Ceramika is a modern tribute to Old Style typefaces. This design is inspired by the letterforms of the serif faces found in history books from the beginning of the 20th-century. Its sturdiness and generous X-Height makes it bold and compact; while the high-contrast strokes and recognisable shapes makes it extremely readable. All this makes Ceramika a really versatile font, perfect for logos, headlines and even body copy. It comes in 6 different weights and 2 styles — Standard and Italic.

Resola is a hand drawn vintage display typeface. This item consist of 12 FONTS in various styles which you can play around with it. This typefaces is perfect for people looking for vintage aesthetic and organic feel. What Will You Get : Resola Vintage Serif (OTF and TTF) Resola Sans Serif (OTF and TTF) We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Thanks for purchasing and have fun! Regards, Ironbird Creative

Persona is based on characters texted with a brush and found on a poster made for the Swedish poetry magazine Lyrikvännen. While the characters in Manuskript are typographically and calligraphically done with great skill, the ones in Persona carry a highly personal touch. Still, they are fully usable - for the right kind of work. The name refers to the personal shaping of the characters. In Esperanto, which contributed with the name once more, persona" means "personal". Persona was released in 1995.

No, I am not leaving and none of my friends or relatives have packed up and left. I needed a more ‘letter-like’ name for this font and I found Adieu Mon Ami (farewell, my friend in French). Adieu Mon Ami is a handmade pencil font that will add that extra ‘je ne sais quoi’ to your designs. It comes with joie de vivre, un petit peu de vilain, but can be doux comme de la soie as well. Bonne chance!

Wieldy crafted character Wieldy is a prime quality typeface rooted in the tradition of good craftsmanship, full of character and reach in details. Extended serifs, connected with dots, are just some design features this artisanal font can offer. Wieldy is based on the ahistoric forms developed by Central European Arts and Crafts movement. It is suitable for visual identities, packaging or book headings. The typeface’s x-height is around 72% of its capitals. The font is endowed with details, ligatures and special characters.

Feltboard JNL was drawn from images of letters and numbers contained in a felt board (also known as a flannel board) sign kit from the 1940s or 1950s. The irregularity of stroke widths and character shapes is representative of the actual shapes of the die-cut pieces found within this kit. Note: The cap height is slightly smaller than normal for the respective point size. This will give the effect of wider line spacing - similar to that of hand-made signs.

Based on drawings of Medieval versals (capitals used at beginning of verses in manuscripts) by Frederic W. Goudy. Works beautifully as initials with Goudy Text Oldstyle. Uppercase only, no numerals or punctuation; several letters have alternates. Framed, inversed caps are also included. This version of Lombardy Capitals is purposely less regular and clean-cut than some available to maintain a more hand-drawn look similar to the irregularities that would be found in a Medieval manuscript. The alternates help contribute to that look.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

In 1980, Peter Malutzki, Heidi Hübner-Prochotta and Manfred Prochotta founded the FlugBlatt-Presse and began producing broadsheets, which they called FlugBlätter and which also gave their press its name. They were mostly woodcuts or linocuts, combined with hand-set typography. When they finished the series in 1984 there were 67 FlugBlätter. During a Frankfurt Book Fair in the 1980s the collector Rob Saunders acquired FlugBlatt No. 37 along with other prints. Later they became part Letterform Archive, a non-profit museum and special collection library in San Francisco, which Rob Saunders founded in 2014. In 2021, Letterform Archive posted the FlugBlatt No. 37 on social media, where type designer Lena Schmidt saw it, immediately fell in love with it, and developed the plan to bring it into the digital world. After contacting Peter Malutzki – who is still working as a book artist today – and in close consultation with him, Schmidt translated the letterforms into a font series, Malutzki Initials. The three fonts can be used for black (single-color) text using the Regular style, or for multicolor text by applying different colors to the Letter Layer and Figure Layer styles.

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

Daiquiri is a revival of a handlettered font in two weights, from an ad for Puerto Rico Rum dating back to the forties or fifties. I found the ad on a French antique market on my last visit for Mardi Gras in Nice. The ad read "Breeze through the heat, be a Daiquiri fan". That's why they had this "fan" in the illustration! Did they want you to rotate like a fan when you had enough Daiquiris? Or did they just do it for that little "Jeu des mots"? Anyway I found the handlettering very pretty, so I took those few letters and made a whole font out of them. I think Daiquiri has that touch that brings those happy and uncomplicated times back when advertising was still fun. I started something like 20 years later in advertising and things had gotten more stringent. We already had to satisfy those marketing guys with their scholarly attitude. They have taken all the fun out of the job, for the creators as well as for the consumers. I would like to see more uncomplicated ads like this again, yours Gert Wiescher

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

Quinter is inspired by the writing on the vintage beer labels from the good old days, but still has a strong modern appearance. It come with 2 types of styles. Each combination has been carefully crafted to make your design look better. Ideal for product names, packages, labels, old-fashioned coffee shops, bars and everything with special characteristics in the past. This combination allows you to easily build beautiful vintage designs in a short amount of time. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at picatypestudio@gmail.com. Thanks for purchasing and have fun!

I was in a bit of a gloomy mood just before I created this font. I had no inspiration whatsoever (which always affects me in a bad way). I was trying to create a font using broken satay skewers, as using those gives the letters a unique look. I broke about 25 skewers and they all broke ‘the wrong way’. Yes, it’s pathetic, I know, but that’s how it is. I decided to go to the gym and do a little workout, hoping my dark mood would pass. When I came back, I broke one more skewer and lo and behold, it broke exactly the right way! I made this font in one go, using that fantastic skewer and lots of Chinese ink. Darkness Rising comes with all the diacritics you’ll need, plus double letter ligatures and some cool underlined alternates.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Coal Brush is a bit of a misleading name. It looks as though it was made with a brush, but it was, in fact, made with a almost dried out old marker pen. But a font named ‘dried out old marker pen’ doesn’t really fly, so I decided to pimp the name. There you have it, you can’t even trust an honest typographer! Marker pen or brush, Coal Brush is a very sweet little font. It is all caps, but upper and lower case differ and can be mixed freely. Plus there’s a hidden stash of alternates for the lower case letters and an alternate ampersand! I actually threw that in to make up for my lie. So, use it for your books, your posters, your rap albums, rock operas, grilled food restaurants and designer BBQ sauces. It’s yours for the taking!

Remesterad - Modern & Signature Script Perfect, Font It includes a full set of upper and lower case letters, multilingual symbols, numbers, punctuation marks and 20 ligatures. This font has a smooth ballpoint pen texture. It has a lowercase start and end ligature! This font is PUA coded which means you can easily access all the glyphs full of signatures! It also features many special features including glyphs and alternate ligatures. font designs made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of clothing products, accessories, bags, pins, logos, business cards, watermarks and many others... so it can make your product look cute and attractive, and also Multilingual support!!! If you have any other questions, feel free to drop me a message :) happy designing :), Mu Fazzal

As a family, we love to go camping. We have a big Norwegian tunnel tent (4 season - with room for a wood stove), some really warm down sleeping bags and a primitive field kitchen. Even though our camping trips are usually devoid of luxury, the kids love them! We always choose campsites that are close to nature, like a national park or in the mountains. A couple of years ago, we toured the southern part of England and one of our camping stops was in Exmoor National Park. Minehead is a small coastal town, not far from where we camped, so I named this font after a fond memory! Minehead is a handmade display font. It was loosely based on Haettenschweiler. Use it for your packaging, your tourist information leaflets and your book covers. And do visit Minehead one day!

Larks' Tongues in Aspic is the fifth studio album (released in 1973) by the English progressive rock group King Crimson. I have always liked this name, as it reminded me of old stories in which witches threw all kinds of weird ingredients (larks’ tongues, bat wings and petrified dragon dung) into a big cauldron. When I created this font, it looked like the writing in an old book of spells, so I just had to call it Larks’ Tongues. Larks’ Tongues is a very lively headline font which would look good on (children’s) book covers, posters and product packaging. So, if you are about to write a book about witches, want to throw a halloween party or want to market your Larks’ Tongues in Aspic, then by all means, use this font! Comes with a magical amount of diacritics.

Glorify SH is a Modern vintage serif typeface with Unique alternative , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, Tote bag, T-shirt, Advertising and much more. Glorify SH Features: · 4 Weights font (Regular, Italic, Outline, Semi Bold) · Uppercase And Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you need another format of this font, such as TTF, WOFF and WOFF2, please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

Supera Gothic is a design inspired by the early geometric and humanist typefaces of the 20th century. Its characters draw inspiration from Erbar Grotesk by Jakob Erbar and Johnston by Edward Johnston; hence, in heavier weights, the “f” and “t” bars are pointed which honor Erbar’s work, and Supera’s uppercases and numbers reflect Johnston’s proportions and features. The result is a sans serif family with both, a historical and modern touch perfectly suited for all types of graphic works. Super Gothic comes in 9 weights plus its matching italics and is equipped with a large range of opentype features. Fun fact, Erbar had attended calligraphy classes carried out by Anna Simons, who was a former student of Johnston (Tracy, 1986). Maybe in modern times, they had met through social media, and some collaborative work would have risen, who knows.

I love markets, especially the farmer’s markets with fresh produce and home made cheese. Too bad I need to travel a long way to get to one, as there is only a ‘regular’ market in my hometown - you know, with cheap duvets, ‘local’ fruit like bananas and a guy selling books about the end of times. I thought it would be great to create a font family you could actually use on a market. Hence Market Square. Market Square consists of 4 different fonts (each with its own Italic style), ranging from a fat marker font to a thin, squarish font. Each of them oozes freshness and authenticity and they were designed to complement each other. The cherry on top is the cute doodle font, loaded with fresh produce and seafood - just like you’d see on a Market Square.

Torcao is one of the sporks of the font universe, a useful and functional outlier. Half square, half circle, this uncommon squircle of a family with its asymmetry of curved and angular shapes drives through headlines and body copy with forward velocity. The robust, technical appearance is light-hearted and inviting, and its organic nature plays off of its one-of-a-kind kinks and hybrid forms. Torcao is not merely an experimental font, though. The figures have been crafted and refined into a functional, hard-working typeface that lends itself to many sizes and environments. The font family features a tall x-height and light modulation, which give the typography its unique color highly effective in headlines but still quite legible in longer text. This family contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of forty-eight fonts. The font has been decked out for experienced typographers, together with swash alternates and simplified titling. The typeface also contains a range of numeral sets, together with fractions and old-style figures. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Torcao also features the glyphs to enable all Central, Eastern, and Western European languages. In all, the font supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. Simple, technical, and open, the Torcao type family could just be the perfect choice for your web type or print project.

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font. How did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It's a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use. This font was created in July, 2012 and named Conspired Lovers. A font to capture and convey your message in a special way to the beloved one close to your heart. With a long practice of writing crafted into the unique design I hope that you and the recipient of your writing will soon enjoy this design. The Open-type version features 350+ glyphs including alternates and ligatures. All lowercase and most uppercase letters are connected, to create a realistic hand-writing-calligraphy on your creations. Conspired Lovers is international and supports a wide range of eastern european languages with accented letters to reach everyone in Sweden, France, Hungary and almost everywhere around the globe. A trailer for Conspired Lovers can be seen here: http://vimeo.com/haraldgeisler/conspired-lovers If you're looking for more heart related fonts also check out my other fonts.

Kirshaw is not your grandfather's sans serif from the 1950s and 1960s. All those old classics like Helvetica, Futura, Franklin Gothic, and Univers are showing their age like an old Elvis Presley song. Kirshaw is a clean, rounded design with sharp contrasting edges. Like those classics, Kirshaw is easy to read in small body copy and captions, plus it's delightfully modern and stylish for headlines and logos. I designed Kirshaw and Kirkly while undergoing cancer treatment at Stanford Medical Center. Font design was always in the back of my mind and now I had extra time. Kirshaw is a distinctive, modern, easy-to-read sans serif family consists of 14 weights (including italics). It’s an Adobe Latin 3 Character Set containing 350 glyphs per style (including special characters).

Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, §) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions.

Caros Soft is the rounded version of Caros. Caros Soft Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with geometric shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Caros Soft is a versatile type family of 18 fonts. Caros Soft family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Joyful Turkey - Display Thanksgiving Font is a charming and playful typeface designed to embrace the spirit of Thanksgiving. Its quirky and rounded characters add an element of fun and warmth to your designs, making it the perfect choice for projects that celebrate this special holiday. This font includes seven delightful decorative variations with Thanksgiving-themed elements such as turkey, pumpkin, pie, leaves, and more. Ideal for Thanksgiving-themed designs, including invitation cards, birthday invites with a Thanksgiving theme, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more, Joyful Turkey brings a delightful and heartwarming touch to your creative projects. With its whimsical and cheerful style, this font captures the essence of gratitude and celebration, making it an ideal choice for designs that reflect the Thanksgiving spirit.

SK Paragrapher™ is a monumental geometric typeface whose structure was inspired by the paragraph glyph. The entire typeface is built on a rhythmic composition and a black-to-white balance. Each character corresponds to a grid, and all its characters are monospaced, so the typeface looks harmonious and complete, despite the complexity of perception of its appearance. This typeface has both uppercase and lowercase letters, as well as a capital! The typeface supports a multilingual layout that includes: extended Latin and Cyrillic characters, additional characters, and Hebrew. This typeface also includes more than 10 currency symbols, as well as 4 fonts: Solid, Outline, Rounded, Sharp! As a result, SK Paragrapher is a multilingual, monospaced geometric monumental typeface that contains almost 1000 glyphs for your any design work, be it a poster or a website!

Artico Soft is the rounded version of Artico. Artico Soft Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Artico Soft is versatile type family of 18 fonts. Artico family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Thanksgiving Joy - Various Fun Font is a whimsical and playful typeface designed to celebrate the spirit of Thanksgiving. With its rounded and friendly characters, this font adds an element of fun and warmth to your designs, making it a perfect choice for projects related to this special holiday. This font boasts nine delightful decorative variations, each inspired by different Thanksgiving motifs like turkey, pumpkins, pie, leaves, and hats. It's an ideal font for creating Thanksgiving-themed designs, including invitation cards, birthday invites with a Thanksgiving theme, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more. With its charming and playful style, Thanksgiving Joy captures the essence of gratitude, celebration, and the joy of Thanksgiving, making it an ideal choice for any project that aims to bring the warmth of this holiday to life

Axion SER is an original design by Alex Kaczun. Axion SER is a serif style variation based on his original Axion typeface family of fonts. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion SER is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. The large Pro font character set supports most Central European and many Eastern European languages.

Meet Wiblz (say “Vibbles!”). Wiblz is a Modern/Didone text family in the great tradition of squarish text families like Walbaum, Ibis, and Georgia. He has a high x-height and a great balance of legibility and readability. Plus, he supports the Latin alphabet, basic Cyrillic, Monotonic and Polytonic Greek, and the International Phonetic Alphabet. That makes him superlative in his usefulness and versatility! When searching for a didone typeface, it's often a struggle between blackness/legibility and stylishness/contrast. this is especially true of squarish didones, which number less than their round counterparts. Wiblz is an excellent balance between the two — clean and striking, good for uses from text to heading, and at home in print and on screen. Give him a try! He's a smart, adaptable, useful guy!

Galey is a modern and clean sans serif with a geometric and rounded style. Each style comes in 18 weights with italics + variable fonts, from thin to black, includes 592 glyphs in each weight. Each style has its unique characters include OpenType features and extended language support (+Cyrillic) to suit a different purpose. Designed with a modern minimalist in mind, Perfectly use for branding, display, logo, text, headline, web design, and many editorial design purposes. We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

Hnm is a Geometric Sans Typeface with some bold and round glyphs to give a sense of confidence but also not rigid or strictly its a jovial Happy Typeface It can be used to create a range of design projects like posters, advertising and marketing flyers and even to printed items. It just requires you to use your imaginative strength and your design projects will look more native and even better pass your message. With this typeface you can create a party poster, movie flyer, advertising and marketing posters, it can also be used on branding items, Craft design, book covers, music cover arts, or any purpose of your choice to make your designs have that bold and confident look without looking too serious, feel free to play with this typeface.