OTC Eugen is a geometric grotesque with industrial socialist aspect. It is a somewhat brute interpretation of the graphic environment and old era typography found around cities or in the country side in Romania. It works best as a display typeface used in big titles, in branding projects for clear wordmarks, or around the house where you can just go wild and make your own mark with the stencil version. Two styles: Display & Stencil. Various stylistic and contextual alternates, and a considerable amount of ligatures, arrows and more. Language support for: Basic Latin, Western, Central & Eastern European languages.

The concept of a bold connected script with a hand lettered feel has been on my bucket list for decades. I imagined a pretentious, ornate, swashy look, a variety of word-end embellishments, heaps of ligatures and underscores. It took a weekend workshop on Python Scripting at Type@Cooper in San Francisco reinforcing the smarts of Opentype to make it happen. Hand drawn on paper using broad pen strokes for reference, the design was the easy part. The real work was in the back-end and self-imposed rigorous testing. Download a comprehensive pdf User Guide at this link.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

STF Eclectic One is a visual cornucopia of symbols, like the junk drawer in your kitchen. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. As one of the first dingbat fonts available on the web, it gain popularity after its design in the early 1990s. With over 150 characters in the complete set, you'll find yourself using Eclectic One almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcOne features complete hour, quarter, and half-hour notations in an analog clock design glyph, recycled/recyclable symbols, a registration mark, a toaster, globes, sideways diamond arrows, spaceships, stoplights, the "running man," several atomic references, da buzz saw, target icons, the unusual smiley face floating in a ball (with a drop shadow, no less!), and the fish skeleton which complements the fallout shelter symbol, and more. Make your own juxtapositions! One reviewer proclaims "for whatever you do, Eclectic One is an excellent dingbat source." Available in Mac and PC formats. License it today!

Reminiscent of circuitry and wrought iron, Anachrony constructs the forms of an Old English Blackletter with the strokes of a Modern Geometric Sans, and lands in the vicinity of Art Deco. For such an unusual chimera, the Anachrony family is legible and versatile. Its glyphs cover pan-European Latin, Greek, and a wealth of symbols including arrows, zodiac, planets, chess, suits, and circled numbers. It is also packed with Opentype features: Small Capitals: Of similar proportions to the default numerals, tall enough to be a suitable choice in place of regular capitals. All Caps Forms: In addition to the four usual types of numerals, there are numerals and currency symbols that match the capitals. Swash: A leading curly swash on capitals, and fancy looped ascenders in the lowercase that are handled by over a hundred standard ligatures where they would collide. Style Set 01: Romanized forms. Especially recommended for all caps. Plainer A/M/T/V/W/Y, J/Q reined in to the baseline, and alternate g. Style Set 02: Masthead forms. Old-fashioned capitals with descenders and that lower left dealy. Also f/x/z/ß in a more traditional fraktur mode. Style Set 03: Mild embellishments. Tall bifurcated ascenders and descenders. Style Set 04: Extravagant swash descenders. Style Set 05: Final swashes for the end of a word. Style Set 06: Converts capital letters into the corresponding connected Roman numerals. Seemed like it could be useful sometime. Easy swooshes: Standard ligatures allow you to type two to seven commas in a row to append an assortment of sweeping or ending swashes. Catchwords: In Anachrony Royale, turn on Discretionary Ligatures for a variety of decorative articles and prepositions.

Romantic Knight is a Handwritten Script Font. Romantic Knight is a flowing handwritten font, described by an elegant touch, perfect for your favorite projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! This creative font will look great on baby clothing, wall art, fashion, magazines, children’s books, quotes, and social media posts. Romantic Knight also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

Introducing Danviska - An Elegant Modern Serif Font Danviska is a stylish, thick lettered and imposing serif font. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! This font is perfect for branding projects, Logo design, Clothing Branding, packaging, magazine headings, poster, advertising, T-shirts, postcards, wedding invitation and much more. Fall in love with its incredibly versatile style and use it to create spectacular designs!

The starter point of the Wienerin typeface is based on the work of Austrian designer and artist Carl Otto Czeschka who was part of The Wiener Werkstätte, an early twentieth century association of designers, architects, craftsmen, ceramists, jewelers and other graphic arts in his country. This collective of artists was influential for both Bauhaus, art deco and Scandinavian design. Wienerin is a revision and expansion of the Olympia typeface designed almost 100 years ago by Czeschka but adapted for contemporary use with the inclusion of numerous alternative signs and ligatures. Variable font technology allows a greater variety of weights to be achieved. One of the features of the original design was the inclusion of "eifassungen" or modules to create frames. Wienerin presents a repertoire of 500 in 3 weights. With an upward elongated design we have decided to also create a version of the typeface with a larger x-box that allows for a wider use of the typeface family. Because of its contrast it is ideal for use in delicate design pieces such as editorial design, elegant labels, stationery and fashion. All styles of the Wienerin typeface family cover most Latin languages.

Eponymous is an Egyptian-style typeface with chunky, scalloped serifs. It is available in five weights in both roman and italic. I have always loved slab serif type and have created Eponymous to fulfil a yearning for a versatile, stylish and contemporary slab face. A key design characteristic is the implementation of scalloped serifs which, to me, imbues the typeface with a distinctive personality. Make use of the Open Type features that are part of Eponymous. For a start, you can implement some stylistic alternates, so, if the main characters don’t quite suit your concept, try activating Stylistic Set 1. There’s also a full set of small caps included. You can mix and match these characters with regular lowercase to create some interesting unicase typography. Of course, all characters have complementing diacritics, enabling multi-language support. Key features: Eponymous is is an Egyptian-style typeface with chunky, scalloped serifs 5 weights in roman and italic: Light | Regular | Medium | Bold | Black Full set of small caps with diacritics and figures 30+ alternate characters Full European character set 650+ glyphs per font Eponymous was redrawn and re-spaced to a higher standard in April 2021 (v2.0).

Rameau for classic elegance The type family Rameau™ was designed by Sarah Lazarevic She started with the italics; these she derived from the manuscript of the opera Les fêtes de l´hymen et de l´amour", the music for which was composed by Jean-Philippe Rameau in 1747. In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period. Rameau exhibits much of the harmonious rhythm associated with genuine manuscript. The marked Antiqua contrasts make the pages on which the font is used quite literally sparkle. This effect is enhanced by the excessively sharp terminals and the prominent serifs of the upper case letters. This highly legible and stylish type family can be used for printing high quality books, invitations, menus and all kinds of texts - anywhere the grace and elegance of France in the 18th century is to be invoked."

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

Mimix is designed especially for comic fans and all typographers who like to play. It’s ideal to express spontaneity and the joy of life. Where Mimix is used, there’s life. The characters are lined in a row, a face looks out from the page. Big ears surround an oval head. A mouse moves without haste, but dynamic and modern through the lines. Mimix skillfully combines the elegance of a modern roman with the spontaneity of a casual handwriting. The mouse shows its versatile character in its broad range of use. Without exaggeration, it’s always delicate and elegant. The quiet form and good readability is a result of its moderate inclination. Well developed, Mimix includes ten weights from Ultrathin through Black. The free trial pack includes two weights with a reduced number of glyphs. If you like it you will be then be able to buy the fonts itself complete with ligatures, special characters for Eastern European languages, uppercase, lining and old style figures as well as fractions and different Opentype features. Declare war on desert lead – with Mimix, those with charm. Download a free trial version of Mimix with a reduced character set. Check it out!

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. Please note that Interleave SB and Interleave OCR SB are versions which are for decorative purposes only.

A Monogram is a lettering character made up of the main letters of a name and sometimes all of them. It is a kind of design which dates from the earliest times of our history. It is a distinctive mark that everyone could have themselves, to apply to documents and many purposes. The signatures of ancient Kings were Monograms. Today this brand, for the people of taste, must have the cachet of this era or the evocative feelings of ancient times. Our predecessors knew how to create it by using the capital that preceded Gothic and the other characters. The Vintage Monograms collection contain hundreds of ready to use in alarge of shape of the letters, with styles from Victorian, to Art Nouveau and to mediaeval like in the old manuscripts. Ready to use fonts, Vintage Monograms collection is a classic that features elegant and intricate monograms perfect for branding and personalization. Its ornate designs evoke the timeless style of vintage logos and can be used to add a touch of sophistication to invitations, stationery, and packaging. Monogram brings an air of refinement and exclusivity to any project.

This version of News Gothic contains the Vietnamese character set. Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Body Types). The most obvious differentiation can be found in the spacing. That of the Body Types is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Body Types, fine spaces were created which prevented the smear effect on acute angles in small type sizes. For a number of Body Types, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Add a little sparkle to your designs with Crystal Sky! A clean & modern signature-style font set, perfect for creating authentic hand-lettered text quickly & easily. With exaggerated strokes and an extra bouncy baseline, Crystal Sky has an unmistakable charm; perfect for logos, wedding stationery, cards, gift designs, product packaging and handwritten quotes. ★ New Update • Crystal Sky Hearts! Add some passion to your Crystal Sky text with Crystal Sky Hearts, a new font included in your download! These bonus designs add a beautiful, flowing decorative heart at the beginning, middle & end of your Crystal Sky Script text at the click of a button. Crystal Sky is packed full of great features to give you plenty of customisation options; Crystal Sky Alt • This font includes an entire alternate lowercase glyph set. 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. Crystal Sky Caps • Have you ever noticed that script fonts tend to be a bit tricky when it comes to typing in all-caps? 'Crystal Sky Caps' includes a totally separate set of A-Z letters - designed to work in harmony with each other during those moments when you need to hit your caps-lock button and go a bit wild! ★ New! Crystal Sky Hearts • Simply install this as its own separate font, and type any a-z or A-I character in this font to generate 1 of 35 heart decorations, designed to pair beautifully with the Crystal Sky Script font. (Please see the image above for a use guide).

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Kufi Mutamathil is an Arabetic (extended Arabic) typeface design with heavy Arabic Kufi calligraphy accent, both on a single letter level and in an overall text look and feel. Although Kufi, the earliest Arabic calligraphy style, is often described as “stiff”, it is in fact a very flexible style. The Kufi Mutamathil typeface design underlines this calligraphy style flexibility and openness through visualizing a very legible Mutamathil design with Kufi shapes. The Mutamathil type style utilizes only one isolated glyph per Arabic Unicode character or letter, as defined in Unicode Standards. It is a very light style which does not require any standard glyph substitution or the shaping engine. The Kufi Mutamathil font family employs variable, unrestricted, x-height values. It comes in regular and left-slanted italic styles. Kufi Mutamathil includes all required Lam-Alif ligatures. Soft-vowel diacritic marks, or harakat, are selectively positioned with the majority of them appearing on the same level, over or below, following a letter, to ensure that they would not interfere with individual glyphs appearance. Kashida, or tatweel, (shft-j) is a zero-width character. Keying it before Alif-Lam-Lam-Ha will display the Allah ligature. Kufi Mutamathil includes both Arabic and Arabic-Indic numerals, in addition to all Standard English keyboard punctuations and major currency symbols.

In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the Italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of multiplicity was kept central, developing Calvino in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family, Calvino Grande, to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure, Calvino Grande sports condensed proportions, sharper details and tighter metrics. Both Calvino and Calvino Grande are complemented with a set of italic letterforms, with differences in design and slant to better work at different point size. All the 34 weights of the Calvino family come with a extended Latin and Cyrillic charset, covering over two hundred languages, and all equipped with a wide range of open type features including positional numerals, alternate forms, and stylistic sets. Four variable typefaces are also included in the full package, for any need of fine-tuning the typeface grade of weight. Special thanks go to Laurène Girbal for the help in developing the regular weight. • Suggested uses: Calvino aims to provide users with a full typography palette to cover all editorial needs. Perfect for contemporary branding and logo design, dynamic packaging and countless other projects. • 38 styles: 9 weights + 9 italics, 2 different styles + 4 variable fonts. • 779 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero • 203 Languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Lombard, Lithuanian, Tsonga, Jamaican, Dholuo, Galician, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Norse, Slovio (Latin), Volapük.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Introducing the Kebroon font, a stylish and unique retro condensed font perfect for all design themes. With its tall and distinctive form, Kebroon is sure to make a statement in your designs. This font features a stylistic set of alternates and unique ligatures that add a touch of sophistication to any project. Whether you’re creating a film title, a logo, or any other design project, Kebroon is the perfect font to make your work stand out. Get your hands on Kebroon today and elevate your design game! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Roberto is a charming and magical hand-lettered script font. The playful rounded characters make it the perfect font for creating stunning calligraphy results. Roberto comes packed with beautiful swashes, that will allow you to add a decorative touch within seconds. Get inspired by its authentic feel and use it to create greeting cards, branding materials, business cards, quotes, posters, and more! What’s included: • Works both on Mac & PC • Simple installations • Alternate, Swash & Ligature • Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even works on Microsoft Word. • Multi-lingual Support: ä ö ü Ä Ö Ü ß ¿ ¡ • To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and CorelDraw. More information about how to access alternate glyphs, check out this link (http://goo.gl/ZT7PqK) To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

Introducing "Locked Puzzle," a captivating and bold font designed to elevate your creative endeavors with a playful twist. This unique typeface defies the conventional sharp angles, opting instead for a smooth and curvaceous form that seamlessly interlocks, embodying the essence of a puzzle waiting to be solved. Locked Puzzle's characters are imbued with a sense of whimsy and charm, making it a perfect choice for titles, posters, murals, and various works of art that demand attention. The absence of corners in this font contributes to its fluidity and friendly demeanor, creating a visual experience that is both engaging and approachable. What sets Locked Puzzle apart is its ingenious interlocking ligatures. These ligatures provide a dynamic and cohesive flow between letters, adding an element of surprise and coherence to your text. Whether used in digital or print media, PuzzleLock transforms ordinary words into visual puzzles, sparking curiosity and leaving a lasting impression on your audience. **Uppercase

Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total. A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the humanist tradition. The sans serif part of the family, Aptifer Sans, is designed without excessive details disturbing the reading. Its sibling Aptifer Slab with its wedge slab serifs is more eye-catching but still suited for text settings. The italics fit well into the text flow of the roman. They are a bit narrower than the roman and have cursive characteristics. Both Aptifer Sans and Aptifer Slab are highly legible typefaces and can be used both in print and on screen. Featured in: Best Fonts for PowerPoints

Lagosi is a pointed serif typeface inspired by the features on the lagosi fabric found in wajo. They range in weight from light cuts that are bold and elegant to black and strong. Packed with more sets of Italic gestures and other custom bindings, this typeface is perfect for adding sparkle and elegance to your designs. What’s Included: Ligature & Unique Works on PC & Mac Simple installations 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; Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, Hungarian, Icelandic, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Polish, Indonesian, Turkish, Zulu Lagosi is very suitable for branding projects and many designs purpose like advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Get Free one weight from the Lagosi family for Free! Apply to your amazing projects and enlarge your creative tools by adding the complete Lagosi family to your font library.

Eurocine is an expansive display typeface – a square sans serif that’s perfect for titling, headlines, logotype and branding. This 36-font family is packed with features to make it supremely versatile. This typeface attempts to capture the mood of movie credits from European Cinema in the 1970s, with a focus on Giallo films in particular. In terms of style, Eurocine sits somewhere between Walter Baum and Konrad Friedrich Bauer’s Folio, and Aldo Novarese’s Eurostile. With Eurocine you get a more versatile typeface by way of its small caps and additional stylistic sets giving you extended caps, extended small caps, and petite caps, as well as upper and lowercase unicase. Creating typographic masterpieces of your own will be so much easier! Key features: • 6 Weights in Roman and Oblique • 3 Widths – Narrow, Regular, Wide • Extended Caps • Small Caps • Extended Small Caps • Petite Caps • Unicase • Old Style Figures • European Language Support (Latin) • 1,200 glyphs per font.

A premier product from insigne, the powerful Aviano redefines its classic lines for the contemporary elegance of Aviano Silk. This modern development of a timeless font, part of insigne's annual tradition in adding to the Aviano family, was elected the clear leader in a poll of insigne design's social media followers. Aviano Silk refers to the smooth flowing feel that the negative space gives the font. This particular example is sort of a hybrid between the stencil and a centerline. It has a certain amount of velocity to it. Extended characters lend formality and a sense of wealth and power. Due to the modifications required for the new look, the Silk family cannot work as an overlay for Aviano, though it pairs nicely with it. There are also 12 Aviano families that work well with Silk. Aviano Silk is particularly suited to high-end luxury applications and especially branding projects. Use Aviano Silk to lend refinement and luxurious elegance to your design.

The infield dirt is raked, the outfield grass is mowed and the baselines chalked. So grab a beer, smother a stadium dog with mustard and relish, take a seat on the bleachers and get ready -- that handsome devil SPILLS is back on the mound and ready for a comeback! It’s true, Manager [the person who coaches a baseball team is a ‘manager’ not a coach] John JG Roshell has coaxed the wily veteran out of retirement, and he’s returned to the field with the wisdom of extra years and the addition of five new pitches (fonts): Stadium, Dugout, Outfield, Infield, Pennant and Base. The stadium is packed to capacity and we're pretty sure the first time he’s at the plate, it’s gonna be strike-out city! [to continue the logic of the baseball pitching ace as font metaphor, the pitcher would hopefully prevent a home run not facilitate one.] See the families related to Spills: SpillProof .

Delwyn is a Serif font family, which has a condensed and explicit character with 10 variants, namely; Thin, Light, Extra Light, Regular, Medium, Semi Bold, Bold, Extra Bold, Black and Extra Black. Delwyn gives a clear and elegant look to logos, quotes, headings, wedding invitation, t-shirt, letterhead, lable, news, posters, badges, magazines, films. etc. Delwyn is a versatile typography filled with the character you want. with Marston you work.Marston has standard styles, Stylistic Alternates and ligatures. and includes upper and lower case letters, numbers and punctuation marks. Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map

About family “SpathePro” Spathe(Sword) the guy… There are many versions of the expression spathe, some of them are: A guy who says things by name we say is a sword, is correct in explaining a situation or an event. Sometimes we say again that a woman is beautiful and has a body like a sword!! It is one of the four versions of the pack of cards for example "ace sword". We also say of someone that he won a case with his sword (his sword), with transparency and knowledge of the case. It is also one of the oldest weapons used by humans in wars, sometimes used by the defendants to resolve their differences or for reasons of honor. While even today it is an Olympic game as fencing. This is a font as sharp as a swordfish… This series is composed and includes ten fonts with 630 glyphs each, with true italics, true Sloping and supports of course: Latin, Greek & Cyrillic.

Also known as Schoolbook. 900+ glyphs. After Linn Boyd Benton's and Morris Fuller Benton's 1894 lower contrast version of Scotch Modern, Didone. The part of the large project on revival and further development (by drawing many additional glyphs) of the 20th century’s typewriters’ fonts. And especially the most famous, versatile and beautiful typewriter: IBM Selectric’s golfball fonts, lost for the civilization for many decades after ‘80s, not being created since then in digital vector form. This new sub-project started in July 2018 for the restoration of the most beautiful classical typefaces, used during the 20th century on the extremely rare now IBM Selectric Composer typewriters / desktop publishing systems. Together with Nick Hamze and the Right Reverend Theodore Munk, the collectors of old typewriters. IBM showed the perfect taste by developing these best historical book typefaces of the human civilization for typewriters. So people could type then using both the real book faces, and the famous classical ones.

Infusion is a type family designed by CFCG & Fabio Godoy for andinistas.net. The creative process of Infusion evolved throughout a myriad of experiments supported by my font gluten This is why its expressivity comes from the addition and subtraction of its parts by mixing and combining, resulting in a great variety and new versatility of uppercase, lowercase, multiple and different numbers to be applied at the beginning, middle or end of the word. Infusion is used to write sentences in craft contexts that require organic graphic design, with meticulous imperfect look. Infusion offers typographic solutions out of the limits, or out of borders that divide the mechanics of the drawn by hand. Infusion has 6 decorative and legible fonts to write casual messages with organic, friendly and natural personality. Infusion “Script, Mix, Roman, Shadow, Extras, Dingbats” contain unconventional visually appealing ideas to work independently or in group in the design of logos, packaging, presentations, headlines or editorials.

Posterman is a cool sans-serif typeface. With tall letterforms in a grotesque appearance, this legible typography is a lettering for neo-classic headline or clean logotype. The Posterman font family consists of Regular, Bold and Black, and each weight as Italic, totalling in six styles. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern 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.

Christmas Snowflake is a friendly, fresh, rich, and beautiful handwritten font. It is ideal for holiday-themed greeting cards, invitations, logotype, branding, stationery, poster, and any project that requires a beautiful touch. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! This font is PUA encoded which means you can access all of the glyphs.

Ringlovely is an elegant and flowing handwritten font. It is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates. It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with this font and bring your projects to the highest levels!