Fright Ghosts Cyrillic will be perfect for halloween lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: Fright Ghosts Script Multilingual support Cricut support If you have any questions, please contact me directly or in instagram @superdizigner

Anther Brush is a textured brush font, a contemporary approach to design, naturally handmade. It also has alternatives and ligatures that make your design more attractive. Suitable for use in designs such as clothing, invitations, book tittles, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters and more.

Chunky Chicken is a fat, weird, funny and unique font. It was named in honor of my five chickens, who, despite the snow and freezing temperatures, keep laying eggs every day. Chunky Chicken is a headline font, ideal for books and posters and comes with a full range of diacritics.

Sadi Slab is designed to be used on small scales like book texts, newspapers, magazines etc. Also its large counters make the font suitable for digital screens. The anatomy of the typeface gives a formal appearance which is a more fitting choice for subjects like law, finance, medical science etc.

Katerina P Rounded is a modern versatile sans-serif typeface. What differentiates Katerina P Rounded from the other fonts is an exceptionally distinctive design. It is brilliantly suited for graphic design and display use and perfect for logotypes, t-shirts, packaging, brand identity, books, magazines, newspapers, posters, billboards, and advertising.

Asia by Superfried is an ornate, display typeface inspired by trips throughout the continent. Its distinct, bold style has been designed to evoke the curves and beautiful intricacy of Asian typographic characters and patterns. Asia has been featured on Creative Boom and named font of the day by Creative Bloq.

Welcome to Magic Story! Magic Story is a beautiful and magical font. It was made inspired by vintage magical story book. This will bring you to the world of fairy tales vibes. Touch your craft and design projects with this fantastic font and create a lovely works you're proud of.

Karty is an outline freehand typeface that was inspired by John Baskerville’s designs. Karty comes in two version: Outline and Shadow fonts, including a large set of swashes, ligatures and stylistic alternatives, which bring the chance to create logotypes, originals headlines for fashion magazines, children books, advertising and much more.

Introducing, Southville! a bold and fun display font. it's bold characteristic and round at the edges makes this font bold and brave but have soft and fun charm. this font is perfect for books, packaging, branding, make up, novel, label, etc. Features : uppercase & lowercase numbers and punctuation multilingual PUA encoded

A modern fraktur briefly based on the typeface Deutschmeister originally designed by Berthold Wolpe in 1934. With a lot of blackness and playful style it is well suited for posters, signage on windows or a book cover. Only one wight for now, but it may be expanded in the future.

Xmas Bubbles is a cool ornamental Christmas display font. You can use it for anything ranging from t-shirts, kids’ book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Polar Press is a vintage all caps font with 2 styles: clean and rough, and includes 22 ligatures. Polar Press is a strong font and is perfect for branding, logos, invitations, stationery, social media posts, product packaging, merchandise, blog design, game titles, retro style design, Book/Cover Titles and more.

Christmas Kringle is a fun and festive Christmas display font. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, or anything that needs a casual touch. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Phantaztik is a bold and groovy font packed with stylish interlocks, uncommon alternates, extended language coverage, and clever OpenType programming. Full of cheer and optimism, it's a fantastic option for packaging projects, book covers, game titles, apparel, and many more creative applications. Feel-good designs just got easier, check it out!

Agave Azul - Hand made old typewriter font Agave Azul Artisan font is perfect for tequila & mezcal label and packaging design, social media quotes, logo & branding design, apparel design, whiskey, beer label and packaging design, heading, scrapbooking, calendars, book covers. Don't forget to use bonus logos, marks and labels for your designs.

A heavy-set but lively font, Kendrick’s dense strokes were hand-painted using a thick wet brush. This all-caps set of letters is bold but brushy, textured and expressive; fun but very much meaning business. Kendrick is streetwise and no-nonsense, but with a big cheesy grin to boot.

Introducing, Playcute - a fun kids display typeface with solid shapes but still fun. With uppercase and lowercase option, you can play different glyph shapes to get the best combination. With this font, you can use it for book and magazine cover, social media, headline, logo, digital products, and more. Thank You!

Illuminations Woodcut is inspired by the decorated initial capitals of Medieval manuscripts… and an old book of clip art in which they were found. Try decomposing them in Adobe Illustrator and coloring the pieces or dropping color into them in Photoshop: you can get some stunning results. Caps and TrueType only.

Blammingst is a clean script font modern casual and smooth moonlike stroke font includes opentype features Ligatures and Alternate lowercase. It support multilingual more than 100+ language. This font is suitable for logo design, Movie Titles , Books Titles and any awesome project you create. Make stunning work with Blammingst. Cheers, MaulanaCreative

Black Rider is a supercharged street brush font full of energy. With extra attention to quick strokes and sharp detail, Black Rider is guaranteed to deliver a very loud & fast message; ideal for logos, clothing, quotes, product packaging, movie titles, book covers or anything else that needs a typography turbo-boost.

French Antique was first shown in the specimen books of William H. Page & Company in 1869. The font is extremely tall and thin, with serifs taller than many character's widths. Lines are straight and clean with no fuss. French Antique can fit a lot of headline into a small space.

Gendos is a sans serif condensed font family that is designed with a simple but unique shape. This font family has 10 styles consisting of 5 normal shapes and 5 italics. Gendos font can be used for logos, book or magazine cover titles, product brands, or just for writing articles.

Sabinka, a fun condensed fantasy font with bouncy clean shapes. Sabinka is an all-caps font that easy to use as the decoration to make design more beautiful. Sabinka suitable for children's merchandise, t-shirt, books, poster, title, quotes, and many more! Fonts featured : All caps - Numbers - Punctuation & symbols - Accented characters

Vishenka Cyrillic will be perfect for wedding lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: Vishenka Script Multilingual support Cyrillic support Cricut support If you have any questions, please contact me directly or in instagram @superdizigner

Monday Today is a fun and playful cute typeface. It is perfect for logotype, flyer, greeting cards, packaging, book cover, printed quotes, headings, etc. What will you get: All Characters (from A to Z) Numbers and Punctuation Works on PC & Mac Simple installations PUA Encoded Thanks and have a wonderful day. :)

Almost Dry is a playful and natural brush stroke font. It will elevate a wide range of design projects to the highest level. You can use this font for many design ideas such as stickers, t-shirt designs, amazing logo designs, magazine or book covers, comics, cartoon drawings, and much more.

When designing a typeface, one has to be conscious of superfluous details. Although I am always tempted to add little personal touches, experience taught me that the phrase -less is more- is totally true. In Model, the letters (like models do) participated of a contest: An event in which models engage in competition against each other, often for a prize or similar incentive. The prize was staying in the font! yay! Tall, delicate, refined, the right amount of elegancy: These were some of the aspects to be chosen. Typographically speaking, these things were achieved thanks to a tall x-height (which leaded the font to be somehow condensed), a subtle contrast between thicks and thins, and just the right amount of decorative swirls. The result is a nice script that can be used in magazines, invitations, posters, book-covers and works very well when used over photographs. Get Model and let it be the star of the catwalk. STYLES Model Pro and Model Small Pro are the most complete styles of the font. Both have all the ligatures and decorative glyphs seen in posters above (OT programmed). Model Std One, Std Two and Std Three are reduced versions of Pro. This means they have less glyphs inside. TIP If you are planning to print the font in small sizes, it’s highly recommended to purchase Model Small Pro. Its thins are thicker so they will be better printed.

ITC Don't Panic's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish. After working with many handwriting fonts, and after intently dissecting so many different handwritings, one tends to expect such things to be quirky, disconnected, and almost never upright. In fact, in spite of vertical handwriting’s academically-sung virtues of rationality, efficiency, clarity and logic, very few people manage to deviate from the natural slant when writing. Even fewer manage to make the vertical handwriting connect and keep its natural flow. Calligraphy and upright cursive aside, it is almost impossible to make a vertical letters connect and maintain a real handwriting appearance. This is where the genius of this design comes in to bridge the gap between upright handwriting and calligraphy. Sincerely is based on one of the most fascinating handwriting designs to ever come out of Germany: Karlgeorg Hoefer’s 1968 Elegance for the Ludwig & Mayer foundry. It is a handwriting with the full meaning of the word, yet it possesses the rare, very commanding and appealing trait of being both vertical and connected while managing to remain realistic. It is the ultimate branding iron of handwriting fonts. When set and printed, Sincerely simply cannot be ignored. Ideal for humanity-asserting poster designs, lettering of short wording with plenty of space, poetry, notes, greeting cards, craft literature, book covers, history-related designs, and a whole range of other applications.

ITC Don't Panic 's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Unpack is a soft and inviting face. It is available in two cuts, upright and slanted, both all-caps with 2 options for each letter for a nice uneven organic look. The family counts also with a picture font, loaded with some handy extras like banners, stars and ornaments. This versatile family fits greatly many usages. Type some food name and you'll get hungry, type a toy and you'll want to play. Don't believe it? You don't even need to unpack it to try!

Eymen is a font that has both hard and fun dynamics. In fact, it was primarily dedicated to cool magazine paragraphs and content in the textile industry. But thanks to its large family structure, it can be used easily in many sectors and products. In addition, Eymen can be your companion in your heavy, aesthetic logo designs. In addition, the Eymen Pro family offers you alternative glyphs, ligarutes and more. Thanks to its wide character structure, it supports you for all kinds of languages.

Obviosa is a serif font that is both chic and modern. Its slim strokes create a sense of elegance that is perfect for upscale design projects. Whether you're creating a wedding invitation or a business presentation, Obviasa will add a touch of refinement and class. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

In its heyday, the Starlight Room of the Waldorf-Astoria in New York City quite frequently printed lunch and dinner menus for not only their rotating bill of fare, but also for special events held there. The 1937 Electrolux (Eastern) Appreciation Banquet has its own menu cover, and the lettering was in a simple, yet Art-Deco influenced condensed block design with squared features. This simple and quirky typeface has been digitally redrawn as Sales Convention JNL, and is available in both regular and oblique versions.