν είναι ευθυγραμμισμένα ή ομοιόμορφα γραμμένα, αλλά είναι στραμμένα σαν σκαρίφημα, κάτι που σας δίνει αστεία και ανεπίσημη ατμόσφαιρα. Υπάρχουν 2 βάρη του HU Cookie: light, semi bold Cyrillic HU Cookie - это симпатичный рукописный шрифт, которым можно обозначить любой живой или активный момент. Алфавиты не выровнены и написаны неравномерно, они изогнуты, как каракули, что создает забавную и неформальную атмосферу. HU Cookie имеет 2 толщины: light, semi bold

Mandoul Script is a sharp, active calligraphy typeface. With extra attention to quick letterforms and sharp details, this modern typeface turns any graphic project into a strong and confident work. It is provided in six styles, and three thicknesses: Thin, Regular and Bold, and each weight as Italic. Use underscore _ anywhere in a word to create a swash. Example: Hand_script Use multiple underscores for different swashes. Example: Bea__utiful (Download required.) Mandoul 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 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.

Bianca Kamelo is a modern hand-lettered font with 67 standard ligatures and unique 676 "love ligatures" which connect names with style. Font includes multilingual support for Western and Central Europe. It is ideal for weddings invitations, baby showers, blogs and websites, instagram, branding, invitations, business cards, and many more. This font also include complete set of alternates for uppercase and lowercase characters and stylistic ends for lowercase characters. To activate the "love ligatures" you just need to enable "standard ligatures" and type name without separator (space). For example BiancaKamelo. If the name ending with standard ligature, you need to disable that ligature, enable ligature for last name character and first surname character. For example: ChristianKate - disable ligature for ChristianKate and enable for ChristianKate. For access to Stylistic Alternates is required software with glyphs panel like Photoshop, Illustrator etc. Ligatures shows up automatically.

Single Ladies are sexy handwritten fonts with varied basic lines, designed to convey elegance and style, clean and lightweight. Perfect for logos, magazines, menus, books, invitations, wedding / greeting cards, packaging, labels, t-shirts, etc. All of your designs will have an amazing homemade touch with Single Ladies. Single Ladies are coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows to attach your favorite text editor / application. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. and there are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Garelgina is a sexy handwritten font with varied baselines, designed to convey elegance and style, clean and light. Perfect for logos, magazines, menus, books, invitations, wedding / greeting cards, packaging, labels, t-shirts, etc. All of your designs will have a fabulous homemade touch with Garelgina. Garelgina is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users can use Font Book, and Windows to attach your favorite text editor / application. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. and there are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or a software program such as PopChar (for Windows and Mac).

Angelin Girald is a beautiful and elegant script font. This font is perfect for logos, branding, invitations, social media posts, and any other designs that require a touch of handwriting and can be used for almost every design. This font is coded PUA which means you can access all the amazing glyphs and swashes easily! It also has many special features including alternative flying machines and ligatures. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac). If you need help or advice, please contact me via email. Thank you!

English HU Crayon Doodles is a cute handwritten typeface that can be used to express any lively or active moment. The alphabets are not aligned or evenly written but are crooked like scribble, which gives you funny and informal vibe. There are 1 weights of HU Crayon Doodles : light Greek Το HU Crayon Doodles είναι μια χαριτωμένη χειρόγραφη γραμματοσειρά που μπορεί να χρησιμοποιηθεί για να εκφράσει οποιαδήποτε ζωντανή ή ενεργή στιγμή. Τα αλφάβητα δεν είναι ευθυγραμμισμένα ή ομοιόμορφα γραμμένα, αλλά είναι στραμμένα σαν σκαρίφημα, κάτι που σας δίνει αστεία και ανεπίσημη ατμόσφαιρα. Υπάρχουν 1 βάρη του HU Crayon Doodles : light Cyrillic HU Crayon Doodles - это симпатичный рукописный шрифт, которым можно обозначить любой живой или активный момент. Алфавиты не выровнены и написаны неравномерно, они изогнуты, как каракули, что создает забавную и неформальную атмосферу. HU Crayon Doodles имеет 1 толщины: light

Blend is a hand drawn collection that takes its cues from the visual universe of bakeries and coffee shops. The name refers to the combining of different kinds of coffee beans to get a balanced taste, and Blend does just that, although here each typographic flavor can also be enjoyed separately. Projects such as branding, children’s books, wedding invitations and labels are sweetened with this cute family. The bouncing informal Script programmed with Open Type offers a wide range of features like ligatures, swashes, endings, initial forms and lots of alternates. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures feature always active. For further information about features and alternates, see the User Guide Blend has extensive Western, Central and Eastern European language support. Make some coffee and enjoy!

Fanya is a modern calligraphy design, including Regular. This font is casual and beautiful with swash. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more. Fanya includes a change of the OpenType language style, binding and international support for most Western languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. Fanya is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use the Font Book, and Windows users can use Character Map to view and copy one of the additional characters to insert into your favorite text editor / application.

College styles fonts are a "must have" for any designer just because of their really vast possibilities of uses. With our "Ultimate College Team" pack we're giving a whole range of "College style" fonts where you'll be able to select in any moment the perfect characteristic necessary for your next project. The pack includes 9 hand crafted fonts that capture these very emotions of team work and campus life. Our college fonts speak largely of sports activities, but also of those strong emotions that combines force, discipline, determination, confidence and that feeling to be “in the Team”. The "Hot Sports Elements" font, which consists of handy sports related graphic elements, is the last touch to reinforce and add meaning of a piece of text and create the best balance to your layout and it comes free when you buy the packs available!

Rocksane Display is a modern hybrid font with fantastic decorative uppercase and strong serif lowercase for impressive and powerful look. This typeface works fine in big sizes and more suits for example in short tittles, logotypes, names, movie posters, books and music album covers. Rocksane includes 84 beautiful uppercase alternates except of basic set. You can easy get it with special combination like A1, A2, A3 etc. (This hot keys works with activated Standard Ligatures option). In addition, there are 11 End-swashes which harmoniously underline the words. You can quickly get it by the same way with combination like _1, _2, _3 up to _11 (underscore+number). This features works fine in Adobe Photoshop or Illustrator. You can use Rocksane for following languages: Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.