Wamelo, a work that is purely a result of handwriting and writing by using a liquid ink pen, has a natural characteristic. This is perfect for invitations, signatures, blogs, social media, business cards, product brands. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. They can also be accessed through the character map.

Comenia was developed as typographic system for use on all levels of schools and universities. It introduces new aesthetic standards aimed at improving reading and writing skills and the perception of texts for pupils, students, teachers, office and IT staff at schools. It offers a clear, intelligible and universal graphic tool for layout of primers, textbooks, educational texts and materials, for electronic typography and for the information systems.

Odell is a fun, whimsical, yet elegant handwritten font that was created in a light-hearted manner for use in things like menus, invitations, bed and breakfast collateral and whatever else you can dream up. Odell features extra thin letters and it is designed to be creative, a little fancy, and very legible. There are tons of foreign characters to choose from so you can write in other languages as well.

Flood was designed by Joachim M�ller-Lanc� and is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic. Flood�s energetic rhythm is well suited for informal menus, logos, and brief ad copy, as well as personal correspondence.

Neuron Angled is based in the idea of Neuron, the original font designed in 2012 by Corradine Fonts' team, keeping from its predecessor the proportions and slight narrowness. In this version the rounded edges are replaced by sharp contours and flat endings. A broader typographic system is proposed in Neuron Angled to obtain a versatile and modern typeface without missing its original distinctive style. The neutral aspect of the family allows its application in a wide range of projects specially in those related with branding, signage and editorial design. The Neuron Angled family consists of four styles with eight weights each one, for a total of thirty two fonts. The different fonts of the family are not just complementary to each other, but can be used to complement the original version of Neuron. Its wide character map provides coverage for Western European, Eastern European and Cyrillic scripts.

Only You is handmade, and specially romantic. It was made to brighten your projects, turning everything more beautiful. The special encounter between uppercase letters and lowercase letters is perfect. Only You is unicase, with 888 glyphs, and what’s better: it has one special alternative for all letters as uppercase, and that creates an infinity of combinations. Only You is brilliant, gorgeous, and multilingual - it also includes the Cyrillic version! It has more than 200 ligatures, several alternates and swashes. You can also obtain an unlimited number of possibilities in your layout - there are several possibilities for starting and finishing a word. Do you want some more? You should take a look at Only You Icons with more than 300 options between icons, ribbons and frames that will make your project very attractive and romantic. The font doesn't have PDF and works better in softwares that support the complete OpenType function.

We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside. Well, my fine, font-finagling friend, you'd be Dead Wrong! This really is an All-New, All-Different, All Star, Ultimate Collectable, from the Comicraft House of Ideas! Our Dynamic Duo -- Johnny Comicraft and Ferran 'Nuff Said have brought you another winner from the Silver Age of comic book lettering. It’s a little worse for wear, we admit it, but wouldn't you be after three rounds with the Justice League of Avengers Assembled?!? See the families related to Battle Scarred: Battle Cry & Battle Damaged .

Looking to make a statement with your design? Bold, memorable projects deserve bold, memorable fonts. Introducing Harliton - A Condensed Font. Offline or online, Harliton makes your brand noticed. Whether you’re making ads, merch, apps, or websites, this font will fit right in. Give it a go and see how a great font transforms your project. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office Keynote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom-created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

I have improved and added diacritics to this elegant alphabet, and generally cleaned it up to a professional standard. It is well suited to logos, menus, invitations and other things wanting a touch of elegance. Nick Curtis says: "I came across this particular treatment for swash caps in an old book on letterhead design. The original had been handlettered, but I though it might be convenient to have a ready-made font to accomplish the same effect, and here it is. As an extra added feature, the “§” sign is an ampersand with a long tail." 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.

Basilisk is a futuristic and retro-inspired typeface that works well in any sci-fi space thriller. This one is for you if you like futuristic fonts. The different weights give you a lot of flexibility when it comes to choosing the right typographic color for your project. The available Ligatures and Italic styles offer a wide range of characters to give your project design an unique design. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Beautifully Delicious is a new font family that combines an elegant extended sans serif fonts and a signature script. Both fonts create a harmonious union that can enhance your designs in the best possible way. The family is suitable for graphic design, quotes, branding, all sorts of social media ads, magazines, greeting cards, packaging etc. The script fonts contain more than 1000 glyphs and benefit from OpenType features such as ligatures (including triple-letter ones), swashes and contextual alternates, two sets of capital letters (tall and short) and underline symbols. Sans serif font also contain some stylistic alternates and presented in 4 weights: Thin, Regular, Bold and Black. Hope you enjoy using it!

Core Rhino is a contemporary typefamily designed by S-Core. The fonts have the mood of brushed feeling and come across as soft and gentle. Core Rhino displays warmth through its roundness and curved letterforms. Also it is legible in prints and on screens. The Core Rhino family consists of 7weights (Thin, Extra Light, Light, Regular, Bold, Heavy, Black) plus matching italics. The OpenType fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions. If you are looking for a sans serif style font which is practical and friendly, get this family and save your time.

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

This font family is based on the alphabet designed by Frank Lloyd Wright for the "Eaglerock" project in 1922. The Eaglefeather Pro family features expanded OpenType font options. It contains 15 pro styles and 20 basic styles in 5 weights- Hairline, Light, Regular, Bold, and Black. In addition to small caps, italics, and a unique "informal" version (an upright italic.) There is coverage for Cyrllic, Greek and European Latin languages. Opentype features include automatic fractions, optimized kerning, and localized language features. Alternate forms of capitals A,H,N, & S are also included for added flexibility. The full range of weights and styles allows for expanded typographic possibilities in a wide variety of uses.

TT Moons update 1.1 What’s new. • Case Sensitive Forms • Tabular Figures • Fractions • Numerators • Denominators • Superiors • Scientific Inferiors TT Moons is a slim, high-contrast serif. This font family works especially smart in classic design themes. TT Moons is a typeface of the glyptal modern font family. The ideal application range for this typeface is magazines, books and newspapers layout. Thanks to its narrow proportions and 5 weights (Thin, Light, Regular, Bold, Black), TT Moons perfectly fits into any contemporary digital design, such as interactive and product design, editorial and corporate web design. This font family is the real work helper and your joker when you need to combine contemporary and classic styles.

Merrivale is an ideal example of the benefits of keeping ones eyes open- it was inspired by the gilt-finished raised lettering on a late Victorian shopsign in Melbourne, Australia. The family of seven faces include upper and lower case forms, small capitals, all capital forms, and flamboyant display forms. Extensive Opentype features are incorporated. All faces are offered in incised forms inspired by the original lettering as well as in solid black filled forms. Thsee typefaces are wonderful for signage where either a period air or a dignified but legible feel are required. They also lend themselves to other display uses such as posters, book covers and so forth and are ideal for the title lines of certificates.

“The rounded shapes are like Chantilly cream or Italian meringue over a lemon pie,” says designer Xavier Dupré of his FF Sanuk Round typeface. Designed to work alongside the existing members of the FF Sanuk family, this sprightly sans serif offers a more mischievous personality than its counterparts. Angular shapes have been gently softened, to create a playful design that really comes into its own at larger sizes. Set this one on posters and packaging, or anywhere you need to be punchy yet approachable. The FF Sanuk Round family is based on the original FF Sanuk family and offers 5 weights plus from Ultra Light to Black plus italics. It offers OpenType features including stylistic alternates and ligatures.

Introducing Ablation Sans Serif Typeface - 6 weighs Ablation is casual, clean typeface that contains 6 weights to enchant your next project. They have basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets. Very versatile fonts that works great in large and small sizes. Ablation is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Extra Bold Black Basic and advanced latin character sets Basic and advanced Cyrillic character sets Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

Dreams Note Is A Modern Family Font Serif Including 8 Font Style. Font Features : Dreams Note Thin Dreams Note Extra Light Dreams Note Light Dreams Note Regular Dreams Note Medium Dreams Note Semi Bold Dreams Note Bold Dreams Note Black SOFTWARE REQUIREMENTS : Fonts and alternate: No special software is required they may be used in any basic program /website app that allows standard fonts That's it, folks! You can go ahead and get cracking :) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day!

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.

PB Roman Uncial Vc is a font face designed for imitate Roman uncial writing style found in manuscripts from 4th to 5th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, abbreviations, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

PB Roman Uncial IIc is a font face designed for imitate Roman uncial writing style found in manuscripts from 1st to 2nd century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

Hivives – A Geometric Sans Serif Typeface Hivives is a contemporary geometric sans serif typeface that embodies a harmonious balance between precision and warmth. With its clean, straight lines and minimalist design, this typeface exudes a modern aesthetic while maintaining a sense of approachability. The geometric construction of Hivivies lends it a distinct and timeless quality, making it versatile for a wide range of design applications. The letterforms are characterized by consistent stroke widths, sharp angles, and well-defined geometric shapes, resulting in a visually cohesive and sophisticated appearance. Hivives stands out as a stylish choice for branding, editorial design, and digital interfaces, where its crisp and clear lettering contributes to a polished and contemporary visual identity. Hivives is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Say Hello to Nostalgia! A Modern Font with a retro feeling 3 Fonts Regular, Effect and Flowers Go back in time and travel through the magazines and graphics from the fabulous 1970´s. Different serif typefaces, rounded and bold were the big focus to add a spark of life and modernity to the products. Nostalgia is our contemporary interpretation of this beautiful collection of fonts. Our aim is to draw the positive mood of these nostalgic letterforms with softened edges and rounded terminations, to evoke a fresh and contemporary view on this graphic approach. An extended set of alternates & swashes specially designed to create stylish lettering compositions have been included. You can Access your OpenType features and discover all the possibilities. Combining the glyphs with "Nostalgia Icons" as well as changes of color you'll feel the magic. This endless collection of flowers and decorative forms will boost the vintage mood to any project. The result is a very versatile font that works in a wide range request, from logos, headlines, branding, magazine design to wedding cards, poster and so much more.

Introducing Bungire Retro, the ideal answer for your projects with a retro, vintage, or classic modernist theme! Bungire Retro is the perfect font for bringing a sense of nostalgia and charm to your creations because of its distinctive and eye-catching design. With its extensive selection of alternates, Bungire Retro lets you personalize and produce genuinely distinctive typographic designs. When creating logos, posters, invitations, or other creative endeavors, Bungire Retro’s distinct retro vibes will enthrall your audience. Additionally, because of its linguistic support, it may be used for projects everywhere. With Bungire Retro, you can take your ideas to the next level and let your creativity shine. Get Bungire Retro right away to take your audience back to the heyday of classical modernism! What’s Included : - File font - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support. Thank you for your purchase!

Introducing "Dumper" - Your Original Hand-Drawn 60's Retro Bold Font Step into the bold and vibrant world of "Dumper," a font that seamlessly blends original hand-drawn craftsmanship with the iconic style of the 60's retro era. Ideal for posters, headlines, and vintage-themed branding projects, this font exudes a dynamic energy that adds a bold statement to your designs. Key Features: Original Hand-Drawn Craftsmanship: Each character in "Dumper" is crafted by hand, bringing a unique and authentic touch to your creations. 60's Retro Bold Vibes: Immerse your designs in the bold and lively spirit of the 60's, making "Dumper" a perfect choice for projects seeking a retro aesthetic. Why Choose "Dumper": Craft posters and headlines that command attention with bold and dynamic lettering. Design branding materials that transport your audience back to the vibrant 60's era. Establish a brand presence with a font that effortlessly captures the essence of retro boldness. Download "Dumper" Now and Let Your Designs Boldly Embrace the 60's Retro Vibe!

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.

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features that make this project very special. Liliana is a typeface that will work perfectly while setting short texts, words, and phrases as well. It shall perform greatly even when the paragraph is too short. Thanks to the versatility of its alternate characters, Liliana is perfect to achieve eye-catching texts. The spirit of this typography is focused on its “s” character, which originates from manuscript writings and provides a very special identity. If the text does not contain the letter "s", the intended personality can still be achieved by using alternate characters such as "f", "l", “r” and “L”, which are aligned with the same concept. On top of that, may all this still not be enough, you can furthermore use its ligatures and swashes. It is actually hard not to set a spectacular text with Liliana! Liliana is a typeface optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 10-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when compared with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 642 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Liliana supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

handwritten decorative variable font A few fonts already exist which have been drawn in accordance with the exact same principles. But these are just drawn - only drawn. The ANATOLE FRANCE retains the hand script character in spite of its stringent composition. An old portfolio of script patterns from the 1920s or 1930s, which appeared in the Georg D. W. Callwey Publishing House in Munich, includes among its pages one with a handwritten poster script, as was very typical for the 1920s. To begin with, there is the emphasized decorative character, which stands out due to stressing the stems. Next, the attempt to portray the character forms with the help of a few but always recurring basic elements is driven to the limits. Theoretically speaking, that which should have led to a contrived, geometrically determined type, obtains a likeable and pleasant look through the ductus of the manually guided brush. The classic version of ANATOLE FRANCE includes 5 fonts: Light, SemiLight, Normal, SemiBold, Bold. The variable font allows seamless font weights from 300 (Light) to 700 (Bold). Alternate letterforms are available through the appropriate OpenType features: style set 1 (O Q V) style set 2 (v w)

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

New Bayreuth is a new and improved version of the original Bayreuth font (Friedrich Hermann Ernst Schneidler, 1932). New Bayreuth was reworked, redesigned, completed and digitally remastered by Ralph M. Unger for URW++, based on specimen taken from old font catalogues. Besides Ganz Grobe Gotisch and Legende, New Bayreuth is the third type design by Schneidler that URW++ brought back to (digital) life.

Kievally is a refined aesthetic. This majestic typeface adds a touch of stunning elegance to any design. Although the inspiration for this typeface dates back to the Art Deco era, Kievally feels modern and contemporary. Use Kievally for your branding, magazine designs, logo designs, headlines, posters, packaging, cards or wedding invitations. Included : - Uppercas and Lowercase - Ligatures - Numerals & Punctuation - Accented characters