Maesha is handwritten signature font. This another collection of script is perfect for your next personal branding project, excellent for your business. Maesha have a smooth edges, so this font gives an authentic handcrafted feel style. Maesha is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

Sunnylise, from Mhdafifersya, is a handwritten script font with a simple and classy style. It includes a set of lowercase characters without connecting strokes. Be sure to turn on your OpenType features when using Sunnylise - it’s packed with ligatures and alternate characters for both upper and lower case glyphs. This font is great for your next creative projects such as headlines, quotes, album cover, bold branding, business cards, and many other design project. Thanks

Introducing our new "Svarga", Elegant Fashionable Typeface with Unique, Classy and Stylish. Svarga Typeface is a classy and elegant serif typeface – This font is both modern and nostalgic and works great for logos, magazine, social media. Already matched up and ready to be used together for your next design! For those of you who are needing a touch of elegant, stylish, classy, chic and modernity for your designs, this font was created for you!

Turis is meticulously designed to adapt its personality to any project. With 241 alternative characters and 20 stylistic sets, you get unlimited power to take your creativity to the next level. Turis is the smartest choice for any creative project. With a single click, you can change its typographic personality and adapt it to your desired style. Choose between 3 predefined styles or create your own style by combining the hundreds of alternate characters available.

Bhekof is typography with strong characteristics. Explore several other eras of art and combine them into a strong Bhekof characteristic. A great typeface for your next design project. Looking for a typestyle that has strong characteristics? Look no further than Bhekof! This awesome typeface has a vintage look that will make your designs stand out from the rest. With strong characteristics like this, it’s no wonder it makes your design very popular.

Looking for the perfect all-caps display font to accentuate your next project? Lemonade Stand is a stylish yet childlike sans that doesn’t take itself too seriously. The characters are wispy in nature with minimal contrast. They were designed to loosely mimic the strokes of a thin paintbrush. Lemonade Stand is equipped with Basic Latin, Extended Latin, diacritics, and Cyrillic. Feature it in a logo, on packaging, or in a children’s book.

Qultiva features a unique typeface stylistic set which when use to some of the uppercase, lowercase characters and multilingual as well. Qultiva has been crafted from scratch. It includes a structural logic for balance and addition value. It is perfect to create unique logos, beautiful wedding invitations, use it as an elegant solution for your next magazine layout, or choose Qultiva for any graphics that require a sleek look with an elegant flair.

Grumbear is sweet and playful, but also elegant. This versatile script font has a wide range of applications ranging from greeting cards to kids’ crafts, and is guaranteed to add a sweet touch to your next design. Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. + Fonts include multilingual support for; ä ö ü Ä Ö Ü Thank’s

Introducing Somnium Amor Modern Serif Font Somnium Amor is a modern and elegant serif font. This serif font is perfect for your next branding project. This serif font has plenty Characters and has Multilingual Support. Somnium Amor is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc.

Avocado Creamy is sweet and playful, but also Crafty. This versatile script font has a wide range of applications ranging from greeting cards to kids’ crafts, and is guaranteed to add a sweet touch to your next design. Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß Thank’s !

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Handmade Mr Moustache™ is designed for Great Type. · Extra thin letters, condensed and with a handwritten touch, Mr Moustache gives a warm and friendly feeling to your layout. Mix upper- and lowercase letters according to your own liking. Furthermore, choose between a hand-drawn Unicase and an almost Unicase appearance. Use Mr Moustache Display for headlines and anything BIG. Use Mr Moustache Text for small type sizes or large volumes of text. · Mr Moustache is accompanied by frames, ornaments and dingbats in regular and solid, that can be layered for multicolored effects, providing endless design-possibilities. Please download MrMoustacheAccessories.pdf to get a complete overview. If you prefer the document in Indesign, please send an email to office@buerofliegenpilz.at · Mr Moustache offers OpenType features, including contextual alternates and stylistic sets. The font family works best with frame-based layout programs that support full OpenType functionality. · For Mr Moustache Frames please note: The glyph preview in your design application may be a bit confusing due to the size of the "letters". Please download the MrMoustacheAccessories.pdf which shows all possible frame parts. Here you can easily copy and paste all the parts you need. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for MrMoustache / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

ABOUT FAMILY: What makes "Alaturka" elegant, friendly and contemporary is its very rounded curves with very open terminals. "Alaturka" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old-style figures to elegantly insert numbers into your sentences, and more alternative characters to give personality to your projects. FEATURE SUMMARY: - 2 style: 1From 1923 To 2023 - 8 weights: Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, and Black. - 3widths: Normal, Narrow, and Condensed. - Matching italics (12º) for all weights and widths. - Matching small caps for all weights and widths. - Lining and old-style figures (proportional and tabular). - Some alternate characters - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - Extended language support: Most Latin-based scripts - Extended currency support. You can enjoy using it.

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Core Sans N SC is the Small Caps version of the Core Sans N that is a part of the Core Sans Series (Core Sans N SC, Core Sans N Rounded, Core Sans M, and Core Sans G). Letters in the Core Sans N SC Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans N SC Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans N SC Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

"BONIKSUN Typeface" is a modern sans serif font that comes in a variety of weights, ranging from Thin to Heavy. It has a high body, making it easy to read even in small sizes. The font includes 572 glyphs, which allow for a wide range of typographic possibilities. In addition to the regular weight, "BONIKSUN Typeface" also includes a condensed version, which is ideal for situations where space is limited. The font supports Private Use Area (PUA) encoding, allowing you to access special characters and symbols that are not available in standard character sets. Overall, "BONIKSUN Typeface" is a versatile font family that can be used in a variety of design contexts, from branding and advertising to editorial and web design. Its clean and modern aesthetic make it a popular choice for designers looking for a fresh and contemporary look. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

At first glance, »Angulosa M.8« is one of those fonts that a technician or engineer would probably draw. And yet it differs fundamentally from typefaces constructed in this way. The right angle forms the basic element of the »Angulosa M.8«, but that's about it with the pure mathematics. Serif-like upstrokes and downstrokes on some letters improve readability, and carefully used slants makes the appearance a little friendlier. The proportions are not based on any mathematical principle, but are derived from freehand writing of the letterforms with a broad quill. In terms of style, »Angulosa M.8« belongs most closely to the modernist, constructivist typeface attempts, such as those undertaken at the Bauhaus in the 1930s. The styles of »Angulosa M.8« range from "Condensed" to "Expanded", from "Light" to "Black", plus the respective oblique form, which in this font is slanted to the left. All variants can be adjusted continuously in the variable font: the font width ranges from 50 to 150, font weight from 300 to 900, upright [0] and italic [1]. The »Angulosa M.8« supports all European languages including Eastern and Central European, Turkish, Greek and Cyrillic.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Serifora is a versatile and elegant typeface that offers serif, sans serif, narrow, and script versions, along with italics. With support for 87 languages, it caters to a wide range of design needs. Its classic serifs, modern sans serif, condensed narrow style, and artistic script variant provide options for various design styles and projects. Serifora's italic versions add emphasis and visual interest. It is a go-to choice for both print and digital media, ensuring clear communication and captivating typography. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Mock ups and backgrounds used are not included. Thank you! Enjoy!

"NOVARE Typeface" is a modern sans serif font that comes in a variety of weights, ranging from Thin to Heavy. It has a high body, making it easy to read even in small sizes. The font includes 600 glyphs, which allow for a wide range of typographic possibilities. In addition to the regular weight, "NOVARE Typeface" also includes a condensed version, which is ideal for situations where space is limited. The font supports Private Use Area (PUA) encoding, allowing you to access special characters and symbols that are not available in standard character sets. Overall, "NOVARE Typeface" is a versatile font family that can be used in a variety of design contexts, from branding and advertising to editorial and web design. Its clean and modern aesthetic make it a popular choice for designers looking for a fresh and contemporary look. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Claymore is an ultra-condensed variable display typeface mainly created for expressive and decorative purposes. Enriched with a wide list of alternates and ligatures which cover a huge range of letter combinations, Claymore can become a powerful weapon to those, who want to make their typographic accents in design bright and unique. Two types of font files are presented to your attention. Check the font names. 1. Basic. Claymore Regular, Oblique, Regular Hollow, Oblique Hollow, Variable, Variable Hollow. Uppercase glyphs only 338 Glyphs including 60 alternates Latin, Latin Extended, and Cyrillic alphabets Two variable fonts to customize height and slant. 2. Basic + Ligatures. Claymore Ligatures Regular, Ligatures Oblique, Ligatures Regular Hollow, Ligatures Oblique Hollow, Variable Ligatures, Variable Ligatures Hollow. Uppercase glyphs only 338 Glyphs including 60 alternates 1054 Ligatures total value (527 unique as they are doubled to be uppercase and lowercase). Latin, Latin Extended, and Cyrillic alphabets Two variable fonts to customize height and slant. Advice on ligatures usage. Ligatures work properly only with uppercase or lowercase typing like UTU or utu. Combination of uppercase and lowercase letters like uTu or UtU will not be considered as ligature. Enjoy using!

Newbery Sans is a new contrasted sans serif designed by Alejandro Paul and the Sudtipos team. As Paul has lately found inspiration from different German instructional books, Newbery Sans finds its initial inspirations from the lettering work of E. Nerdinger and invokes the spirit of German designs but is imbued with personality all its own. The idea was to make the letterforms more usable and suitable for everything from corporate branding to editorial. It is an elegant, functional family with contemporary detail that will effortlessly meet the demands of the screen and printed page. From a condensed thin to an expanded black, Newbery Sans provides a usable workhorse system of three widths and seven weights, each with the original design of real italics, a selection of alternate glyphs and a complete set of small caps. Each weight is professionally crafted and includes extended Latin support for Central, East and Western Europe languages. The font’s name nods to its imagined uses in airports and street signage: Jorge Newbery was one of the first Latin American aircraft pilots, Newbery is the street where I live and it is also the name of Buenos Aires’s local airport.

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Designed by German graphic designer Jochen Schuss. ITC Schuss Hand and ITC Schuss Hand Bold can probably best be described as excellent all around scripts useful for a broad spectrum of advertising purposes as well as for those applications that benefit from a refined handwritten appearance. The characters themselves have a soft, almost “liquid” appearance which is enhanced by the subtle swelling at most of the stroke terminals. The slightly condensed nature of the characters plus a relatively large x-height ensures that both weights are ideal for the advertising arena. An additional feature on ITC Schuss Hand and ITC Schuss Hand Bold are the capital letters which can actually be used on their own in word settings whereas most script capitals are designed just for initialing purposes. The designer has also invested a good deal of careful thought to the way in which a high percentage of the lowercase letter combinations overlap to create an authentic hand-scripted appearance. This, together with the italicized letter forms, will make Schuss Hand and Schuss Hand Bold ideal candidates for those occasions when paper correspondence requires an informal style. So, as is claimed, an excellent all around script style.

MVB Solano Gothic Bold was originally designed as a display face for the City of Albany, California (located on the San Francisco Bay facing the Golden Gate Bridge and bordering Berkeley). Named for the City’s main street, the typeface needed to work on signage in proximity to early 20th Century buildings, and in contemporary settings. Rather than creating a neutered design to cover all bases, Mark van Bronkhorst chose to develop a simple, strong, condensed face that would offer flexibility of style by providing both retro and more contemporary forms. Solano Gothic has since been expanded to a family offering five weights from Light to Bold. The basic fonts provide upper- and lowercase forms, with figures designed to harmonize within upper- and lowercase settings (the standard figures are not full cap height). The same figures are provided with Small Caps, and align to small cap height. For all-cap settings requiring figures and monetary symbols of full-cap height, there are the “Cap” fonts. An alternate tabular “1” is provided in all fonts so that both fitted and tabular settings of figures are possible (access to alternate characters subject to system or application support).

The Core Sans NR Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N SC, Core Sans M, and Core Sans G. This family is the rounded version of Core Sans N family. Letters in the Core Sans NR Family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans NR Family consists of 3 widths (Condensed, Normal, Extended), 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black), and Italics for each format. It also supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans NR Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

"BROSTEL Typeface" is a modern sans serif font that comes in a variety of weights, ranging from Thin to Heavy. It has a high body, making it easy to read even in small sizes. The font includes 502 glyphs, which allow for a wide range of typographic possibilities. In addition to the regular weight, "BROSTEL Typeface" also includes a condensed version, which is ideal for situations where space is limited. The font supports Private Use Area (PUA) encoding, allowing you to access special characters and symbols that are not available in standard character sets. Overall, "BROSTEL Typeface" is a versatile font family that can be used in a variety of design contexts, from branding and advertising to editorial and web design. Its clean and modern aesthetic make it a popular choice for designers looking for a fresh and contemporary look. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the classic sans serifs, Standard is an alternative that is considerably warmer and a bit more idiosyncratic. In 2008, CastleType released additional members of the Standard CT family to make it a complete typographic solution with three widths (normal, condensed, extended) of four weights each (Regular, Medium, Bold, and Extra Bold). Some of the original Standard fonts, particularly Standard Regular, appear to have been hastily designed (or perhaps too closely imitated Helvetica); these have been greatly improved in the CastleType versions with more harmonious proportions and other refinements. The three lighter weights of the Extended subfamily were designed from scratch based on the new Standard CT Regular and Standard CT Extended Extra Bold. More recently, four light weights (Light, Extra Light, Ultra Light, and Hairline) have been added to each of the three widths. The entire Standard CT family includes support for most European languages, OpenType features, arbitrary fractions, and a collection of geometrics, dingbats & fleurons.

According to Wiktionary, "the cat's pajamas" was a slang phrase coined by Thomas A. Dorgan, the well-known journalist, cartoonist and sportswriter of that era. The phrase became popular in the U.S. in the 1920s, as the word "cat" was used as a term to describe the unconventional flappers from the jazz era. This was combined with the word pyjamas (a relatively new women's fashion during that time) to form a phrase used to describe something that is the best at what it does, thus making it highly sought and desirable. Wikipedia adds that Dorgan was the first to use the terms "twenty-three, skidoo", and "yes, we have no bananas", "apple sauce" and "solid ivory", which also became part of the slang of the "Roaring Twenties". Katz Pajamas JNL is a condensed slab serif typeface based on the title lettering for the 1944 sheet music "Pretty Kitty Blue Eyes", hence the pun-laden font name paying homage to this bit of verbal Americana as well as making the pajamas a pair owned by Mr. Katz instead of the fashionable feline. Available in both regular and oblique versions.

Miss Mable is a high-quality, well-proportioned contemporary typeface with variations in thick and thin strokes that contains a hint of previous decades. I wanted to create enough weights and widths to make the typeface suitable for a wide range of uses where a soft, stylish, and friendly look is appropriate. The Miss Mable type family consists of 44 fonts. The family encompasses seven weights across three widths in Roman and italics plus variable versions. Each font contains a complete set of characters for Western and Central European languages. In addition, OpenType features include dynamic fractions, alternate glyphs, ligatures, plus proportional, tabular, and old-style numerals. These high-quality fonts are fully compatible with Windows, Macintosh, and Linux. Also for sale are two Miss Mable variable fonts that include all Roman and italic glyphs of every width and weight plus everything in between. For example, if you need something slightly bolder than bold and a little wider than semi-condensed, the variable fonts make that possible without distortion. Variable technology is new, however. All modern web browsers support variable fonts, but support for most desktop software is still spotty.

"MOUBARU Typeface" is a modern sans serif font that comes in a variety of weights, ranging from Thin to Heavy. It has a high body, making it easy to read even in small sizes. The font includes 680 glyphs, which allow for a wide range of typographic possibilities. In addition to the regular weight, "MOUBARU Typeface" also includes a condensed version, which is ideal for situations where space is limited. The font supports Private Use Area (PUA) encoding, allowing you to access special characters and symbols that are not available in standard character sets. Overall, "MOUBARU Typeface" is a versatile font family that can be used in a variety of design contexts, from branding and advertising to editorial and web design. Its clean and modern aesthetic make it a popular choice for designers looking for a fresh and contemporary look. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Introducing the New Icon Font Duo. This luxury script and timeless serif are perfectly designed for one another-not only are they strong standalone fonts, but will pair beautifully when placed side by side. Feeling creative? They can even be mixed together within the same word for a more eye-catching layout, giving you a versatile set of fonts which can be used & loved across a range of design projects. Included in this family; New Icon Serif • A classic, all caps serif font with nostalgic notes. Contains alternate large-width O,G,Q,C characters in the ‘uppercase’ set. New Icon Serif Condensed • A thinner version of the New Icon Serif. New Icon Script • A luxury, cursive script font containing upper & lowercase characters. A beautiful letter set inspired by traditional calligraphy, which can be used on it’s own or paired effortlessly with the serif font. Contains alternate lowercase y & g with elongated tails, accessible by turning on ‘Stylistic Alternates’ or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

This is the mature version of our previous release Infantometric Pro - The same basic skeleton, but with a more normal x-height. One feature is that no letters (except some accented letters - with cedillas, ogoneks and comma accents) go below the baseline, so this is one condensed font that is perfect for headlines! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Hoax – a pre-worn sans serif with spirit, personality and distinction. This bold and semi-condensed sans serif is inspired by old copy machines and vintage prints. It is lively and eye-catching, ideal for where and when you want to make a lasting impression. Hoax is a celebration of character, a tribute to curiosity. Use this typeface and let everyone know that you mean business. OPENTYPE FEATURES: This font includes over 40 discretionary ligatures of prepositions and common words in English. These OpenType features can be accessed using OpenType friendly applications that allow the use of discretionary ligatures and stylistic sets. MULTILINGUAL SUPPORT: With over 700 glyphs, it has support for more than 150 languages, including Cyrillic script. List of discretionary ligatures: AND, ARE, AT, BY, FOR, EST, FEAT., FROM, IN, IS, OF, ON, OR, OUR, THAN, THAT, THE, TO, WITH, YOUR, CO. Each word is available in both upright and slanted versions. How to use: Activate the discretionary ligatures as you normally do in your OpenType friendly application. When activated, the words are in upright versions. To access the slanted versions, activate the first stylistic set (“Slanted Ligatures”). Happy typing!