Maxengine is a bold script font that refuses to conform. This rebellious yet playful typeface marries boldness with a touch of whimsy, creating a dynamic and unique script that captures attention and refuses to be confined by traditional design norms. The characters in Maxengine boast a rounded shape, bringing a sense of friendliness and approachability to the bold script. What truly sets it apart is the intentionally uneven outline details, adding an element of spontaneity and creative flair to each letter. This unconventional approach results in a font that exudes personality and breaks away from the ordinary. In addition, enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Maxengine fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Biotrons is not your ordinary bold display serif font—it's a visual powerhouse that commands attention with its unique design. This font is a daring exploration of boldness and precision, bringing a cutting-edge aesthetic to the world of script typography. The characters in Biotrons are defined by their bold strokes and sharp corners, creating a strong and impactful visual presence. The deliberately uneven outlines add an element of unpredictability, giving each letter a sense of individuality and flair. Biotrons is a font that thrives on breaking away from the expected norms, offering a dynamic and modern take on the traditional script. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Biotrons fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

“Designers can’t help but be inspired by the things that surround them,” says Massif’s designer Steve Matteson. An avid mountain climber, Matteson found his inspiration for his text face family in the dramatic granite formations of North America’s Sierra Nevada Mountains. Most of Matteson’s type designs are custom projects designed with an end use or customer in mind. Massif, which had no customer or specific purpose, was probably his most personal typeface to date. “My goal was to embody, in Massif’s two-dimensional letterforms, the angular tension and smooth curvature characteristic of the rugged terrain of Yosemite National Park’s Half Dome, which was formed by eons of glacial and tectonic activity,” Matteson explains. The typeface’s striking design echoes the faults and fissures that define a massif formation, resulting in a rich texture when used for body text and revealing distinctive shapes and proportions at display sizes. The Massif family comes in six weights, from Light to ExtraBold, each with an italic companion. The OpenType Pro suite contains small caps, ligatures and old style figures, and offers a small set of decorative ornaments. Pro fonts also include an extended character set supporting most Central European and many Eastern European languages.

Baker Street was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Early sketches created an array of specialized ligatures from which the font really took shape. The family is comprised of regular, italic, inline and a rustic textured style. Baker Street delivers a multitude of Opentype features, primarily including hundreds of discretionary ligatures that connect letter pairs through varying flourishes. These distinct ligatures are used in combinations between two capital letters, two lowercase letters, uppercase to lowercase pairs and specific number combinations. For a number of capital and lowercase letters, large swashes expand above and below the characters. Contextual swashes are also applied to some characters when placed at the beginning or end of a word. Stylistic Alternatives and Titling Alternatives offer distinct style variations to capital letters. Tabular Lining and Oldstyle Figures provide several numerical alternatives. Lastly, the family also includes two sets of ornaments created specially to work with Baker Street’s style. With all that, Baker Street provides each and every user the tools to solve their own case. The game is on!

Finding out an attractive font regarding your project design can be such hard work as you take risks of either losing your clients or killing your good reputations once you pick the wrong font. However, Molly Hugs is the right solution for you. It is a rounded display font to add warm, fun character touches on every design. Its shapes and geometry are simple and without too many detailed points for a legibility reason. Additionally, Molly Hugs, completed with a clipart as a bonus, is perfectly applied for big text sizes to be legible and you can make use of some available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Molly Hugs fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Take a classic hand lettered Art Deco alphabet, add in a treatment of dual straight vertical lines and the resulting typeface is Double Line Deco JNL.

Hand lettering on the Art Deco-era sheet music for a song entitled "Rosemary" was the model for this delicate monoline design called Deco Hotel JNL.

Titles from the 1938 movie "Service Deluxe" starring Vincent Price and Constance Bennett were the inspiration for the similarly named Art Deco typeface Service Deluxe JNL.

Based on Art Nouveau models, Greeting Monotype was created by M.F. Benton in 1927. The Greeting Monotone font works well for titling, packaging and greeting cards.

Okay Tyra is a doughty placid handwritten unicase typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Zerobyte is a protean jocuserious handwritten mix cased typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

AZ Barista font is inspired from 1920's Poster art, namely Leonetto Cappiello designs. This font was designed for use as a worn and antiqued headline.

Nouveau Chic JNL is based on vintage source material, and offers an elegant, condensed Art Nouveau typeface with a hint of Arabian or Middle Eastern influences.

A new take on the perennial Art Deco favorite, Broadway, interpreted by 1930s lettering artist Harold Holland Day, and named after a 1960s R&B song.

Boston Skyline is a carefully hand-crafted duo of premium Sans & Script fonts, designed to create a bold, authentic, and timeless lettering combination. The contrasting yet complimentary strong sans and free-flowing script lend themselves perfectly as primary and secondary fonts for logo designs, product packaging, eye catching quotes and display text. Here’s what’s included in this product: Boston Skyline Rough • A hand drawn script font with authentic textures built-in. Contains upper & lowercase characters, all punctuation and numerals. Boston Skyline Rough Alt • This is a second version of Boston Skyline Rough, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Boston Skyline Sans Rough • A bold Sans font with a built-in rough 'letterpress' texture. Contains uppercase characters, all punctuation and numerals. Boston Skyline Swashes • This font contains 26 swashes, perfect for underlining your script text and adding some extra custom flair. Simply install this font separately and type any a-z character when using this font to generate a swash. Clean Versions • Are included for all fonts with textures completely removed and edges smoothed. Language Support; All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian

The use of pattern is strongly integrated into African art, craft and culture. If you are creating designs which are to have an African look, then the African Pattern Fonts are an essential resource. The patterns vary tremendously -- either gently rounded in shape, or with a stark African angularity they reflect the ethos of Africa. Some of the fonts (African Patterns 01 and 02) have been inspired by the designs of Africa without regard for specific tribes or ethnic borders. They create a strong sense of "African-ness" without a narrow connection to any specific tribe. African Patterns 03 (Zulu and Ndebele) and 04 (Mali), in contrast, have been closely based on traditional patterns that are currently in use by the better known pattern-using African tribes. You can use the fonts as elements in graphic designs (using Adobe Illustrator, Adobe Photoshop, Adobe Freehand or equivalent programs). However, you don't have to be a graphic designer to use these fonts: you can easily make borders and patterns in word processing packages such as Microsoft Word. (See the Gallery Images for instructions). Each African Pattern font contains 52 different pattern units. You can combine these in a myriad of ways giving an almost unlimited number of patterns. You can even overlay one pattern with another, allocating a different color to each layer. Explore your own creativity -- experiment!

As its name suggests, Multiple is a family with multiple font styles. The idea that sums up the concept behind the typeface is “workhorse”. The challenge was to develop a useful font fit for any scenario and suitable for any design needs: editorial design, packaging, branding, screen use, etc. Multiple features soft, rounded shapes and large counterforms which make it well-suited for both text and display usage. The proportions are based on classic typefaces yet its design was specially created to provide a high degree of versatility. Multiple contains different stylistic sets whose variety of glyphs provides a wide range of choices for any design project. Partly humanist and partly grotesque, Multiple comes with a number of font variants that will help you choose the style that will best meet your needs. The font also includes a serif version with the same number of variants as its sans counterpart. The sans version includes 4 stylistic sets while its slab companion comes with 3 sets, both available as separate alt family packages (ideal for those seeking ready-to-use alternate glyph sets). These alternate characters are also available as OpenType features in the regular versions. Multiple comes in 5 weights—ranging from Extra Light to Bold - with matching italics, and contains a 395-character set that supports 207 different languages. Multiple: one font, multiple faces.

Fishmonger originated from a commission of two fonts for the corporate identity of a fishmonger shop. When sketching the elementary principles for the lettering, the idea for a modern, extensive font family with a large number of styles was born. The first step consisted of defining the range of widths and weights. Then the master design Medium Regular was completed. The next step was adjusting the Extra Condensed Thin, the Extra Condensed Bold, The Extra Extended Thin and the Extra Extended Bold weights, as they are the vertices of an imaginary square map of the face. This meant that, in order to achieve a harmonious result, the x and y axis needed to be defined. From top to bottom, from the widest to the most condensed cut, the proportions are linear. However, from light to black, the line curves gently, allowing lesser difference between the light cuts, and a dramatic one between the heavier cuts. To ensure the original parameters were respected each position on the vertex was checked against the Medium Regular. After sorting out the ideal set-up, the remaining characters of each of the weights were drawn, and the remaining cuts were interpolated according to the principles above. Fishmonger is a functional, clean design, free of any buoyant, ornamental shapes, almost minimalist. Maybe this is what lends the type family its unique appearance.

Engaging the issue of scalability, Beaufort® is configured so that serifs render with great sharpness, independent of type size, limited only by device resolution. This scale of effect empowers the typographer with a design axis stretching from awesomely huge to preciously tiny, further enhanced by weights from Light to Heavy, small caps, and alternate figure styles. In style, Beaufort has a number of affinities. In particular, the bold romans recall a kind of “grotesque with small serifs” style popular with sign painters and package lettering artists in the early 20th century, and still going strong. In proportion, the basic Beaufort is in the vein of the classic oldstyle types that descend from Granjon , via the French Oldstyles, or Elzevirs, to Plantin and Times in the early twentieth century. Designed for optimum clarity, readibility, and word count, these types have a pronounced angle of stress in the lower case, which is quite large and fairly narrow in relation to the caps. None of the caps are exceptionally narrow, and both cases have an evenness of width that makes for a no-nonsense, orthodox appearance. The strength of the capitals distinguishes these types from those of another “optimizing” era, the 1970s and ’80s, when puny caps made for monotonous text. However, strong though they may be, Beaufort’s caps are not as obtrusive in text as those of Times or Plantin.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.

The typeface PIXEL pattern is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired in the past and present. 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) with 830 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: PIXEL pattern ■ Font Styles: 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.ttf (for Print) + .woff (for Web) ■ Glyph Set: 830 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, 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, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

A true workhorse. The only Grotesk you’ll ever need. Allrounder Grotesk is a neutral, powerful Neogrotesk member of the Allrounder superfamily. An unobtrusive teamplayer as well as an excellent soloist, this hard-working sans-serif typeface is ready for any task you’ll throw it at. A workhorse that lives up to its name, Allrounder Grotesk consists of ten weights ranging from a delicate Air to a powerful Black with 900+ glyphs per font. Each weight is accompanied by carefully hand-corrected italics. Allrounder Grotesk supports more than 200 Latin-based languages, containing the complete “LatinPlus” glyph set developed by Underware. It also provides you with plenty of OpenType features and additional goodies: small capitals, ten sets of figures, case-sensitive forms, ligatures, superiors, fractions and arrows. Equipped like this, you’ll be ready for any kind of sophisticated typesetting scenario you might encounter. With Allrounder Grotesk, you’ve got a sans that works great for body text, yet looks crisp and clean in headlines and display sizes. Whether annual reports, magazine and editorial layouts, nonfiction books, branding and packaging work, large-scale advertising, forms and contracts, or contemporary posters: Allrounder Grotesk is up for it. This multitalented font family was developed in a 2-year process by Moritz Kleinsorge. It was the first release of the Allrounder superfamily, a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Antiqua or Allrounder Monument, may be easily combined with Allrounder Grotesk. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Antiqua is the ideal complement to Allrounder Grotesk. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Antiqua to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose. In any kind of design, in any type of medium, working with Allrounder fonts is effortless. That’s why Allrounder got its name.

Introducing Graffiti Line A Display Graffiti Style Font. Inspired by the graffiti art on the city streets, so I made it into a font. So that it will make it easier for you to make graffiti writing or designs. There are much ligatures that will make this font even cooler. So enjoy it! Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and so much more! This font is also support multi language.

Dyans Font Family is a type of font that is inspired by vintage handwriting art that is often used in signwood, signpainting and others, usually this font is very suitable for manual hand lettering or hand painting art. This font uses the open type feature so you can explore alternative types in certain letters. Enjoyed This font conssist of: Stylistic Set Alternate Character Multilingual Support Math Symbol Numeral & Punctuation Hope your enjoy using this font Thank You.

Utilize the elegance of Art Nouveau in modern form with Lotus Grove. Lotus Grove is a high-contrast serif typeface with deep roots in Art Nouveau aesthetics. In contrast to its archetypal models, Lotus Grove boasts a clean-cut and smooth design, perfectly suited for modern requirements. It is a fancy typeface that suits any kind of display use. Lotus Grove is equipped with Stylistic Alternates for letters G, E, K, R, S, T and ampersand.

Dia de los Muertos is a colorful collection of skulls based on the lively Mexican fiesta celebration where skulls are used as humorous epitaphs of people still alive, besides being a symbol of celebration. A work of Iza W that can be used for children in arts, arts crafts, among other applications. Buying "Dia de los Muertos" you get FREE a amazing set of eps vectors : 39 naive, intrincated and colored funny skulls, ready to use."

This font consists of 26 design elements derived and adapated from various architectural works of Charles and Henry Greene who created hundreds of designs for houses, furniture and decorative arts in their own unique interpretation of the "Arts & Crafts" style in the early years of the 20th Century, mostly in Pasadena, California. Many of the picture elements are designed to form distinctive borders, and the variety of designs contained in this font encourages their use in many creative ways.

Horndon is a decorative revival of late art nouveau style typefaces. The robust, high waist forms of these letters lend a unique, early 20th Century feeling of optimism to text designed with them. The letterforms themselves have adapted a three dimensional appearance: they each sport an individual drop shadow. Horndon is an all caps typeface, which was originally designed in 1984 by Martin Wait for Letraset. A similar art nouveau typeface, Galadriel, is also available from Linotype."

Luxurious high-quality ornamental initials superimposed on elaborate Art Deco drawings of plants and flowers, inspired by 18th and 19th Century French designs, with a modern approach. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters. Beautifully ornate and perfect for the beginning of paragraphs in publications and texts conveying the feel of the 1920s and the Art Deco movement, garden-themed texts, or fairy tales.

In the German city of Bad Neuenahr you can visit a spa called Thermal Badehaus. This beautiful art deco building has an even more beautiful art deco lettering covering its facade. I had to work with only a couple of glyphs ('Thermal Badehaus' to be exact) and tried to capture their beauty in the remaining glyphs. The result is a font called Badehaus (Bath House in German). It is a bold, all caps typeface, with some unique glyphs.

Introducing The Bold Street. A Graffiti Style Font. Inspired by the graffiti art on the city streets, so I made it into a font. So that it will make it easier for you to make graffiti writing or designs. There are 54 ligatures that will make this font even cooler. so enjoy it! Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and so much more! This font is also support multi language.

For decades, the Greenwich Village area of New York was a home for artists, poets, writers and free-thinkers of their time who were labeled "Bohemians" because of their non-conformist approach to life and the arts. Greenwich Village JNL is an Art Nouveau-influenced typeface with a Bohemian approach in its double crossbars on the A and H; all the while being a nice example of hand lettering found on a vintage piece of sheet music.

Fucha is a typography inspired by the Art Nouveau movement, and by the lettering of Alphonse Mucha's posters. Fucha is a decorative display font in the Art Nouveau style that originated over a century ago. The style showcases in its elaborate, lightweight curves a bold approach to organic lines and luxurious decor. A complete repertoire of Latin Extended-A characters is contained in the font. Supporting 219 Latin languages, which are spoken in different 212 countries.

Periodical JNL is based on one the many stylized titles from the cover of the 1920s Spanish magazine "Nuevo Mundo" (New World). Each cover displayed a beautiful piece of period artwork along with the magazine's name in different lettering styles of the time (Art Nouveau and early Art Deco). The original design features an "engraved" look and now has an oblique counterpart. Also available are solid versions (without the inside lines) in both regular and oblique styles.

TA Bankslab Shadow I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Introducing Regra: the squared, high-tech typeface designed for the contemporary world. With its unique industrial letterforms, Regra is the perfect choice for cutting-edge technological design. The robust, blocky letters convey strength and precision, infusing your message with a sense of power and style. Whether you’re creating a sleek, modern website or designing a high-tech product, Regra is the perfect choice for conveying a sense of one-of-a-kind style and technological accuracy. The three different weights and italics provide plenty of flexibility for all your design needs, ensuring that your message is conveyed with maximum impact. At the heart of Regra is its distinctive letterforms. Each character is carefully crafted to reflect the latest in contemporary design trends, with sharp angles and clean lines that exude a sense of sophistication and elegance. From its squared-off corners to its bold, geometric shapes, Regra is the typeface of choice for designers who want to create something truly unique. So if you’re looking for a typeface that can take your designs to the next level, look no further than Regra. With its stylish letterforms and high-tech design, Regra is the perfect choice for anyone who wants to make a statement with their typography. Try it out today and see the difference it can make in your designs! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of Tandelle—a sans-serif typeface with a unique flavor that will make your designs stand out. Tandelle was designed with a specific purpose in mind: to operate efficiently when there is a limited amount of horizontal space available. Its narrow letterforms are perfect for headlines, captions, and other types of text where space is at a premium. What sets Tandelle apart from other sans-serif typefaces is its flat points on verticals such as “A” and sharp points on horizontals such as “Z”. These distinctive features add a touch of sophistication and elegance to your designs, making them visually appealing and easy to read. Tandelle’s spacious shapes and minimal detail make it simple to read despite its narrowness. The typeface’s clean lines and modern design lend themselves to a wide range of applications, from branding and advertising to packaging and web design. Tandelle comes in four styles: Regular, Italic, Bold, and Bold-Italic. Whether you’re looking for a subtle accent or a bold statement, Tandelle has you covered. With its narrow letterforms and unique flavor, Tandelle is the perfect choice for any project that requires a touch of sophistication and style. So why settle for ordinary when you can have extraordinary? Try Tandelle today and see the difference for yourself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Make your mark with Checkmark; a slick, high energy signature-style script font guaranteed to make a big impression. Digitally hand-drawn, it's super-clean smooth flow and high-intensity pen strokes make an unmistakeable impact in logo/branding projects, large header text and product packaging. Checkmark is packed full of extra features to give you plenty of customization options. This includes; a full set of upper and lowercase alternate letters, 20 ligatures (double letters) to help the script lettering flow more naturally, 26 swashes and a full set of lowercase end forms to give your text that extra flair and finesse. Here's a run through everything in more detail; Checkmark • A smooth-edged signature style font containing upper & lowercase characters, numerals, and a large range of punctuation. Checkmark Alt • This is a second version of Checkmark, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Checkmark Swash • A third font containing 26 hand drawn swashes. Simply type any a-z or A-Z character in this font to generate a swash. Perfect for underlining your Checkmark text and adding a bit of extra flair! Ligatures • 20 ligatures (double-letters) are included to help your lettering flow more naturally. Many programs will automatically have this feature switched on for you, but if you need any help accessing them, please feel free to drop me a message. End forms • Are available for all lowercase characters when using the Checkmark font. Use these characters at the end of your word to add a stylistic 'end-swash'. These are accessible via software with opentype capability, by turning on 'Stylistic Alternates', or via a Glyphs panel. Language Support • Checkmark fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.