Altheria Font is a script font with an exquisite handwriting style. Designed with meticulous attention to detail, Altheria offers various alternate characters that allow you to create unique, captivating, and embellishing letterforms in your designs. With its diverse character collection, Altheria provides numerous options to add a personal touch to your design works. The ability to choose from different letter variations grants unlimited flexibility and creativity, making it perfect for crafting attractive and distinctive visuals. One of Altheria's main features is its abundance of ligatures, which enhance the font's appeal and aesthetic quality. Ligatures are specially designed character combinations that produce a smoother, more harmonious impression in writing. Thus, Altheria offers not only beautiful letter shapes but also provides exceptional visual balance among interconnected characters. Furthermore, Altheria supports multiple languages, allowing you to utilize this font in various multilingual projects. This makes it an incredibly versatile option for design purposes that aspire to exude a luxurious and elegant impression. Altheria is highly suitable for a wide range of design projects, including but not limited to book covers, fashion magazines, business cards, wedding invitations, and much more. The font imparts a unique luxury and elegant appeal to every applied design. With Altheria, you can create attention-grabbing works that elevate the aesthetic value of each design project you undertake.

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

Introducing Dominant Youth, a bold and impactful display serif font that exudes confidence and strength. With its commanding presence, Dominant Youth is designed to make a lasting impression on any creative project. The font’s robust and assertive letterforms showcase a unique blend of classic elegance and contemporary style. Its tall and slender structure adds a touch of sophistication, while the sharp serifs give it a distinctive edge. Dominant Youth is carefully crafted to capture attention and evoke a sense of boldness and youthfulness. Whether you’re working on branding, editorial design, headlines, posters, or any other project that demands attention, Dominant Youth is the perfect choice. Its versatile nature allows it to excel in both digital and print mediums, ensuring your message stands out in a captivating manner. The well-defined characters of Dominant Youth provide excellent legibility, even at smaller sizes. The font’s wide range of weights and styles offers flexibility, allowing you to experiment and find the perfect balance for your design needs. From light and elegant variations to bold and impactful options, Dominant Youth empowers you to create visually striking compositions that leave a lasting impression. Don’t settle for ordinary typography when you can make a statement with Dominant Youth. Embrace its commanding presence, embrace its youthful energy, and elevate your designs to a new level of distinction. Features: Dominant Youth Multilingual Support Thank you

The ground is a minimal and neat sans serif font with plenty of stylistic alternatives. This typeface is perfect for an elegant & luxury logo, book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more. What's Included? Uppercase & Lowercase, Number, Punctuation Ligatures & Alternates Multilingual support PUA Encoded Reguler & Italic TTF

Freshline is a textured brush font, a contemporary approach to design, handmade with an irregular baseline. Suitable for use in title design such as apparel, invitations, book tittles, stationery design, quotes, branding, logos, greeting cards, t-shirts, packaging design, posters and more. Freshline includes a complete set of uppercase and lowercase letters, as well as multi-language support, numbers, punctuation, ligatures, alternatives and extra swash. If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks so much for looking and Enjoy it!

I have seen my share of badly stuffed animals. Most of them via pictures, but also on vacations here and there. They all had this really bad handcraft vibe, but at the same time some really ordinary and kind of cute looks. I did my best to capture this look and feeling in my Badly Stuffed Animal font: clumsy letters made with a blobbly pen, with naive and irregular lines - and the conclusion is something super useful for a project that needs an organic handmade look!

The extremely narrow Robotik was created by the British typeface designer David Quai and appeared with ITC in 1989. The figures are robust and strong and form tightly packed, bar-like lines. The characters' slim, narrow and angular forms suggest mechanical exactness and cool distance. The similarity of the forms are also reminiscent of machinery and the letters form chains of words. The form principle shows parallels with the constructivism of Moscow after the First World War. Robotik is best used for headlines in large point sizes.

Telephone Extended is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A normal width family, Telephone, is also available.

New month means new font. Let us introduce our latest (another) sans serif; Tawakkal Sans. This font is a mix of modern and classic style, its cleanliness and irregular shapes represent the future, while its elegant curve mimicking old style typography. Tawakkal Sans is highly versatile, you can use it on many designing fields, ex: headline, editorial, quote-writing, tees/poster design, logo, etc. Packed with lots of glyphs (including OpenType chars), this font is a must have weapon on your designing arsenal. Enjoy!

Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.

The sweetest thing is handmade fresh typeface, created with brush and ink. contemporary approach to design hand-painted natural and also a combination of delicate script with an irregular baseline. Suitable for use in watercolor design or as a hand brushed bold letters. Such as Novel tittle, Apparel, Invitations, Quotes, Books tittle, Stationery Design, Branding, Logos, Greeting Card, T-shirt, Packaging design, Poster and more. Includes a complete set of uppercase and lowercase letters, as well as multi-language support, numbers, punctuation, ligatures and alternative character.

Impetus is a powerful capitals-only geometric sans in a solid and inline variant. Built around a framework of a circle and square, it echoes angular Deco or Italian Futurist "moderne” forms, and is about as heavy as it is possible for a font to be. Alternate forms are provided in the lower-case keystrokes for the S, G, J and W, and there is also an alternate 1. The two styles can be combined in one setting for effect. Use Impetus where maximum impact is required.

The Stempel foundry in Germany produced this version of Garamond in 1925 as a replica of a typeface of a French punchcutter Claude Garamond (middle of the 16th century). This design has an angular incised appearance which is unlike other Garamond types. It is also slightly heavier in weight, and is highly readable as a text face. Well suited for a wide range of applications and treatments. Original Garamond is the Bitstream version of Stempel Garamond. Cyrillic version was developed for ParaType in 2002 by Gayaneh Bagdasaryan..

This handmade-looking, playful type is inspired by the titles of a few old Czech movies for children. With its irregularity and numerous alternates, Rumburak simulates live handwriting. When the font is used in OpenType-savvy applications, the 4 variants of glyphs are automatically alternated to achieve a random-like effect. The spacing and kerning were carefully fine-tuned by Igino Marini and the kerning table contains kerning pairs for use with the random feature turned on or off. The font includes multi-language support. Enjoy!

This is an angular typeface inspired by axonometric construction diagrams (for flat-pack furniture), particularly the way their lines impart a sense of 3-D space. The horizontal, vertical, and diagonal constraints of stroke direction produce interesting results in characters such as the 'R', 'S', and 'V' and contribute the mechanical appearance of this typeface. There is a high degree of repetition amongst different characters (upper and lower case) for instance the ’M’ and ‘W’ are similar and so are the ’m’ and ‘w’.

Linotype Ho Tom is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by Thomas Hoffman, this font’s historical roots are easily traced to the slab serif style. Ho Tom was originally intended as a lettering system for a project in the center of the old East Berlin. This explains the stable, angular characters and the consistent rectangular base forms, which also makes Ho Tom a very legible font, suitable for longer texts.

ITC Fontoon was designed by Steve Zafarana of the Galápagos Design Group in 1995. Along with ITC Fontoonies and ITC Gargoonies from the same designers, it is the perfect text font for cartoons and comics. Slight irregularities in stroke contrast and basic forms distinguish ITC Fontoon and make it look like printed handwriting. It has an individual and consciously naive character and its high x-height makes it legible even in smaller point sizes. ITC Fontoon is best used for short texts and headlines.

Kantor's modular stroke and humanist axis defines it as an old-style 15th century Venetian serif typeface. At the same time, the lowercase Kantor alphabet is relatively compressed and has the vertical stems of a textura blackletter. However, Kantor has distinct, penformed shapes and has also kept all the organic irregularities of traditional handwriting (or punch-cutting, as it were). Kantor is not happy, not sad - but calm and dignified. Perfect for buddhist poems, fantasy video games and antique scrolls to give that "long time ago"-feeling.

If you ever dream about light vibe, playful, easy going, cute, has some nature touch in it and still has a good read-ability font: it's time to wake up. Florentina is here. The "ink bleed", irregular line, it looks like you write it by yourself. Not mentioning that dreamy hand-drawn bonus... LOTS OF THEM. And it is support 22 languages as well. I hope it support yours. Happy designing! BONUS vector can be downloaded from https://www.dropbox.com/sh/fwgkzcecjy8tqsu/AADi06i-Hf0R49mtT8_DPMw8a?dl=0

The Glis font is a unique expression of authenticity, meticulously hand-drawn to bring a touch of charming personality to your designs. With rounded and slightly irregular strokes, Glis is more than just typography; It's a visual experience that adds artisanal charm and a sense of warmth to your creations. Each character is carefully designed to convey a relaxed and welcoming aesthetic, providing a visually captivating approach to your typographic compositions. Try Glis to infuse a dose of originality and softness into your designs. **Uppercase

While designing ITC Spirit, Patty King was influenced by classic typeface styles. The letter forms are clearly based on those of the Unziale, which, like ITC Spirit, is also composed of only capital letters. Hints of the Asian brush script style also show in this font. The irregular outer contours are best highlighted in larger point sizes and give the font the look of handwriting. ITC Spirit with its calligraphic style is best used for headlines and short texts in point sizes of 12 and larger.

Van Dijk was designed by Peter O'Donnell in 1986 and is a zigzag typeface with a printed handwritten character. Angular forms and an emphasized slant to the right make it seem energetic and forward-reaching. The s forms with their rounded and softer forms contrast all the better with the rest of the alphabet. The strong figures of Van Dijk are reminiscent of advertisements of the 1940s. Van Dijk is best used for headlines or short texts in point sizes of 12 or larger.

The Brunette font was created with the sole purpose to serve companies that want to express character, emotion, and personal touch through their logotypes (think Bakeries, Juice Bars, Cafes, Jewelry stores, etc.) Brunette was made entirely from scratch (handwritten letters on paper), which were then vectorized and tweaked to gain consistency. The charm of the font is in its irregularity and resemblance to real handwriting. Brunette is perfect for businesses that want to convey a casual and organic image while making their products more human and approachable.

Octin Sports is a typeface that commands attention and exudes a sense of strength and resilience. The seven available weights—light, book, regular, semi-bold, heavy, and black—provide a range of options for designers looking to add a bold, dynamic element to their work. But make no mistake, this typeface is not just for the sports world. Octin Sports has a versatility that extends beyond the playing field and can lend a rugged, no-nonsense vibe to a variety of themes. Whether you’re designing for a school, construction site, or law enforcement agency, Octin Sports is up to the challenge. The sleek, angular lines of this typeface give it a distinct sporty feel, making it an ideal choice for designs that seek to convey energy and excitement. The bold weight options are particularly striking and provide a strong visual impact that demands attention. Overall, Octin Sports is a solid choice for designers who want to infuse their work with a sense of toughness and vitality. Its versatility and sporty design make it a font that can rise to any challenge, whether it’s on the field or in the boardroom. Check out the rest of the Octin families: Octin College, Octin Prison, Octin Stencil, Octin Vintage & Octin Spraypaint. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Sidiqie is a modern sans serif with a monoline and minimalist style. With smooth, neat lines, and with just a hint of contrast, Sidiqie works beautifully for logos, branding, and web titles. See examples for some examples of how you can use them. Includes Sidiqie Light Sidiqie Reguler Sidiqie Bold Sidiqie Black Support for western languages

Introducing TE Rekaah3: Unleash the Beauty of Arabic Calligraphy by Tharwat Emara TE Rekaah3 is not just a font; it is a masterpiece crafted by renowned calligrapher Tharwat Emara, bringing the timeless beauty of Arabic calligraphy to life. With its exquisite design, meticulous attention to detail, and captivating aesthetics, TE Rekaah3 invites you to embark on a journey of creativity and immerse yourself in the artistry of Arabic script. Impeccable Craftsmanship: Tharwat Emara, a master calligrapher, has poured his expertise and passion into every curve and stroke of TE Rekaah3. The result is a font that showcases the flawless craftsmanship and artistic precision that Tharwat Emara is renowned for. Each letterform is meticulously designed, reflecting the elegance and grace of Arabic calligraphy in its purest form. Elegance Redefined: TE Rekaah3 embodies a harmonious balance between tradition and innovation. It embraces the timeless elegance of Arabic script while infusing it with a contemporary flair. The graceful letterforms and balanced proportions of TE Rekaah3 exude sophistication, making it the perfect choice for projects that demand refined aesthetics and a touch of modernity. Captivating Visual Appeal: TE Rekaah3 captivates the eye with its visually striking composition. The seamless flow of each character, carefully curated ligatures, and distinctive swashes create a captivating rhythm that draws the viewer in. Whether used for headlines, logos, or editorial layouts, TE Rekaah3 ensures that your designs make a lasting impression. Unparalleled Legibility: Tharwat Emara's expertise in calligraphy shines through in TE Rekaah3's exceptional legibility. Each letterform is thoughtfully crafted to ensure clarity and readability, even at smaller sizes or in intricate design compositions. Your message will be conveyed with precision and impact, making TE Rekaah3 a reliable choice for a wide range of design applications. Versatile Expressiveness: TE Rekaah3 offers a wealth of creative possibilities. With its comprehensive character set, including alternates, ligatures, and stylistic variations, you have the freedom to express your artistic vision. Whether you seek a contemporary look or a more traditional feel, TE Rekaah3 provides the versatility to bring your creative ideas to life. Seamless Integration: TE Rekaah3 seamlessly integrates into your design workflow, ensuring a smooth and efficient experience. Available in various file formats and compatible with popular design software, it offers convenience and ease of use. Focus on your creative process and let TE Rekaah3 effortlessly elevate your designs. Celebrate the Art of Arabic Calligraphy: TE Rekaah3, born from the creativity of Tharwat Emara, celebrates the rich heritage of Arabic calligraphy. It pays homage to centuries of artistic tradition while embracing the demands of contemporary design. By choosing TE Rekaah3, you honor the legacy of Arabic calligraphy and create designs that resonate with cultural richness and artistic expression. Immerse yourself in the beauty of TE Rekaah3, where the mastery of Tharwat Emara converges with the art of Arabic calligraphy. Unleash your creativity, elevate your designs, and let TE Rekaah3 become the embodiment of your artistic vision.

Step back in time with Antihistory, the ultimate vintage typeface. Unlike other aged fonts that mimic designs from the early 1900s, Antihistory is inspired by typography from the late twentieth century and beyond. With its distressed look and feel, this typeface is perfect for adding an authentic, retro touch to your designs. Whether you’re working on a vintage-inspired logo, poster, or website, Antihistory will transport your audience to a future bygone era. Available in Regular and Italic styles, Antihistory is incredibly versatile. Use the Regular style for bold headlines and eye-catching titles, while the Italic style adds a touch of elegance and sophistication to your designs. Plus, with its unique look and feel, Antihistory is sure to make your work stand out from the crowd. So, why settle for boring, modern fonts when you can add a touch of alternate universe history to your designs with Antihistory? Get your hands on this one-of-a-kind typeface today and start creating stunning gonzo-vintage designs that will leave a lasting impression. Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Noad Sans is an experimental sans serif typeface with a strong character and some very unique visual features. At the core of Noad Sans is a sturdy sans serif with closed apertures and fairly simple letterforms. The defining feature of Noad Sans, however, is its visualised nodes: all control points of Bézier curves in each of the fonts in the family are intentionally visualised. The effect of this feature is largely defined by the usage: in titles and larger bodies of text, the visualised nodes stand out and create a rhythmic pattern of their own. In smaller sizes, the sans serif base of the font becomes more prominent and the nodes create a visual fuzz. Noad Sans comes in 6 styles and as a Variable Font with two axes–Optical Size and Slant. The size of each node can be changed from the smallest (Mini and Mini Italic) to the largest (Extra and Extra Italic). Variable Font technology allows you to fine tune the size of the nodes and the slant angle, so that your version of Noad Sans can be truly unique. Noad Sans has a large character set of 570+ glyphs, covering the vast majority of Latin based languages. In addition to that there are dozens of special characters, punctuation, numbers, and symbols. Noad Sans is equipped with a number of useful OpenType features, such as Case-Sensitive Punctuation, Stylistic Alternates, Ligatures, Fractions and many more. Noad Sans began as an experimental project, and during its development the spirit of experimentation was at the heart of the project. Thanks to the unique nature of the typeface, it can feel at home in a variety of settings: from web development, graphic and product design to more novel uses like 3D and NFTs. Noad Sans type family includes 6 static fonts (Mini, Mini Italic, Regular, Regular Italic, Extra and Extra Italic) and one variable font. Each style can be purchased separately. There is a free trial version of Noad Sans that can be downloaded free of charge on MyFonts. For more information on the typeface, feel free to download Noad Sans PDF Specimen.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version fo their logo, and from there expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole Family bundle: 489 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

I was inspired to create the Rainier type family during my summer back home in the Pacific Northwest. The concept behind it may be simple - a hand crafted font family - but what it delivers is quite complex! Here is a breakdown of everything you get: FONT FAMILIES: Two sub-families with unique styles - Rainier North and Rainier West WEIGHTS: 4 weights per family, broken down numerically - 100 (light), 300 (regular), 500 (bold), 700 (black) OPENTYPE: In each family, there are tons of OpenType options, offering lots of customizable opportunities (in order to access all these goodies, you must be using Illustrator, Photoshop, Indesign or Publisher). Because Rainier is 100% handmade, contextual alternatives allow each letter has three subtle variations, this way it keeps that authentic hand-drawn look. Additionally, a full alphabet with special descending swashes, as well as start and end swashes for capitals and small caps. Titling alternatives offer a full character set just to help with readability! Meant for captions or smaller text, these letterforms are easy on the eye and a great complement to the regular alphabet. Stylistic Alternatives add a little fun, providing a unified cap height, no matter what case you are using (all caps, small caps or lowercase.) Discretionary Ligatures are created only for capitals, and takes specific letter pairs and creates a unique ligature between them To get a better understanding of everything, please check out the quicker user guide (http://bit.ly/1W0Bfma) and print if you so desire (http://bit.ly/23W9ZV6) that helps you navigate your way around and get the most out of Rainier! Unfortunately those links aren't working right now and soon I will have them fixed. So sorry! ORNAMENTS: In addition to the font, you get a set of awesomely rustic ornaments designed and drawn to go specifically with Rainier! - Rustic Northwest Illustrations - Banners & Flags - Frames - Flourishes - Lines & Line Breaks - Arrows There are a lot of extras packed in this set, so make sure you check out the Ornaments User Guide to get the most out of it! Check it out here: http://bit.ly/1rRVJRx And that’s all folks! Hope you enjoy Rainier!

Our Margarine Pro draws its roots loosely from numerous inspirations, but its unique thick marker weight and deliberate carrying of rounds into regularly straightened letterforms allows this typeface to stand on its own. The lively letterforms are legible yet slightly offbeat, while the SmallCaps and extensive figure sets expand the range of usability and appeal. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

This typeface is inspired by the angular shapes of runes; the early writing of Northern European peoples. The letters have been given an eroded finish, as though they were carefully carved a thousand years ago, and weathered over time. This font includes at least two versions of every letter one simple, one more ornate, with all alternate characters for other European languages. The Alternates Font includes additional variations of some characters as well as Ligatures, astrological and elemental symbols. More Nordic symbols are available in the Valknut font.

The initial characters in China Market were created in 1996 for a logo featuring the Temple of Heaven in Beijing where emperors from the Ming and Qing dynasties worshiped heaven and prayed for abundant harvests. The font was completed in 2010. It is composed of a regularly positioned curved and straight components as if part of a decorative grillwork or other architectural detail. While its influences and origins are clear, its appearance is relies more upon the geometry of its basic elements and the modular structure than a specific stylistic idiom.

Watford is a textured brush font, a contemporary approach to design, handmade with irregular base lines. Suitable for use in title designs such as clothing, invitations, booklets, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters and more. Watford includes a complete set of upper and lower case letters, as well as multi-language support, numbers, punctuation, binders, alternatives and additional swash. If you have questions, feel free to contact me via email: madjack.font@gmail, com Thank you very much for finding and enjoying it! Muhammad Zaki