Earlier this year I visited a bakery in Newport Beach, CA and fell in love with the organic design and typography of the place. Hand-drawn menus, table cards, chalkboards, and wall quotes surrounded the charming spot. It inspired me to create a new font family based on the combination of hand drawn fonts. Included in this package are 5 font families, with 2 graphic ornament fonts. Each font family contains at least a light, medium and bold. Here is a breakdown of what's cookin' at Catalina's Bakery: Catalina Anacapa: Tall and skinny, this font comes in 3 weights for both sans and slab serif styles. It includes contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and also includes Small Caps. Catalina Avalon: Based off Anacapa, this sub family has a high contrasting line weight. It comes in light, regular and bold as well as an inline alternative for both sans and slab serif styles. Avalon also includes opentype features such as contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and small caps for each letter. Catalina Clemente: In a more standard width, Clemente is one of the two sub families that can be used for paragraph text as well as headlines. It's organically geometric in style and comes in ALL CAPS and lowercase, includes upright and custom italics, and has the opentype feature giving 3 versions of each letter. Catalina Script: A great compliment with the display sub-families, Catalina Script rounds out the package with a hand-drawn cursive flair. It includes contextual alternatives (giving 2 variations to each letter) as well as stylistic alternatives for many of the capital and lowercase letters. It has special ligatures for some letter combinations, and titling alternatives for all the capital letters. Catalina Typewriter: The second of the paragraph text sub-families, this typewriter inspired hand-drawn font family works great as either a display or paragraph text. It has contextual alternatives with 3 versions of each letter, and comes in both upright and custom italics versions. Catalina Extras! These two fonts go perfectly with the Catalina Family. They includes borders, frames, arrows, banners, flourishes and more. Catalina Flourish has all of it's options in a light and bold style, to use the light version type all lowercase letters, then to make something bold, used it's uppercase (or shift+) characters. For a breakdown of graphic/letter correlation, see the breakdown PDF. All of Catalina was drawn by the same hand, using the same ink and technique. While they contrast in their type styles, they work together perfectly to create one cohesive font family.

Presenting Sapha script, with stylish and modern handwritten characters. This font was PUA encoded. Sapha is a modern handwritten style that comes with Extended Latin Characters. Sapha works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, labels, posters, badges, etc. Sapha comes with 304 glyphs and 78 alternate characters contain with opentype features (supported with contextual alternates mode) and 15 extended ligatures that allow you to make design looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com" Thank you for your purchase!

Hi all, Maressy created with stylish and modern brush characters. Maressy is a modern brush script font that comes with Extended Latin Characters. This font was PUA encoded. Maressy works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, lable, posters, badges, etc. Maressy comes with 241 glyphs and 26 alternate characters contain with opentype features. Maressy also comes with 10 standard ligatures that allowing you to make stuff looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com" Thank you for your purchase!

In 1543 the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, was printed by Johann Oporinus in Basel (Switzerland). Various typefaces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one which inspired this font. It is a very elegant one, including the “long s”, a few abbreviation forms and ligatures. As it was a Latin text, there were no accented characters and a few capitals were absent. I had to reconstruct them. A render sheet, in the font file, makes all characters easy to identify on the keyboard. This font may be used as a “modern” one for web-site titles, posters and flier designs, publishing ancient texts... and anything else you want! One of the most elegant types ever cut, it stands up very well to enlargement, remaining as readable as in its original small size.

The Roos family is a digitization and expansion of the last typeface designed by Sjoerd Hendrik De Roos, called De Roos Romein (and Cursief). It was designed and produced during the years of the second World War, and unveiled in the summer of 1947 to celebrate De Roos's 70th birthday. In 1948, the first fonts produced were used for a special edition of the Dutch Constitution on which Juliana took the oath during her inauguration as the Queen of the Netherlands. To this day this typeface is widely regarded as De Roos's best design, with one of the most beautiful italics ever drawn. In contrast with all his previous roman faces, which were based on the Jenson model, De Roos's last type recalls the letter forms of the Renaissance, specifically those of Claude Garamont from around 1530, but with a much refined and elegant treatment, with stems sloping towards the ascending, slightly cupped serifs, a tall and distinguished lowercase, and an economic width that really shines in the spectacular italic, which harmonizes extremely well with its roman partner. The Roos family contains romans, italics and small caps in regular, semibold and display weights, as well as a magnificent set of initial caps. All the fonts contain extended language support, surpassing the usual Western Latin codepages to include characters for Central and Eastern European languages, as well as Baltic, Celtic/Welsh, Esperanto, Maltese, and Turkish.

This font is reminiscent of the Middle Ages texture fonts. But geometric shapes make it more modern. It will work well in large and short inscriptions. The large array of text readability is reduced due to the characteristic rhythm of the font. It has the standard ligatures and ligature to failed pairs. There are two sets of numbers: the proportional and the Old style.

Meet Big Bright, a (very) tall sans serif inspired by some photo of a vintage mid-century furniture catalogue I saw on instagram. It's perfect for logos, headings and posters. Big Bright has a vintage edge yet and modern feel and can sway from soft and gentle to striking and bold depending on how it's styled. Hope you have big love for Big Bright

Monoplan is a versatile monospaced sans serif typeface. Minimal shapes and straight sides are definitive features of the typeface. Tables, headers, code blocks, signages or other small informative texts are the standard places where Monoplan shines. Different alternatives such as square dots, alternate /a /y /6 /9, coverage of 94 Latin languages, various Opentype features, and 5 styles expand the usage area of ​​Monoplan.

Pisang Manis means ‘sweet banana’ in Bahasa Indonesia. I don’t think this particular combination is used in everyday life, but it sounds nice. Pisang Manis is based on an older font of mine, called Pisang, which I created in 2013. It looks similar, but it is a different font altogether. Pisang Manis is a ‘Tall & Thin’ display font, ideally used for product packaging, websites and book covers.

2001 description: No monospaced typeface I used for coding development or just plain e-mail correspondance satisfied me in aliased mode. All common monospaced fonts have hinting imperfections from 9 to 12 points and above. All but Pragmata. 2021 description: Pragmata is still a good font for graphic design. Take a look at Pragmata Pro if you looking for a perfect and complete antialiasing coding font

Proudly Present, Brightstone Font. Brightstone is a Modern Handwritten Script Font. This font is suitable for use in your design projects.s It is perfect for wedding, event, invitation, escort card, table number, header menus, display, logos, slider blog, custom address, stamps, packaging, greeting card, etc. - also multilingual support Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

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.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Red Amaretto is a script typeface influenced by different ancient writing styles. All characters are handwritten by use ink and flat nib pen on coarse paper, scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Coarse glyphs edges are easy visible at medium and higher sizes. Character set support all official and semi-official languages in European Union writen in latin, cyrillic and greek scripts. Supported codepages: 1250 Central (Eastern) European, 1251 Cyrillic, 1252 Western (ANSI), 1253 Greek, 1254 Turkish, 1257 Baltic. Include also spacing characters (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) for professional text formatting. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Case-Sensitive Forms, Stylistic Alternates, Contextual Alternates, Stylistic Set 1, Stylistic Set 2, Contextual Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

Nucleometer is a very contrasting and at the same time elegant display font. It is ideal for large headlines and impressionable typography. A feature of the Nucleometer is the rounding of the lowercase letters a, b and r, as well as a funny "tail" in the letters t, g, j, f, t, y. This gives it a more lively and unique character. Another interesting feature is the increased proportion of the ascender height of Ultra Condensed, which is larger than the usual Bold font. Together, this font is ideal for a designer who needs stylish and very contrasting typography in his work. Nucliometer is available in 5 styles, starting from Bold to Bold UltraCondensed and also has a variable format.

Although initially inspired by the neon sign in front of Canter’s Delicatessen in Los Angeles, the design of Deliscript Upright and Deliscript Slant soon took on a life of its own–and its own distinctive look. Like its sibling Metroscript, Deliscript has many features that expand its usability such as the the variable length tails which can be accessed in 6 different styles, and the never before seen crossbars which can be extended outward in either direction from the lower case “t”. Throw in the special “WordLogos”, tons of ligatures and foreign accented characters, and you have a recipe for typesetting that approaches the look of hand-lettering. For a better understanding of its unique features please download The Deliscript User Manual—available in the Gallery section.

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Sirba, a serif typeface family with a friendly personality, was conceived especially for the demands in complex text environments like dictionaries, academic texts, annual reports, novels and magazines. It has many design features that were particularly designed with Sirba’s purpose in mind. Because of its open counters, the large x-height and its short ascenders and descenders, this typeface conveys a pleasant reading experience and high legibility even in small sizes. Sirba is a low-contrast typeface, contemporary but with a classical touch, revealing its beauty in design details, such as the asymmetrical bottom serifs, curved bracketing and calligraphically reminiscent terminals. Furthermore, the capitals appear integrated into the text, thanks to the low cap height, and the constant width of all tabular numbers between the weights make this typeface very usable in annual reports and tables. Sirba is available in the four classic styles plus a special heavy (Black) version, which is particular in that its proportions are designed so the counters remain big enough when set in very small text sizes. This means that Sirba Black’s spacing and letter width are rather generous in comparison to other typefaces of that colour. This ensures excellent legibility. During the design of the typeface family, much attention was given to the italic and regular as counterparts of each other. The italic distinguishes itself just enough while reading without creating strange spots within the text when looking at the text as a whole.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

Peskia is a modern variable font family with lots of elegance and originality. The tall and slim nature of the typeface, give it a sophisticated yet contemporary nostalgic look. Peskia comes in 5 weights, each weight has an oblique and reversed version. The font family contains 15 fonts and 1 variable font, the variable version makes it easy to manually adjust the weight and slant. The Peskia font family has multilingual support for languages such as: Danish, English, Finnish, French, German, German (Switzerland), Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Spanish, Swedish, Swiss German. Peskia is designed with unique and chic letters, this makes it perfect for a wide range of projects such as: branding, magazines, logos, wedding invitations, editorials, product packaging, advertisements and much more. If you a looking for something modern, nostalgic and chic for you next project, Peskia is the font for you.

Forte e gentile, “strong and kind” is the motto of Abruzzo region located in central Italy on the Adriatic coast. As the region it’s named after, Abruzzo typeface is strong yet inviting with its sharp angular serifs and smooth transitions. Abruzzo is a display typeface with high contrast, large x-height and plenty of character. Abruzzo is equipped several OpenType features: Standard ligatures that take care of the collisions between f and other tall lowercase characters, and for more fun there is over 40 Discretionary ligatures including st, ch and plenty of more unconventional character combinations, such as fy, fr, rw, vi, and so on. See the full range in the specimen poster. On top of that Abruzzo has over 70 variants for the standard characters set in Swash, Stylistic and Titling Alternates. Abruzzo best used in stylish headlines, advertising, packages or as a logotype.

Introducing Cruell Serif Typeface - 5 fonts Cruell is clean, luxury typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Cruell is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Magoa Serif Ligature Typeface - 3 fonts Magoa is feminine, vintage typeface with 3 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Magoa is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Bold ligature glyphs alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Meet Slang, a Ligature Font in Regular and Outline. Slang is a bold, clean font with a regular and an outline version, loaded with alternate and ligature glyphs. It's a very versatile font that works great in large and small sizes. Slang is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation and Symbols, Alternate glyphs, Ligature glyphs and has Multi-lingual support. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs. In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions. Mock ups and backgrounds used are not included. Thank you and enjoy.

It all started with the letter S. I drew it, I liked it, I based a font around it! This is Pickled Limes, a tall and narrow single-case font. It's built clean from the ground up, for ultra-sharp lines and corners, as well as super-smooth curves. The slightly flared ends and quirky character mix make this font a ton of fun to use on its own, but it will also pair well with tons of hand-written styles! I've branched out on this one; in addition to over 300 Extended Latin characters, I've also included Unicode's 256 Cyrillic and 121 Greek characters for even more language support. Add in the 90+ alternates, ligatures, and catchwords, and Pickled Limes clocks in at just over 1000 characters. I hope you enjoy using my tasty Pickled Limes for your branding project, logo, crafting work, or design project. Happy fonting, MyFonts fans! :)

Rivera is a professional sans-serif typeface. Its tall, narrow style gives it an appearance of modernity and pride, while being humble and clean. Use it for a sleek headline, a crisp logo or simply as a unique body text. In any case, it will lift your branding to the next level. The Rivera family consists of 10 font styles: Thin, Light, Regular, Bold, Black as well as each style as Italic. 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. With more than 700 glyphs, it has extensive lingual support, covering all Latin-based languages, from North 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.

The front page of a late-1940s sales catalog for the [now defunct] Duro Decal Company of Chicago had its company name hand-lettered in a tall, condensed chamfered sans serif type design. Although chamfered lettering had been popular for decades, the way the "R" was shaped gave the letters a bit of an Art Deco influence, and this influence was carried through in the creation of Durable JNL.

Introducing... SPEEDING BULLET -- featuring SPEED TRAILS for increasing the, ah, speed of your bullets! Quick as The Flash, slicker than Quicksilver, the latest in our popular line of silver age display fonts could probably outrun a locomotive AND jump buildings in a single bound. It’s ASTOUNDING, it’s STARTLING, it’s ELECTRIFYING, PERAMBULATING, DISCOMBOBULATING and RETROFITTING. It really is Faster than a Speeding Bullet. Try it out for yourself. Under adult supervision, natch'.

ITC Odyssée is the work of French designers Roselyne and Michel Besnard, who were inspired by the digital imagine of type which opened up possibilities for new visual illusions. The serifs of this font recreate the virtual lines formed by optical residue" on TV screens, looking like horizontal serifs trailing off to the right. ITC Odyssée is a clear and legible typeface which features a simplicity and grace in its forms."

Kembara Cinta Outline is a new, fresh, and modern hand lettered font, decorative characters and a dancing baseline! So beautiful on handicrafts, greeting cards, branding materials, business cards, quotes, posters, and more. Features: Unique ligatures Stylistic sets Basic Latin A-Z and a-z Numbers International Symbols included Punctuation Need help? If you need help or advice, please contact me by e-mail "fargunstudio@gmail.com" Thank you for your purchase

The display typeface that is based on the shapes of traditional Chinese hieroglyphic characters. Designing the font for imitations in the Chinese style the author nevertheless demonstrates serious attitude and thoroughness using the table of keys of the regular Kaishu script. As a result the font looks stylistically authentic and genuine. The typeface was designed by Aleksandra Egorova, the young type designer from St. Petersburg, and released by ParaType in 2008 .

The Fleurons of Paris were inspired by an iron gate, an iron railing, a Metro tile, a Metro stop, the Eiffel Tower, Notre Dame, a rainy afternoon, a glass of wine, an outdoor cafe and the list goes on and on. Absorbing all things visual was immensely satisfying second only to coming home and reliving the trip tiny graphic by tiny graphic. Also look at the Ornaments of Paris.

Kembara Cinta - a new fresh & modern hand lettered font, decorative characters and a dancing baseline! So beautiful on invitation like handicraft, greeting cards, branding materials, business cards, quotes, posters, and more design concept! Features : Unique ligatures Stylistic sets Basic Latin A-Z and a-z Numbers International Symbols included Punctuations Need help? If you need help or advice, please contact me by e-mail "fargunstudio@gmail.com" Thank you for purchased