“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827. At first glance, the upper case letters of Austin Antique look very much like Figgins Antique. But, upon examination, one will note that the Austin face is much darker. In general, the letters designed and cut by Richard Austin have fatter strokes, larger serifs and smaller counters -- more metal and less daylight. The premise was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and “bills” -- competing for the attention of the passerby. Morris and Updike aside, the early nineteenth century marked the beginning of a commercial as well as industrial revolution. Patterns of commerce were changing. With new methods of marketing came the need for new typefaces to support the new methods. Foundries found the display types were very profitable and competed most energetically and creatively for the trade. There was a lot of trial-and-error. Some ideas faded away. Others, like the Antiques or Egyptians, were refined and developed. From them came the Clarendons that were to prove both popular and long lasting -- because they worked. Their job was to sell goods, not please the aesthetic sensibilities of the critics. They did their job well. Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Surprisingly readable.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Introducing Enamel Brush—the perfect typeface for adding a touch of vintage charm to your design projects. With its bold and expressive brush strokes, Enamel Brush takes inspiration from Emil Klumpp’s Catalina typeface from 1955, a classic typeface that embodies the spirit of post-war optimism and creativity. Enamel Brush has been designed with the modern designer in mind. Thanks to its OpenType features, certain letter pairings are automatically replaced with ligatures, ensuring that your text has a more natural and authentic feel. Whether you’re creating a logo, poster, or website, Enamel Brush is the ideal choice for adding personality and style to your messages. Its bold, confident strokes are perfect for grabbing attention and making a statement. So why not give your next project a touch of vintage flair with Enamel Brush? Get your copy today and start creating something truly special. 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.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. This version of Bodoni was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. Although some of the finer details of the original Bodoni types are missing, this family has the high contrast and vertical stress typical of modern types. It works well for headlines, logos, advertising, and text."

Created with headline, logo and other short display work in mind, Duende comes in two weights with alternates for the upper and lowercase, consecutive characters are controlled with the OpenType Ligature feature. Display bigger lowercase crossbars as the surrounding characters allow with OpenType Contextual Alternates on, or create your own custom lowercase f or t with a non-crossbar character and one of the included crossbar options Other features include case-sensitive quotes and smart apostrophes. Duende has an alternate for every capital letter and multiple alternate options for the lowercase including swashy terminal characters and non-connecting alternates. Also included are a few clip-on swash elements that can be used to create initial and terminal forms. Duende uses smart crossbars for common situations, unifying Af, Aft, At, Att, Aff, tt and ff with a single crossbar when the OpenType Ligature feature in on. The Ligature feature also ensures subtle baseline variation when two lowercase characters are keyed twice in a row. Enable Contextual Alternates in your OpenType menu and Duende uses bigger f and t crossbars as the surrounding characters allow. Enable Discretionary Ligatures for lowercase o connections. You can also make your own lowercase f and t to fit any situation combining one of the included crossbars and non-crossbar f or t characters (available as ‘Alternates for Current Selection’ when f or t is selected). Just select the crossbar you want from the glyph table as a separate text element and move it anywhere. Also included are ten tt ligatures with crossbars and one without. Duende also has a few other swashy things that can be used to cross the lowercase f and t. Customize alternate capitals U, V, W, X and Y with any one of the swash options available in the glyph table for those characters.

Born on May 8, 1892 in Reno Nevada, Lewis Franklin (“Lew” ) Hymers left an indelible mark as a caricaturist, cartoonist and graphic artist. At the age of twenty [in 1912] he worked for the San Francisco Chronicle. During World War I he worked for the Washington Post. He even was employed for a time by Walt Disney as an animator - but most of his life was spent in either Tujunga, California or his birthplace of Reno, Nevada as a self-employed illustrator. Hymers inked a feature for the Nevada State Journal called “Seen About Town”, which was published during the 1930s and 1940s. In this panel, he caricaturized many of the familiar faces around Reno. He also designed signs, logos, post cards and numerous other commercial illustrations for clients, but what has endeared him to a number of fans was his vast library of stock cuts (the predecessor to paper and electronic clip art) which feature his humorous characters in various professions and life situations. So popular is his work amongst those “in the know” that a clip art book collection of over seven hundred of his drawings that was issued by Dover Publications [but long out of print] commands asking prices ranging from just under $15 to well over $100 for a single copy. Lew Hymers passed away on February 5, 1953 just a few months shy of his 61st birthday. Although his artwork depicts the 1930s and 1940s lifestyles, equipment and conveniences, more than sixty years after his death they stand up amazingly well as cheerful pieces of nostalgia. The twenty-seven images (and some variants) in Hymers JNL were painstakingly re-drawn from scans of one of his catalogs and is but just a tiny fraction of the hundreds upon hundreds of illustrations from the pen of this prolific artist.

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. 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.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

The Bauer Typefoundry first released the Beton family of types in 1936. Created by the German type designer Heinrich Jost, the present digital version of the Beton family consists of six slab serif typefaces. First developed during the early 1800s, by the 1930s slab serif faces had become one of many stock styles of type developed by foundries all over the world. Because of their distance from pen-drawn forms and their industrial appearance, they were seen as “modern” typefaces. (Their serifs kept them from being too modern.) The first slab serif typefaces were outgrowths of didone style text faces (e.g., Walbaum). As newspapers and advertising grew in importance in the western world (especially in “Wild West” America), type founders and printers began to create bigger, bolder typefaces, which would set large headlines apart from text, and each other. Through display tactics, businesses and industry could begin to visually differentiate their products from one another. This craze eventually led to the development of monster sized wood type, among other things. By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton. The Beton family is a type “family” in a pre-1950s sense of the word. Although six styles of type are available, only four of them fit in logical progression with each other (Beton Light, Beton Demi Bold, Beton Bold, and Beton Extra Bold). The other two members of the family, Beton Bold Condensed and Beton Bold Compressed, are more like distant cousins. They function better as single headlines to text set in Beton Light or Beton Demi Bold, of as companions to totally separate typefaces.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. Parma was designed by the monotype Design Team after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818.

a well crafted font inspired in classic wood type fonts heritage

A micro version of the font Alabaster. Font actual size 32pt.

Danu font is a font with a traditional style with a minimalist approach, this font is inspired by Javanese script with curved letters and some dots in it.

Diamante Robusto Font is my new font, where all the letters came out of this strange shape created without intention of being the inspiration for this new font.

Sweet Summer is a tall and a bit quirky handwritten font. Its friendly and simple style makes this font adept to a wide variety of designs.Caps only Fonts.

Aliman is a simple and neat lettered handwritten font. Add this font to your creative ideas and notice how it will make them stand out! All Caps fonts.

Wagma is a handwritten font with an organic and adult theme, this font has an untidy shape and looks messy to emphasize the human side of the font.

This font was inspired by the LogosNazhdag font, but the font is narrower and softer. Suitable for headings, packaging, logos. Developed and digitized in Germany by Joachim Frank.

Snow Freeze a quirky playful font with 7 different style of the font. Each style has a difference in the decoration of the ornaments. This font is a winter theme font, so all the decorations are winter-related, such as: snow, snow cap, snowman, snow frezze, melt ice, snow pile and sparkle. With these decorations, this font will be perfect for your winter-themed projects. This font is also suitable for logos, branding, quotes, posters, stickers, greeting cards, invitation cards, birthday cards, quotes, crafting, svg, banners, movies, headlines and more. This font is also support multi language.

Caleo is a beautiful handwritten font. this font is so simple that i write very carefully. Even though it looks simple, this font still looks cool and stylish. Handwritten script font. This Fonts are perfect for: logos, branding, wedding invitations, business cards, greeting cards, posters, magazines, social media, proliferate fonts, planner prints and websites. Get creative with their unique fun, and use them to brighten up any craft project! Get this font now and boost your creativity with it! If you have any questions, before or after your purchase, don't hesitate to contact us. Thank You

Mantul Pro is inspired by the sans-serif style and a little modern touch, making this font luxurious & neat. Mantul itself has a meaning (Mantap Betul = Really Good), because it requires very good accuracy in doing so making this font the best. After a long journey of doing this font work, finally finished.made very carefully has 19 font styles that are luxurious & extraordinary.This font is done for a very long time, and therefore the font can be considered as a very extraordinary and best font. Can be used for designs, logos, labels, badges, clothing designs, letterhead and titles, stationery, etc.

Cosmic Sans was my first font ever created for a school project. The class I made this font for was my Advanced Typography and was a semester project. I really couldn't think of a title for this font, until one of my good friends said, "Why don't you name it Cosmic Sans?" I searched the internet for any other fonts with that name, and sure enough there wasn't. Thus the name stuck. This font is more or less a display font, thus every secondary character was not created. I hope you enjoy this font and much as I have while creating it!

Introducing, Future History, a unique font with sans and serif in one font! Future History is a modern and stylish font that combined sans and serif in one font. With sans as uppercase dan serif as lowercase. You can use the lowercase and uppercase in the same word that will make your text more stand out! And the best of this font is the italic version as the alternates which mean you can combine it all without worrying about the kerning! You can use this font for the magazine, poster, and suitable for headline. This font also support multi language.

Ruthen Back - a Stylish Font, offering a different feel than my other fonts. A script font with a taste like signature fonts because all characters are based on the stylish signature, always catchy and elegant if you use it for personal name branding or logotype in your business. This font also looks outstanding in other projects such as greeting cards, tittle book/magazine, poster, neon light logo and etc. What's featured? - Uppercase and lowercase - numeral and punctuations - Multilingual support - PUA encoded Thanks for using this font. For other questions about this font please contact me at java.indonesian@yahoo.com. Have a nice day!

Introducing Kajju, a premium font family designed to help you create visually stunning projects of any kind. Kajju San Serif comes in 18 different styles and has everything you need for your design projects. This is an all-in-one font pack with a wide variety of font styles to choose from. So whatever your needs, Kajju can do the job! of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

White Wisteria is an elegant versatile serif font family consisting of 9 styles. This font has natural curved proportions and has soft corners. You can use this font in vintage, classic and retro designs. This font gives a beautiful, classy and luxurious impression to your design. This font is perfect for a variety of projects such as logos, branding, fashion, magazines, labels, posters, album covers and many more. White Wisteria fonts are available in 9 styles: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extra Bold, Black. These fonts feature Kerning, Ligature Style, Alternative Style, Numeral, Symbol and Multilingual Supports.