SL Che is a homage to Ernesto Guevara de la Serna, “El Che”, who lived between 1928 and 1967. El Che turned into an universal icon through a memorable photograph which was reproduced and multiplied to the infinite. It was that way he became a synonymous of resistance, revolution and change for lots of generations. That "Che" comes back today by the hand of the genial Jorge Alderete, who designed heroic, laughing and cool variations of that popular first icon. SL Che unfolds like a fan of thousands of "Che", in a development plenty of metaphors. SL Che abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Che takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Zuzana Licko's goal for Fairplex was to create a text face which would achieve legibility by avoiding contrast, especially in the Book weight. As a result of its low contrast, the Fairplex Book weight is somewhat reminiscent of a sans serif, yet the slight serifs preserve the recognition of serif letterforms. When creating the accompanying weights, the challenge was to balance the contrast and stem weight with the serifs. To provide a comprehensive family, Licko wanted the boldest weight to be quite heavy. This meant that the "Black" weight would need more contrast than the Book weight in order to avoid clogging up. But harmonizing the serifs proved difficult. The initial serif treatments she tried didn't stand up to the robust character of the Black weight. Several months passed without much progress, and then one evening she attended a talk by Alastair Johnston on his book "Alphabets to Order," a survey of nineteenth century type specimens. Johnston pointed out that slab serifs (also known as "Egyptians") are really more of a variation on sans serifs than on serif designs. In other words, slab serif type is more akin to sans-serif type with serifs added on than it is to a version of serif type. This sparked the idea that the solution to her serif problem for Fairplex Black might be a slab serif treatment. After all, the Book weight already shared features of sans-serif types. Shortly after this came the idea to angle the serifs. This was suggested by her husband, and was probably conjured up from his years of subconscious assimilation of the S. F. Giants logo while watching baseball, and reinforced by a similar serif treatment in John Downer's recent Council typeface design. The angled serifs added visual interest to the otherwise austere slab serifs. The intermediate weights were then derived by interpolating the Book and Black, with the exception of several characters, such as the "n," which required specially designed features to avoid collisions of serifs, and to yield a pleasing weight balance. A range of weights was interpolated before deciding on the Medium and Bold weights.

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieOddsNEnds contains shapes that did not fit into the other Tessie fonts: TessieStandingBirds, TessieFlyingBirds, TessieMoreBirds, TessieXtraBirds, TessieSpinners, TessiePuzzlePieces, TessieAnimals, TessieBugs, TessieMiscellaneous, and TessieMoreStuff. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

ITC Rastko began as a series of initial letters for a book of poetry. Serbian designer Olivera Stojadinovic had been working with a small publishing house creating a special series of books under the Masterpieces" brand. Her goal was to draw a new set of initial letters for each book. ITC Rastko, named after the Serbian poet Rastko Petrovic, was a project that required initial letters for the entire alphabet. Once Stojadinovic had drawn the majority of the capital letters, she realized that a companion lowercase would make a distinctive script typeface. Sketches of the letters were drawn quickly with a pointed pen. Stojadinovic then refined these, keeping the spontaneous, hand-drawn quality. Capitals are wide and flourished, while the lowercase letters are more condensed and subdued. It's no surprise that the capitals also make great initial letters."

There's something satisfying about tweaking to perfection a typeface based on the particular style of lettering applied to a particular kind of paper by a particular human hand. One day, in pursuit of this curious sense of satisfaction, I sat down with a porous pad of lined note paper and printed out the alphabet with a ballpoint pen. I found particularly interesting the bulbous ends of the strokes where the ink soaked in. I couldn't help myself: I drew out the rest of the character set, scanned, hand-traced, and -- as with all 3IP font designs -- manipulated every glyph to an obsessive degree. Named it Cedar Street, after a favorite address of mine. Full release has a single medium weight with a thorough character set.

Raljon is a display typeface created by designer and lettering artist Mark Robinson. It is a collaboration between the Mmarkk and Teen-Beat Graphica visual design studios. This single font was created over a period of five years. Mark took great care in finessing each character and making sure that each character would stand on its own and yet simultaneously, be an integral part of the whole. The typeface is inspired by Gothic letterforms, horror novels, speed metal bands of the 1980s, techno and electronic music of the 1990s, and Washington, DC football teams whose stadiums lie in the Maryland suburbs. While it doesn’t have multiple weights, Raljon does have a deep depth and breadth. It has a seemingly endless amount of alternate characters and ligatures. There are nine letter Ms, eight letter As and Fs, seven Rs and Ts, and the list goes on. Even the figures have alternates.

Lovely Valentine is a was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Lovely Valentine delivers a multitude of Opentype features, 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 adn mettalian font as bonus This font is made in a modern style with a very beautiful beginning and ending.elegantly,very casual and suitable for your various design needs I'ts.Perfect for logo,branding, tittle, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event,magazine,web design. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. You can mix and match with Opentype feature: More than 395 of glyphs Alternates Titl Uppercase Stylistic sets from ss01 to ss02 Multilingual Language If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/

Terrance Weinzierl's Terry Junior typeface is a perfectly imperfect design – one that retains the marks of the brush used to create it and harks back to the craft required to hand make letterforms. Originally drawn during a Monotype Font Marathon, Weinzierl later refined the typeface digitally – adding an Inline version and designing alternates that replicate the irregularity of real-life brush scripts. “It has a natural, cheery and bold appearance,” says designer Terrance Weinzierl. “It's young, but not wild. Painted, but not sloppy. A sign painter's apprentice, perhaps.” Terry Junior is an obvious choice for designers and brands communicating with younger audiences, but would also work well on book covers, packaging, and in digital environments that need a little bit of extra playfulness. The family includes five fonts, including an Inline version.

Trend , Trend Hand Made & Trend Rough is a font made of layers, taking as a basis a sans and a slab font. It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend. It is a typeface designed to be used without need to add anything external to it, because it has all components required for this. Trend is trending.

Trend , Trend Hand Made & Trend Rough is a font made of layers, taking as a basis a sans and a slab font. It is the result of observation, search and study of the last global trends. Trend tries to capture the aesthetics of fashion or even fashion itself, integrating elements of a very popular and current trend. It is a typeface designed to be used without need to add anything external to it, because it has all components required for this. Trend is trending.

Coluna is a friendly, handdrawn all caps font. Due to its playful, organic shapes it makes you think of cocktails on the beach and the earthy smell of the woods in the morning. It offers vast support for languages using the latin alphabet and comes with a couple of icons to make it even easier to complete the handmade look of your designs. Coluna is perfectly all sort of different use cases, such as birthday cards, packaging, children's books, branding, posters, menus and many more.

I love cheese snacks in all kinds of variations. As a kid I even loved having chessy fingers, but as an adult I prefer to wash my hands (instead of licking and sucking each finger "clean") So, as a loving memory of an all time favourite snack, I made this all caps organic looking sans. Obviously handmade, and cleaned up digitally...just a little bit. Furthermore I have made 5 different versions of each letter and made sure that there is plenty of multilingual support!

Carnaby Street is a vintage style bold font that pairs strong rectangular framing with softer rounded elements. It has a cool, funky, and groovy vibe, while still retaining a strong sense of linearity and geometry. This lettering style conjures up the retro vibes of the 1960s swinging London scene, or the psychedelic poster art of posters and handbills for the Fillmore Auditorium and Avalon Ballroom in San Francisco in the mid to late '60s. It represents a new take on a classic array of hand lettered stylings that have their roots both in the Art Nouveau Movement and the hippie counterculture movement of the 1960s and early 1970s.

Fine Orange a delightful and versatile serif font that effortlessly combines modern retro aesthetics with a touch of humility and friendliness. Crafted with meticulous attention to detail, Fine Orange offers a unique blend of timeless elegance and approachability. Fine Orange unpretentious charm makes it an ideal choice for projects that require a friendly and approachable vibe. Its letterforms exude a sense of humility that invites readers in, Whether you're working on branding, editorial design, packaging, or web design, Fine Orange adapts seamlessly to various contexts, adding a touch of sophistication and warmth. Elevate your design projects with the timeless beauty and friendly appeal of Fine Orange.

Introducing Kinship, a Grotesque 9 weight font family by We Are Colt. Kinship has been created to be your all-round go-to grotesque font that works well for copy and titles. With nine standard weights, this font is more flexible than a bungee rope. Kinship is a sans serif modern classic grotesque font, perfect for adding personality to logos and brochures. Pairs well with script and brush fonts: I recommend Stroom . Features: 9 separate font weights Western European, Central, South-eastern Upper and lowercase Numerals Free 300 font weight

Cohoba is a chunky condensed sans serif. Cohoba is loud and proud. It comes with a handful of discretionary ligatures. Cohoba is fun and versatile.

Restora Neue is an evolution of its precursor, Restora. While the Restora has an authentic imperfect letterforms, Restora Neue comes with a neater shape and higher contrast. It’s a mix of old-style roman serif styles. Its sharp and longer serif with a bit touch of medieval, makes Restora Neue a versatile type family that can be used in many different themes of design projects, from classic style to modern. It comes in nine weights from thin to black with matching italics. Its mixture of weights provide a wide range of styles that will help you find the best vibe for your projects, for headlines or a short paragraph. The set of special ligatures and stylistic alternates can be perfect mates for your brand. It is well suited for book covers, editorial, branding, advertising and more. To see the complete presentation please visit my Behance profile.

Capella is a beautiful and charismatic hand drawn font, it will emit your individuality in any project. It will draw attention to itself and highlight the main thing in your design. Ligatures and alternates will help create an impression of integrity. You can also use Capella to create a logo or templates, invitations, blog, branding, marketing, book covers, magazines, advertising, stationery, logo design and much more. This font is easy to use and has OpenType features.

Landslide is a cute handwritten font family with: 4 fonts: regular, bold, italic and bold italic, each hand-drawn separately for a true handwritten feel a bonus set of ornaments (A-Z, a-z and 0-9) to help decorate your text Each font includes: A-Z, a-z, 0-9, accents punctuation and symbols Ligatures Landslide is perfect for any design that needs a handwritten feel, such as signatures, notes and quotes, logos and branding.

I’m not particularly fond of beans. I do eat them, but they’re not my idea of a delicacy… But this font has ‘fairy tale’ feeling to it, and I liked the name Beanstalker. Beanstalker is a hand made font (I used a fineliner to draw the glyphs). It is quite neat and organized, but does come with some rough edges and a bit of texture.

The lively calligraphy font Bendigo was created by Phill Grimshaw in 1993 and looks as though it were written by an energetic hand. Generous capitals fit harmoniously with more reserved lower case letters and the right slant of both emphasizes the dynamic feeling of the font. Bendigo should be used in point sizes of 14 or larger and its strong character makes it particularly good for headlines.

Estravaganza is an elegant, finely crafted script, with an uneven, drizzled paint line. It has the delicacy of gossamer while boasting the extravagance of bold swashes and loops. Think "ballet-like femininity offset by the distressed paint drizzle of a jackson Pollock canvas." Use Estravaganza to brand perfume, clothing, jewelry, and to enhance wedding invitations, greeting cards and book covers. Language support includes all European character sets.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Brazos is an ultrabold, ultrawide sans-serif face that takes up a lot of horizontal territory, but fits in little vertical space. Named after the famous river in Texas. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Inked Balterm is a hand-inked typeface with a humanist touch. It provides visual interest through the contrasting elements of the thin strokes mixed with the solid ball terminals. The placement of each ball terminal is varied and placed at the most defining point of interest and distinction in each letterform; creating an appealing visual rhythm. Great for display and works in smaller text settings.

Introducing "Sunlight Dreams", a retro serif font that seamlessly combines vintage charm with contemporary flair. Meticulously crafted, its sophisticated serifs and gentle curvature exude warmth and timeless appeal. Ideal for various design applications, this font adds a touch of refined nostalgia, making it perfect for branding, packaging, and creative projects. Embrace the timeless allure of 'Sunlight Dreams' to elevate your designs with a hint of vintage elegance."

Decima Mono Cyr is an upgraded edition of Decima Mono X fonts (released in 2014). The new version consists of the same (six) styles updated with larger character sets by extending number of Latin and Cyrillics Asian region languages. The typeface is intended for use in display sizes, but is also quite legible in text and is well suited for editorial and brand design.

Prismatiq JNL was modeled from lettering found in a French alphabet book from the turn of the last century - the type sample appearing online at an image sharing site. All of the imperfections of hand-lettering were left intact. This is a limited character set comprising A-Z, 1-0, basic punctuation, forward slash and dollar and cents signs, and is best used in large headline applications.

Thrifty is a clean, contemporary typeface family created for branding and communication design. With a narrow form and clear letter forms, this family is both suited for display and title settings while equally remaining legible in smaller point sizes. Through it’s nine weights and accompanying italics plus a large glyph set that covers the majority of Latin based languages, Thrifty aims to offer a versatile and functional design. Thanks to the implementation of OpenType features, this family includes different sets of numerals, from tabular, hanging or scientific, it equally includes ligatures and free form fractions. Each weight equally offers a complete set of arrows and 99 different pictograms focused on themes of mobility and transport.

Samuel Welo’s “Studio Handbook for Artists and Advertisers” was a popular book of inspiration for sign painters, graphic artists and designers from the 1920s through the 1960s. Many digital revivals of Welo’s hand lettered typography have been made available. Formal Notice JNL is one such revival, and is available in both regular and oblique versions.

October Sweets is a terribly playful and creepy font. It comes with all caps uppercase and lowercase characters, a set of punctuation marks, numbers, Cyrillic characters, an alternative set of characters and numbers, ligatures and multilingual support. Ideal for Halloween parties, horror film festivals, product packaging, T-shirts, book covers, quotes, posters, branding projects, etc.

Empty Inside is a kids playful font. It comes with uppercase and lowercase characters, a set of punctuation marks, numbers, Cyrillic characters, an alternative set of characters and numbers, ligatures and multilingual support. Ideal for logos, quotes, posters, branding projects, product packaging, t-shirt, book cover, greeting cards and applicable for any graphic design.

Spirea is a calligraphic serif for short texts and headings. It’s great for children's books, postcards, landing pages, packaging of sweets, natural products and organic cosmetics. The character set includes alternates and strokes, extended Latin, extended Cyrillic and Greek. The author of Spirea is Natalia Vasilyeva. The typeface was released by Paratype in 2023.

Avenir Next Paneuropean is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 56-font collection offers condensed and semi condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®.

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.

"Pearly Smiles," a delightful handwritten font meticulously crafted with love and attention to detail. This font encapsulates the essence of joy and brings a touch of whimsy to your design projects. "Pearly Smiles" embodies the playful nature of handwritten script, with its charming curves and natural stroke variations. Every letter reflects the genuine warmth and sincerity of my personal handwriting, infusing your designs with a sense of individuality and happiness. With its elegant yet cheerful style, "Pearly Smiles" is versatile and perfect for a wide range of creative applications. Whether you're designing logos, branding materials, invitations, greeting cards, or any project that calls for a lighthearted and personal touch, this font will add a touch of enchantment and personality. The meticulously designed letterforms of "Pearly Smiles" ensure both legibility and artistic appeal. Its balanced proportions and thoughtfully crafted characters make it a pleasure to work with, whether on digital or printed mediums

Introducing Rixiline Script, a unique blend of classic and modern font. imperfect style ups and downs, like a dance letters, smooth, clean and simple. Rixiline Script perfect for wedding, event, invitation, escort card, clothes, display, logos, quotes, slider blog, custom address, stamps, packaging, greeting card, etc. Rixiline Script comes with a complete set of standard characters, eastern diacritic symbols, consist 917 glyphs in total, and alternative characters as OpenType features to play with. The alternative characters were divided into several OpenType features such as Ligature and Stylistic Sets. You can create an attractive message by using the alternate characters in your design. The ZIP file are include the following: Webfont Features Rixiline Script : Basic Latin A-Z and a-z Numbers & Punctutation Symbols Stylistic Set Lots of Swashes, Ligatures & Alternates Script 917 Glyphs PUA Encode (Specially Coded Fonts) Support Latin Pro Character If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. If you have any question, don't hesitate to contact me by email. Thank You

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

The retail storage box for a vintage metal numbering stamp manufactured by the American Numbering Machine Company had its brand name hand lettered in an Art Nouveau style that most likely went back to the 1920s, as the company was in existence from 1908 to around 1971. Numbering machines were used in offices, schools, libraries, and anywhere a series of numbers needed to be marked onto printed items. Similar to what was called a ‘crash numberer’ used in letterpress shops, the machines could be set to do a run of digits [for example: 4000, 4001, 4002] or repeat numbers for forms used as carbon copies. As computers took over most forms of printing, the use of numbering machines dwindled, but they are still available. The American Numbering Machine Company was one of several Brooklyn, New York companies that specialized in the manufacture of these machines. Retail Packaging JNL replicates the lettering from their packaging, and is available in both regular and oblique versions.

Stay Bright is a modern font duo consisting of a signature style script and elegant serif font. Both fonts includes multilingual support for Western and Central Europe. Is ideal for weddings invitations, baby showers, blog website, instagram, branding, invitations, business cards, and many more. This font also include complete set of alternates and stylistic ends for lowercase characters. Stay Bright Script : It contains one set of opentype stylistic lowercase alternates and one set of opentype stylistic ends. Script version contains 55 LIGATURES. Stay Bright Font Duo contains following characters: AÁĂÂÄÀĀĄÅÃÆBCĆČÇDÐĎĐEÉĚÊËĖÈĒĘFGĢHIÍÎÏÌĪĮJKĶLĹĽĻŁMNŃŇŅŊÑOÓÔÖÒŐŌØÕŒPÞ QRŔŘŖSŚŠŞTŦŤŢUÚÛÜÙŰŪŲŮVWẂŴẄẀXYÝŶŸỲZŹŽŻ aáăâäàāąåãæbcćčçdðďđeéěêëėèēęfgģhiíîïìīįjkķlĺľļłmnńňņŋñoóôöòőōøõœpþqrŕřŗsśšş ßtŧťţuúûüùűūųůvwẃŵẅẁxyýŷÿỳzźžż