Say hello to our new classy font duo "Karme"- a combination of all-caps serif and stylish handwritten script! Karme Serif - Due to its extraordinary and eccentric characters, the serif can be more suitable for displays, headers, and short logos rather than body or long texts. Not all but some of the letters have alternatives in stunning lowercase forms. You can play with 92 different fascinating ligatures with the Karma Serif. While using the serif, we would recommend turning off the automatic ligatures and accessing them manually through the Glyphs panel (or copy/paste) so that from several options you can choose the one that fits your text best. Karme Script - a modern and realistic handwritten font with a natural flow. Featuring 112 playful and groovy ligatures, the font can be well paired with serif, sans serif, and display fonts. Works great for stationery, websites, packaging, and many other handwritten style designs.

Époque Seria is that kind of person who looks really cute when angry. This font was derived from the Époque family. She is the little sister to Époque - a little shorter with her smaller x-height and — how do you say it in the typographic circle — your eyes are also smaller (and you know you squint when things get serious, isn't it?). The genealogy of these font face is undeniable, but Époque Seria has a ‘personality’ very different from her older sister. The reduction of the x-height also shakes somewhat with the cap that had crossbar. To accompany the package of standardization, the letters that don't have their straight axes were changed, which brought to the set more Cs and Gs contemporaries. In addition, other measures were taken as a greater softness in the variation of the weights and the abandonment of the black weight, being considered too heavy for this version.

Introducing this very simple sans serif font that is Hazelnut Milk Tea font. I created this font with the inspiration of simplicity and it is very friendly to look at, with four versions, namely regular, italic, bold, bold italic. Very suitable to be applied in various aspects of design, Also it’s perfect for logo, branding, title, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event, magazine, web designs, etc. Features : Hazelnut Milk Tea Regular ( Uppercase, Lowercase ) Hazelnut Milk Tea Regular Italic ( Uppercase, Lowercase ) Hazelnut Milk Tea Bold ( Uppercase, Lowercase ) Hazelnut Milk Tea Bold Italic ( Uppercase, Lowercase ) Symbols multilingual support If you have any questions please don’t hesitate to contact me follow my Instagram: @fkryall Thank you

ThinPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

NormPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

Little Birds is a script that can be used with vintage, simple and modern styles. It is very suitable for logos, posters, t shirts and more. Features Uppercase Lowercase Numerals Ligatures Stylistic Alternates

Bilbo is a very legible calligraphic style that has a masculine feel. It can be used for more than just display. Use Bilbo in body copy that requires added warmth to a message.

BoldPen is based on an ancestor of the German DIN-Schrift. The font was traced with a plastic template on transparent paper, scanned and worked over carefully to keep the handmade, authentic touch.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

Jacine Family includes four handwritten fonts. In addition it includes very useful extra elements. Jacine Script and Jacine Script Inline are informal and youthful fonts with many stylistic variations, swashes and ligatures. Jacine Sans and Jacine Sans Inline add a little seriousness. Both of them are designed to play together but they also work great on their own. Jacine Ornaments has a lot of beautiful ornaments that work very well with the two styles of fonts. With all this, Jacine Family Font will allow you to create elegant works. Remember that to access to all additional characters, you must use software that is truly compatible with OpenType, such as Adobe CS applications, or we recommend using the Glyphs palette.
 Jacine Family is created for any project from logos, magazines and book covers, children's material, fashion, headlines, cards, posters, websites, packaging and, basically, anywhere you want

Wonder Brush is a display typographer's guilty pleasure. It's one of very few fonts ever made that can take intense abuse and still look natural. Partly based on a 1969 Friedrich Poppl design called Poppl Stretto, but considerably fused with ideas found in interwar magazine ad lettering and signage, Wonder Brush caters to the idea that most graphic designers would rather use design elements they can enjoy. When you spend your days being "challenged" and "creatively tested" and "communicating the message," you can definitely use a little bit of playtime. And this font gives you just that, playtime on the job. Wonder Brush appears to be a straightforward narrow upright brush script. But it really is made of malleable rubber. Take it into a program like Adobe Illustrator, set something, stretch or squeeze, shear or warp, slant or transform… just play with it like they used to do in the 70s and 80s. You will soon discover that this font really is a big old top hat, and it's up to you and your mischief to pull rabbits or geese out of it. A single font that allows you to emphasize content or manage space mechanically without affecting the integrity of the type setting. And if your playtime includes fiddling with OpenType features, you're in for a bonus treat: Wonder Brush comes with over 800 characters, including a lot of alternates and extended language support. So tweak away until your eyes cry with joy. The only rules are the ones you set, and even those are meant to be broken.

It's not everyday that you want to have dark chocolate with your favorite latté. But sometimes, as out of the ordinary as it is, it can be just the ticket. Cafelatte's design offers a somewhat unpolished calligraphic concept, reminiscent of wooden type, but done with the unique brush of Angel Koziupa and Bezier wizardry of Alejandro Paul. The discerning packaging designer will certainly find it refreshing to be able to put a darker, unconventional touch on his or her design. And who says primal instincts can't express themselves elegantly?

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

It's Festive! But don't let the name fool you... It's a fun script font (plus a Roman) accompanied by an assortment of exciting ornamental dingbats. In fact, it's the ornamentals that make this font so much fun! At first glance, Festive appears to be suited only for the Christmas holiday season. But wait… you can use the ornamental dingbats for any occasion where festivities abound— New Years, Valentines, St. Patty's Day, Back to School, Graduation, Baby & Wedding Showers, Halloween, Thanksgiving, and much more— even Sports. The base font works well with bodies of copy, while the alternate fonts can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all 14 fonts in this package—especially the fun ornamental dingbats. Festive Regular is included with all the alternate fonts (Festive One thru Ten) which are sold as two font sets. The PRO version contains all the glyphs of the family plus OpenType programming to easily access alternates. The Festive family of fonts are PUA encoded, so you can access them easily. So, get in the mood and have FESTIVE fun!

I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole. The design was 'evolved' somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form. All in all Sabio is a humanist face with which almost anything can be done offering flair and elegance for almost any project. Whether it's a distinctive way of setting paragraph text, or poster work that's eye catching yet flowing and clearly legible, Sabio offers the answer.

Ki is a monospaced display typeface inspired by older VCR / camcorder OSD (on-screen display) fonts. It is peculiar for its diagonal angles being restricted to 45°, which results in a specific textural effect perfectly legible in small type sizes. Ki comes in 7 weights with corresponding italics, and features extensive language support with over 500 glyphs, including Cyrillic.

WOOD TYPE COLLECTION from Mateusz Machalski is a set of wonderful, warm, and weathered hand made typefaces designed by Mateusz Machalski. The Inspiration for this collection comes from a wooden letter blocks and other old technologies used for printing. WTC supports 40 different languages and contains over 300 glyphs per style. The Family consists of 20 typefaces. ENJOY!

Introducing, Blink Twice, a unique sans with styled lowercase! Blink Twice is a modern and stylish font based sans that have unique looks. This font contains uppercase and lowercase that have different form. 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. What you will get: All Caps Font with different uppercase and lowercase Italic version as the alternates (E H I N M e h i n m). Well Kerned.

Sihmitree is a gimmick typeface in which all glyphs have reflective (mirror) or rotational symmetry (or both). Sihmitree has two weights and is caps only, with most of the lower-case letters identical to the upper-case letters. It includes only those accented characters that are symmetrical. The letters of the alphabet are often used to explain symmetry. BCDEK are given as examples of shapes that can easily be formed with symmetry over a horizontal line. AMQTUVWY can easily be formed so that they mirror over a vertical line. Letters HIOX can be formed so they mirror over both horizontal and vertical lines, and as a result they will also have rotational symmetry. Letters NSZ can be formed so that they reproduce themselves with a rotation of 180º. That leaves letters FGJLPR, which are usually considered examples of asymmetry. However, there are script versions of J, L, and R that can be formed with symmetry, and variants of lower-case f and g can be made that are symmetrical. P looks a lot like the thorn character. Some of the numbers also present challenges when trying to form them symmetrically. The symmetrical alphabet is not stylistically harmonious and has limited use other than as an exploration of symmetry.

Tabina is a sweet, romantic and timeless handwritten font. It looks stunning on wedding invitations,thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch.It features a varying baseline, smoothlines, gorgeous glyphs and stunning alternates.

Atakana Scipt is a New Handwriting Font script that make with love. This font is suitable for any branding of your design needs, wedding invitation, romantic project, studio brand, logo, invitations, social media posts, clothing, invitation, poster, cafe/resto sign and others.

BENHARD is a display font with masculine characteristics suitable for old or modern styles, this font can be combined with a sans-serif font suitable for poster fonts, logos, headlines, titles on book covers, films, content and others.

Chive Turkey JNL is a solid version of Jeff Levine's inline font, Toucan Tango JNL. This bold and sassy sans serif has the great retro look of hand lettering and can really add some punch to ad copy.

Venarotta is a minimal and neat sans serif font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! Thank you.

Dirndle is a unique and modern family of sans-serif fonts. Feragie has 9 families, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites,

Stature is an original, clean and crisp, sans serif compressed font, which can be used for text or as an effective display font. The font includes upper and lowercase alphabets, numbers, punctuation, accented characters, symbols, and miscellaneous characters.

Tenebrous is modern family of Display sans serif fonts. Koumon has 9 families font, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites, etc.

Feragie is a unique and modern family of sans-serif fonts. Feragie has 9 families, starting from the small thin to the largest black. This typeface is versatile and can be used successfully in magazines, posters, branding, websites,

Karnchang is a versatile sans-serif typeface that offers a range of 90 styles, spanning from thin to black in weight and condensed to expanded in width. Its adaptability makes it well-suited for a variety of purposes.

Baby Megista is a calligraphic script font that comes with beautiful alternate characters. copper calligraphy mix in handlettering style. Designed to convey an elegant style. Baby Megista is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. Its classic style is perfect to apply to all kinds of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Baby Megista has 304+ glyphs and 150 alternate characters. including multiple language support. It features OpenType with alternative styles, binders and character swashes, which allows you to mix and match letter pairs to suit your design, as well as a touch of ornamentation to make this font look elegant.

Germany has a strong heritage of industrial typefaces. These fonts seem like being constructed by engineers. The shapes seem to be built with circles and squares. DIN Mittelschrift is one very famous example, or the font on the old German car number plates. Since the Romain du Roi we know that it is tricky to draw a geometrical typeface. For optical reasons you have to go away from circles and lines with exactly one weight. Therefore the aim is not to construct a typeface but to draw it the way it seems constructed finally. The design of a typeface is like stage production. Like heavily made up actors the characters of a typeface must be exaggerated to work well. Particularly in small sizes.

Germany has a strong heritage of industrial typefaces. These fonts seem like being constructed by engineers. The shapes seem to be built with circles and squares. DIN Mittelschrift is one very famous example, or the font on the old German car number plates. Since the Romain du Roi we know that it is tricky to draw a geometrical typeface. For optical reasons you have to go away from circles and lines with exactly one weight. Therefore the aim is not to construct a typeface but to draw it the way it seems constructed finally. The design of a typeface is like stage production. Like heavily made up actors the characters of a typeface must be exaggerated to work well. Particularly in small sizes.

Crimson Foam // Chic Stylish. is a beautiful chic script that is suitable for branding, weddings, social media, product design, stationery, advertising other romantic projects. anything. Features : Basic Latin A-Z and a-z Alternate Numbers Symbols Ligature Kerning We have also added 30 style character binders (letter combinations) that have been built (see preview above) to make this font very beautiful. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Thanks and have a wonderful day,

Introducing Sinadey – Cute Sans Serif Adorable Simplicity Sinadey – Cute Sans Serif is the epitome of adorable simplicity, offering a charming sans serif font with a crisp shape. Crisp Elegance What sets Sinadey apart is its crisp elegance. It’s the ideal choice when you need a cute sans serif font that still maintains sharp and well-defined characters. Playful Charm Sinadey’s playful charm adds a delightful touch to your designs, making it perfect for a wide range of creative projects. Versatile Application This font’s versatility shines through, ensuring that it can be used in various design contexts, from invitations to logos and more. In Conclusion In summary, Sinadey – Cute Sans Serif is your go-to when you desire a cute sans serif font with crisp, well-defined shapes. Its adorable simplicity, crisp elegance, and playful charm make it versatile and suitable for a diverse array of design projects, ensuring that your content remains engaging and inviting to all readers.

Dienilla is a luxury handwritten font that comes in 3 weights: Thin, Regular and Bold. Dienilla is great for branding, logos, wedding invitations, cards, quotes, T-shirt design, and many other projects that need a simple but elegant feel. Dienilla has multi-lingual support and is PUA encoded. I created 2 styles of ending swashes to make this product so perfect and very easy to use. To access the first style you can add underscore twice after the lowercase character: for example : a _ _ and to access another one you can add underscore twice and put a 1 after the lowercase character: for example : a _ _1 Dienilla is really beauty, and very very user friendly. Hope you love it, and let's grab it...

VAROGE SARO NOEST arrives on your computer with OpenType replacement features standard, along with extended language support for Central European, Greek, Cyrillic and Extended Cyrillic. We've even included some nice character options for our German-speaking customers with the uppercase Eszett and a number of alternatives to the standard lowercase eszett. Also included is the new Turkish Lira. VAROGE SARO NOEST is a font with a very funny name. Sometimes it can be a funny font. Or a font that is fun. It looks kinda casual, but also a little bit handwritten--freeform and freehand. Or a form of block lettering with a rough edge. Not too rough. Just enough to break up the visual rigidity. But this is not a face in distress. It's mostly at ease in its surroundings. If it's in text mode, it handles the job comfortably. In headline mode it does well too. It's quite flexible and looking for a home. Give this font a home. See if you can figure out what to use it for. See if you see what we saw when we made it. We saw a font that's cool and elegant with a bit of a tantrum driving the node count. We also found it's impossible to look away from it. Anyone can see that. That's why you're here. That's why you're reading this. And VAROGE will do you a favor if you let it. Revisit your typographic beliefs and head over to the one persistent constant in life: your font list. Is VAROGE SARO NOEST on it? If it were to set up headquarters there, you might discover something ideal. That's the favor I was promising.