The font Steamfunk is based on Steampunk. A form of science fiction that couples Victorian era style with futuristic devices operated by early industrial age technology. Each Steamfunk letter is constructed in two symbolic parts. A thick stroke, for the machine’s outer shell, and a second, wire-like, stroke for that machine's delicate inner workings. The result is a look that is Steampunk in appearance, without it being exclusively so. Steamfunk has a glyph count of 398 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing Marsmila, a luxury beauty calligraphy font inspired by the Victorian era and the Grace of the Roman letterforms as well as modern calligraphic aesthetics. Its graceful, curving lines and elegant swirls are a delight to behold. Marsmila comes with massive number of glyphs and stylistic alternates, including extra beginning and ending swashes. Perfect for your next calligraphy project, or when you want to make your text look fancy! Make your next design projects look like you took them to an expensive calligrapher to be done for hundreds of dollars, but you didn't! You can use it in any design and any way you want. Marsmila typeface works best for logos, posters, styling purposes such as invitations, greeting cards or any design projects which have some elegant vibe to them. A Million Thanks Colllab Studio www.colllabstudio.com

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Introducing Invincible Duo, a sleek, modern, and clean font package designed to elevate your creative projects. This dynamic duo consists of two fonts that perfectly complement each other, offering endless possibilities for your designs. The first font, a beautiful script, exudes elegance and charm. With an abundance of ligatures — over 170 ligatures, with every word becomes a work of art. Its flowing strokes and intricate details add a touch of sophistication, making it ideal for invitations, logos, branding, and other projects where a touch of beauty is desired. The second font, a bold sans, brings a contemporary edge to the table. With its clean lines and strong presence, it grabs attention and exudes confidence. Perfect for headlines, titles, and bold statements, this font adds a bold and modern touch to your designs, creating impact and visual appeal. Invincible Duo is carefully crafted to ensure seamless harmony between the script and sans font. When used together, they create a stunning visual contrast that captivates the audience. Whether combined or used individually, these fonts make a lasting impression and deliver a powerful, cohesive message.

Abdo Rajab is the second version of the font FS Rajab which was designed by the type designer Abdulsamiea Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Regular, light and bold) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

“The Mumbai Sticker” is a layered script font. I have created this font from the sticker I designed for my Mumbai trip for my friend’s wedding, you can watch a short video of the process and the story behind. https://youtu.be/bO8e9lQ0DNU instructions to use: • for smooth connections of v s, v r, v z, w s, w r, and w z please enable “standard ligatures” in open type features panel • Type a text with the “Regular” version, then copy and paste in back (cmd B) and switch to “Outline” version. Please make sure you give it a different color to make the main font visible. Looks best in Black and white as you can see in the poster image but feel free to play around! (Please refer to the PDF included within the downloadable .zip file. • • • For full version and commercial license please visit https://rolandhuse.com or contact@rolandhuse.com The full / commercial version contains Western and Eastern European accented characters and special characters, punctuation and ligatures. @rolandhusedesign Follow me on Instagram

Clocko automatically turns the time stamp text into an analog clocks using the OpenType ligatures. Even when the ligatures are turned off, the time is still visible and readable, and it does not change or ruin the layout. Perfect for web usage and even for small sizes. For a crisp look, please use sizes divisible by 30, for example 30pt or 60pt. To make a custom analog clock, type any uppercase or lowercase letter to have a border (see previews for examples), and then type the time in 12 hour or 24 hour format with or without seconds. Use colon, comma, semicolon, hyphen, period or plus as a separator. Few examples: 12:45 9:25:46 10.50 13:30.10 The borders can be mixed together for more interesting look, please see the screenshots above. An additional background shape can be added to the clocks by typing a symbol (! # $ % & ( ) < = > ) as a first character, for example %A12:40:55. Please note that in order to keep the clocks visible, the background shape and the clocks need to have a different colors.

Turn the page to the future and leave all the past behind. It’s a new age and you will move the cogs of the world forward! There is no need to worry or fear, the Claston Script will pave the way for you. With its clean script-type design and curved indentations, this font will take your projects to the next level! Move forward with elegance and bring your audiences to where your vision is: the future. It might take some time to get them there, but that’s okay! You have the perspective, the frame of mind, and most importantly the attitude to wrap it all together into a neat project! The Claston Script aims to bring out a modern and stylish view to what you make. It fits right in with your designs, whatever it is! It’s beautiful without trying too hard, it’s gorgeous without being apologetic, it’s brave in the face of uncertainty, these all represent you. Easily connect with your urban and forward thinking audience with this script and blow their minds!

The first cuts of Kabel appeared in 1927, released by the German foundry Gebr. Klingspor. Like many of the typefaces that Rudolf Koch designed for printing use, Kabel is a carefully constructed and drawn. The basic forms were influenced by the Ancient Roman stone-carved letters, which consisted of just a few pure and clear geometric forms, such as circles, squares, and triangles. Koch also infused Kabel with some elements of Art Deco, making it appear quite different from other geometric modernist typefaces from the 1920s, like Futura. Linotype has two versions of Kabel in its library. Kabel has a shorter x-height, with longer ascenders and descenders, making it a bit truer to Koch's original design than the second version, ITC Kabel, which was designed by Victor Caruso. This version, also known in the United States as Cable, has a larger x-height, shorter ascenders and descenders, more weights ,and a diamond shaped i-dot. Typefaces in the same oeuvre include Avenir Next, ITC Avant Garde Gothic, Metrolite, Metromedium, Metroblack, and Erbar, just to name just a few."

The award-winning Conrad was created by Japanese type designer Akira Kobayashi. Its design was based on the fifteenth-century type by Conrad Sweynheym and Arnold Pannartz, two German printers active in Rome at that time. They produced a unique, slightly unbalanced yet attractive type. Kobayashi says of his typeface, “I have designed a couple of typefaces inspired from the past, but this time the original print acted merely as a reference. The distinctive lowercase ‘a’ and some other letters were inspired by Sweynheym and Pannartz’s second roman type, but I revived the type in a more informal way. Here I used the historical type as a springboard. The resulting type looks different, taking on a rather temporary and lively look. I assume that the Conrad is the first revival of the Sweynheym and Pannartz type, though it does not closely resemble the original.” Conrad won first prize for the text typeface category in Linotype’s Third International Typeface Design Contest (2000) as well as the Certificate of Excellence in Type Design from the Type Directors Club (2001).

Introducing Jackloft, the ultimate display font for all your design needs! With its energetic and bold brush textured style, Jackloft is perfect for advertising, headlines, posters, thumbnails, and much more. What makes Jackloft unique is its ability to stand out in any design while still maintaining legibility. This font includes a full set of uppercase and lowercase letters, numbers, and punctuation marks. It pairs well with sans-serif fonts for a modern look or can be paired with other brush script fonts for a cohesive design. The design concept behind Jackloft was to create a font that could convey a sense of energy and excitement while still being readable. The brush textured style gives the font a handcrafted feel, making it perfect for designs that require a personal touch. Jackloft is not a revival or based on a historical design. Instead, it was created to fill a gap in the market for a display font that was both bold and legible. So, whether you're designing a poster or creating a social media graphic, Jackloft has got you covered!

Pandilla was inspired from personal sketches and letters developed by the past of the years making graffiti art. the forms of this typeface are related with the graffiti and street scenes of the different cities around the world and takes traits and elements of the Handstyle, Classic graffiti, Brazilian Pichação and different urban letters. This font has a variety of objectives, the first is to create a legible version of the graffiti inscriptions and use this typography for different print pieces, the second objective is to give back the essence of the meaning of the word "Pandilla", this word has been transformed for the past of the decades and now is associated with negative things. The original meaning of this word is a group of people who feel a close relationship, which usually have a friend or close interaction with ideals or common philosophy among members. Pandilla is to be used in different print purposes and graphic pieces like: Posters, Brochures, Magazines, Business cards and different stuff that uses big type sizes and big display formats.

Bonspire Script is a dynamic and creative script typeface. Brimming with lively swashes and optimistic flair, Bonspire Script embodies the essence of movement and creativity. Its swirly strokes lend it an air of playful sophistication, making it equally suitable for heartfelt love letters or eye-catching advertisements. Its handwriting-inspired design gives it an approachable and personal feel. The typeface dances across the page, infusing any text with a sense of joy and possibility. Use underscore _ anywhere in a word for swashes. Example: Love_rose Use multiple underscore for different swashes. Example: Wonder________woman Use Bonspire Script's built-in swashes and stylistic alternates to fully express your creativity. Its OpenType functionality ensures top-notch quality and customizability. The typeface offers extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. The creative force behind Bonspire Script is Mans Greback. Renowned for his ability to evoke emotion through typography, Greback has outdone himself with this lighthearted yet intricate design. His extensive portfolio showcases a knack for blending practicality with artistic flair, making each font a unique masterpiece.

Campana Script is your go-to for classical elegance. Picture walking into an old bookstore and discovering a handwritten love letter tucked inside a dusty novel. This font brings that level of intimacy and nostalgia to your designs. Designed with heavy lines and intricate swashes, Campana Script suits formal applications like wedding invitations, certificates, and classic logotypes. Use underscore _ to make a swash. Example: Deco_rative Use multiple underscores to make different underlines. Example: Candy__shop Campana Script is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this exquisite creation is Mans Greback. Known for pushing the boundaries of type design, Greback has ventured into the intricate intricacies of aesthetic diversity with Campana Script. His portfolio is a testament to his versatility and daring, turning simple alphabets into powerful visual narratives.

Is it necessary to tell the Gutenberg story? 1456 Gutenberg Pro is the second Gutenberg typeface produced by GLC foundry (look at our 1456 Gutenberg). This font was created from the so called "B42" character set used for the two Gutenberg Latin Bibles (42 and 36 lines), but with a better and finer design than in our first version, more faithful to the finest original printed books appearance. We offer also now a larger choice of the original ligatures and Latin abbreviations, as complete as possible to be usable with OTF specifications. The complete basic alphabet (with "long s" naturally)is strictly looking like the real one (including the curious twisted "X"). We have only recreated the capitals W and J, who was not existing in the time. The numerals, no more existing in the original type set, were inspired from those in use a few years later by early following printers, but matching with the Gutenberg font's pattern. The font includes West (including Celtic), East, Central European, Baltic and Turkish glyphs.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

Street Tag vol 2 is the second version of Street Tag fonts. Inspired from realistic caligraphy tagging style in many big cities. This style is more bold and readable, perfect for your “street art” designs style. I combined the real graffiti experiences into computer fonts, I think it will be different with other fonts if you can feel it, cause I draw graffiti, tagging and throw ups since I was high school. The real tagging style is never be tidy, but don’t worry, I already adjust the kerning and spacing in the best possible way. You’ll find the better result when you adjust the kerning, and edit baseline manually, especially for the alternates font, if you unfamiliar with these one, you can find many tutorials in youtube, for the example https://www.youtube.com/watch?v=251cTL029M4. what will you get You’ll get some alternates in several alphabet, see that in the font preview, some sample fonts I change the dot in “I” to stars, and I add ‘ into “O”, sometimes we do that in the real walls! You can explore more with this font!

Introducing Tooth & Nail; a rustic & hearty hand-painted dry brush font, designed to work in both all-caps as well as lowercase. It also includes a bonus vector pack, featuring 24 elements designed to boost your text and reaffirm it's hand-made style. With rough bold strokes and high quality textures throughout, Tooth & Nail is the perfect workhorse font for product packaging, promotional messages, handwritten quotes, home decor and branding projects. Tooth & Nail is reliable and familiar, like meeting someone for the first time and feeling like you've been reunited with an old friend. Tooth & Nail consists of 2 styles: 1. Tooth & Nail • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Tooth & Nail Alt • This is a second version of Tooth & Nail, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option.

Ansage does not claim to be neutral; it escapes from the rationalist sans of closed strokes and regular forms. Meaning Announcement in German, Ansage is versatile and communicates effectively across a broad range of media and formats such as branding, posters, websites, apps, titles and compositions with little spacing). Ansage is a sans serif font with a strong personality that emerges from an interest in and the study of a wide variety of typographic specimens of Gothic fonts from the nineteenth century. The design process behind Ansage brought about constant transformations in form; the result is a compact and robust font, with a large x-height, small ascenders and descenders, and open terminals that grow in expressiveness as it increases in weight. It is available in 10 weights, ranging from Hairline to Black, and 3 widths – Condensed, Regular and Expanded – plus italics, which make a total of 60 perfect variables to combine and contrast with each other. In addition, it also includes multiple open-type functions such as alternative styles, Old Style Figures, Tabular Forms, fractions, case sensitive, ligatures and more.

The concept behind Meridiana Pro was to create an amalgamation between a rounded sans and a monospaced font in order to obtain an extensive and usable variable type-system. This typeface encapsulates a symmetrical and balanced rhythm due to the unique blend of different sources of inspiration. Proportions are precisely adjusted with smooth contours and subtle contrasts. These forms give the font an eye-catching look without compromising elegance and minimalism, ensuring that each glyph will work well in any graphic design purpose. The focus was to create a versatile type family with range of alternates, ligatures, and symbols, including the extensive language support of most European languages. Meridiana Pro design space includes two axes, weight and italic and is available as a variable font or as a separate OpenType family, including weights from Thin to Heavy plus their obliques. Specifications: - Version included: Meridiana Pro Variable, Meridiana Pro Static - 8 weights with matching obliques - Multi-language support (Central, Eastern, Western European languages) - OpenType Features (Superscript and Subscript Numerals, Fractions, Ligatures, Alternates) Thanks for reading, Unio.

This is the cool and stylish relative to Familiar pro. Like a cousin. Or perhaps a second cousin twice removed. Because parts of the letters are removed, see... ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Diad was born on 2000 in order to design posters about second World War. The original idea was obtained by breaking, burning and getting wet a bunch of written copies with an old writing machine. Today, Diad is a small typographic system useful for bringing relevance to any content with a grunge look. Each and every detail passed through a strict experimentation process. Its outrageous and unconventional spirit travels from high leveled corrosion, up to a delicate visual neglect. Diad 2 and 3 work for designing words. Diad 1 is ideal for long phrases and titles. Diad dingbats includes 26 illustrations about motocross. In total, adding Diad 1,2 and 3, it has around 260 glyphs. Diad will make your design shine providing different graphic atmospheres, optimizing time and work to its users. Diad is perfect for graphic design on contexts such as death metal, drum and bass, films, war and horror video games. It could work also for logos, words, titles and short texts in covers, tags, clothes, wraps, cards, stickers, toys, bicycles, surf boards, etc.

Molde is a super sans serif font family, belonging to the neo-grotesque style. Formally, Molde was inspired by the extreme sobriety of famous post-Bauhaus Swiss Movement of the mid-twentieth Century. The masters of this style are famous for eliminating all the ornaments, as a brilliant mind said “Ornament und Verbrechen”(Ornament and Crime) as a creation law: ending up with only the essential. Thanks to the purity of its shapes, Molde spreads the message as clear as possible and this quality makes it much more versatile than any other typography. Molde can be therefore used in all types of designs, If we consider its personality and its amount of weights and widths. Molde is composed of 6 widths ranging from the tablet to the expanded and in the set of characters includes a Unicase version and a small caps version. The family is composed of 3 parts: the regular version, the italic version and the reverse version. Each one of them has 9 weights. Each weight has 649 characters and it has been thought for 219 latin languages.

Magnirum Serif is a serif typeface with a medieval flair. Drawing inspiration from historic Roman typography and medieval design, Magnirum Serif is a timeless creation that exudes beauty and elegance. While its serifs and ornaments echo the intricacies of ancient manuscripts, the typeface is designed for modern legibility and regular usage. It combines the best of both worlds, offering a unique blend of historic charm and contemporary readability. Add symbol # after any letter to place a crown on top of it. Example: Cro#wn Magnirum Serif is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this captivating creation is Mans Greback. Renowned for his skill in marrying historical elements with modern utility, Greback has crafted Magnirum Serif to be a versatile yet nostalgic typeface. His portfolio showcases his ability to bring stories and emotions into the realm of type design.

Ringtown is handwritten font with a signature style. perfect for branding projects, homeware designs, product packaging or simply as a stylish text overlay to any background image. Ringtown has an entire 2 alternate font set and marker style font. This is accessible simply by their own separate font file - just install this as normal and select Ringtown Alt 1, Ringtown Alt 2, Ringtown Marker and Ringtown Swash in your text-tool Fonts are provided in .otf formats Ringtown incudes 6 Font files: Ringtown -- A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Ringtown Alt 1– the second version of Ringtown, with a completely new set of both lower and uppercase characters. Ringtown Alt 2– the thirth version of Ringtown, with a completely new set of both lower and uppercase characters. Ringtown Swash -- A set of 36 hand-drawn swashes, with cool touch to underline you’re Ringtown text. Need help? If you need help or advice, please contact me by e-mail "fargunstudio@gmail.com" Thank you for your purchase!

Bayside Tavern is a weathered version of our Tavern Alt font family. With its straight sides Bayside Tavern fits better in tight spaces and reads better at smaller point sizes than the regular Bay Tavern version. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. While our original Tavern Alt font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bayside Tavern family are meant to be layered behind the Bayside Open fonts, if you're using Bayside Open select Bayside Fill, if you're using Bayside Open L select Bayside Fill L, if you're using Bayside Open S select Bayside Fill S and so on.

Abdo Salem is the second version of the font FS_Salem which was designed by the type designer Abdulsamie Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Light, bold and black) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Introducing the Silver South Font Duo, a classy, contemporary pair of script and serif fonts. With a stylish didot-style serif font and a free-flowing, expressive script companion, Silver South offers beautiful typographic harmony for a diversity of design projects, including logos & branding, wedding designs, social media posts, advertisements & product designs. Silver South Script • A clean, free-flowing script font containing upper & lowercase characters, numerals and a large range of punctuation. Silver South Script Alt • This is a second version of Silver South Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Silver South Serif • A classy serif font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Silver South Script fonts. Script Ligatures • Silver South Script also includes 38 character ligatures. These double letters allow you to recreate a more natural, hand-drawn flow to your text.

Factum is a classical style serif typeface that sets the mood and evokes emoti­­­­­­ons before you read the text. Interchanging thick and thin lines, especially in Medium and Bold styles, creates an elegant silhouette and a rhythm in title sheet, cover art or poster. Yet Light and Regular styles look great in large type as well as headlines. Another speciality of the font family is Stencil styles that help you play around your typography and logotypes. Rich heritage and cultural experience behind the classical design make Factum font perfect for texts and messages connected to glamour, fashion, arts, literature, architecture, science, education, travelling, fine dining, cosmetics, beauty and etc. Timeless pattern and variety of weights and styles will make you use the font family again and again in different projects: creating logo, articles in magazines, branding, wedding invitations, quotes, posters, advertisements, monograms and many more. Character set of each font includes all European Latin-based glyphs, numbers, punctuation and OpenType features like standard ligatures, discretionary ligatures and fractions.

Action Hero - A grungy, textured brush font for action packed movie posters and titles. Action Hero is a hand-drawn brush font inspired by action movie posters of the 1980s and 90s. Does your movie feature a hostage situation on a speeding bus or train? Try Action Hero. How about a one man army tasked with rescuing stranded POWs? Try Action Hero! Maybe a post-apocalyptic race across the desert, or did they dare to kill your favourite second cousin? Big mistake - Get Action Hero!!! The Action Hero font family collects four all-cap variants featuring a complete set of uppercase and lowercase characters, along with numerals, punctuation, language support and underlines. With so many creative options you'll never have to repeat characters (a personal bugbear with hand-drawn fonts) and achieve authentic hand-drawn looking title designs. Check out the visuals for ideas and tips on how to use this font on posters, movie titles, product packaging, broadcast and advertising. With countless creative options and a design that explodes off the screen, this is the last action hero font you'll ever need!

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

Old Labels JNL was inspired by the red and white gummed labels that were used for shipping parcels long before self-adhesive materials and desktop publishing rendered the older labels obsolete. The fifty-two glyphs include a generous supply of phrases such as ‘Air Mail’, ‘Do Not Bend’, ‘Rush’, etc. along with a number of blank label backgrounds and decorative frames. NOTE: Commercial replication of the images within this font for any resale purposes (including, but not limited to labels, t-shirts, stock designs, et al) requires a separate license which may be obtained by contacting the designer via the email address found within the End User License Agreement.

FT Drobbs is inspired by the Didot font group, known for its neoclassical style reminiscent of the Age of Enlightenment. The font includes a combination of very narrow and very wide lines. FT Drobbs features increased contrast between wide and narrow lines and includes rich teardrop endings. I love to watch how the lines bend, how they move, expanding or going into the thickness of the hair. I love their graceful beauty. FT Drobbs is not alphabetic, but it contains numbers, a set of basic currency symbols, and a few typographic characters. It is suitable for use as accents in labels, posters and infographics.

Bellagia Display is a blend of two hand calligraphy typefaces and vintage serifs with a natural bond consisting of 7 weights from Thin to Black. All the wildcards and binders are specially designed to bring out the letters that are unique, and interesting. This makes it a very versatile font that works in both large and small sizes. Perfectly supports your creativity in making various design projects such as logo designs, branding, posters, magazines, labels, merchandise, invitations, long and short texts, and many of your other needs. Bellagia Display Features: - 7 Weights (from Thin to Black) - 1 Variable font - Alternates & Ligatures - OpenType support - Multilingual - PUA Encoded.

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

Introducing "Korge", a captivating and versatile retro bold slab serif font that seamlessly marries vintage aesthetics with modern functionality. With its bold design, serif form, and a trio of regular, rounded, and extruded versions, Korge offers a wealth of creative possibilities for your design ventures. Korge is a font that transports your projects back to the golden eras of design. Its bold and distinct serifs evoke a sense of nostalgia, lending your creations a classic and enduring appeal. Korge provides not one, but three distinct styles to choose from. The regular version exudes a commanding presence, while the rounded variant softens the edges for a more approachable feel. The extruded version adds depth and dimension, giving your text a 3D, eye-catching quality. Korge is a font that speaks the language of design across borders. With its multi-language support and PUA encoding, it ensures your message resonates with audiences from diverse linguistic backgrounds. From logo design to branding, packaging, posters, and beyond, Korge adapts seamlessly to a wide array of design projects. Its bold slab serifs demand attention, making sure your message is delivered with both authority and style. Korge invites you to embark on a journey of creative exploration. Craft memorable headlines, iconic logos, or striking signage – this font is your canvas for pushing the boundaries of design. With Korge, the possibilities are limitless. Its vintage-inspired bold slab serif design, multi-language support, and versatile styles make it the ideal choice for designers seeking to infuse their projects with timeless charm and contemporary appeal. Get ready to bring your visions to life with Korge, where classic meets cutting-edge. ——— Korge features: A full set of Uppercase & Lowercase letters Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +237 Total Glyphs Rounded Style + Regular Style Extruded Style Korge Includes: Korge Regular Korge Regular Extruded Left Korge Regular Extruded Right Korge Regular Extruded Left Italic Korge Regular Extruded Right Italic Korge Rounded Korge Rounded Extruded Left Korge Rounded Extruded Right Italic Korge Rounded Extruded Left Korge Rounded Extruded Right Italic

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.