It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me »Schnebel Sans« represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. »Schnebel Sans« is available in 48 different styles. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. The scripts include small caps and various figure sets.This big range of styles from Thin to Black and from Compressed to Expanded offer many possibilities for design and fulfill all requirements for a professional use. Because of the supplement of several non-Latin character sets, the »Schnebel Sans« is perfectly suitable for global services too. Volker Schnebel, 2016

Movida™ is a 101-font mega family - modern, spurless, with geometric flat-sided nature. Its versatile character and huge choice of styles let it serve as a charismatic display typeface as well as clean contemporary tool for setting paragraph text. Its dynamic personality fits perfectly to such industries as sports, gaming, technology, streetwear, automotive. Movida works great for logo design & branding, magazine editorial use, web design, user interfaces and mobile applications. Movida features a super-flexible 3-axis variable font allowing fluent adjustments to width, weight and italic angle. This single font contains all the styles and features of the whole mega family. Main features: 5 widths (Narrow, Condensed, Normal, Expanded, Wide) 10 weights for each width (from Hairline to Black) + 10 corresponding italic styles 1 variable font (3 axes: weight, width, italic angle) modern, slick & sharp spurless design large x-height improving legibility in small sizes flattened oval shapes, adding vertical rhythm and elegance to narrow styles extended latin language support OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Introducing, The Lastone is a serif typeface crafted with elegance and luxury, exuding femininity and glamor but also a side of beauty with plenty of alternatives and ties to help you create endless variations for your creative needs. Its striking contrasts and subtle details, along with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. The Lastone elegant serifs really help you create unlimited variations for your creative needs in creating your project titles: such as fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Feature • Full set of uppercase, lowercase • 111 Ligatures • 28 Alternatives • Numbers, symbols & punctuation • Characters with accents • Support Multiple Languages • PUA encoded WHAT IS INCLUDED • The Lastone – Regular • The Lastone – Italic This type of family has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with The Lastone! Feel free to use the #Black Studio tag and the #The Lastone font to show what you've been up to, I really hope you enjoy it! Thank you!

Beni is a bold & strong sans serif font family beautifully crafted to perform in short headlines in posters or contemporary interface design. Each character has been optically adjusted for maximum effect in the space between; as such, this is a strong contender for movie posters, titling, album artwork, and any design project that needs a clean sans serif that makes an impact wherever it is applied. This type family is available in four unique weights that stand well apart from one another in visual style. Beni Light is the runway model of the family, standing with a narrow posture and towering height. It’s a fantastic choice for conveying a message in a limited horizontal space. Beni Regular and Beni Bold are shorter in stature but both pack a punch, carrying bold strokes that speak with confidence and offer great legibility. The heaviest of the heavy, Beni Black is the super-bold, go-to type design for projects that need an impossibly strong type design at the helm. Beni extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Igbo Onwu, and Basic Greek for design projects intended for an international audience.

Meet Pristine Pro, the epitome of elegance and precision in typography. This Slab Serif font, meticulously developed with a humanistic touch, promises unparalleled sophistication for your projects. Its 18 versatile font families, ranging from Thin to Black, offer a tailored solution for every design need. Explore the seamless blend of clean lines and firm structure that defines Pristine Pro. This font isn't just a typeface; it's a statement of modernity and style. With support for 89 international languages, including English, French, Spanish, and German, Pristine Pro caters to a global audience, ensuring your designs communicate effectively worldwide. Desire perfection in your designs? Pristine Pro delivers. Craft compelling branding, striking posters, or editorial layouts with confidence. Its immaculate precision and extensive language support empower your creativity. Your desire for flawlessness finds its match in Pristine Pro, promising visuals that captivate, leaving a lasting impression on any audience. Ready to elevate your designs? Take action now. Download Pristine Pro and witness your creativity flourish. Unleash the power of clean Slab Serif typography with international appeal. Dominate the digital space, ensuring your projects rank high and capture attention. Seize this opportunity and transform your designs into timeless masterpieces.

Refresh was inspired and partly based on handwritten text from advertisements for a popular cola-based soft drink from the 1950s. I designed the missing characters in the handwriting style of the original. The Refresh family comes in three styles: - Lite- possibly the most elegant of the three styles -- use at larger sizes for greater legibility; - Med -of intermediate weight - more legible than Lite; - Blak - for bolder statements and best readabilty. Refresh, with its three styles, is ideal for any display work needing a feminine, handwritten effect. Use it for product branding, book covers, invitations, greeting cards where you're looking for charm and movement. Refresh has not been designed to be used with capital letters placed next to one another: it is not advisable to use text in "ALL CAPS". The best effects for headings and subheads are obtained with an initial upper case letter followed by lower case characters. If you are using upper and lower case then it is not necessary to use kerning. Refresh contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Densit is a display mega black typeface, containing 6 styles. It aims for a ultimate density with a maximum weight on a minimum place. Glyphs therefore balances on a slim border of touch. The typeface is designed for expressive and short texts at big sizes and is suitable for photography or other visual materials underlaying. The 3 basic styles parodies ordinary type styles. They only differents from each other lays in the lenght of straight thin lines. The stencil style without these lines is intended especially for spray stencils, the sans style is imitating linear sans types and the serif style having stronger contrast and indicated serifs. The typeface contains a large set of special ligatures for playing with aesthetic qualities of text and obtain maximum space saving. Densit contains 34 special forms for members and frequently used short words in various languages. Very short terminals offer compact setting of multi-lines captions. Densit can be used for music posters, eye-catching headlines of art articles and everything in which is possible graphic impression from legibility prefered. • 6 styles (2 alternatives, 3 kinds) • 12 OT features • 1313 glyphs • sophisticated system of ligatures • support of latin languages

Uniform is a multi-width geometric type family designed around the circle. The O of the Regular width is based on a circle, the O of the Condensed width is based on 1.5 circles stacked (with straight sides) and the O of the Extra Condensed width is based on two circles stacked with straight sides as well, and all other characters are derived from this initial concept. This unique idea creates a remarkably fresh type family that bridges the gap between circular geometric typefaces and condensed straight-sided typefaces. Uniform also includes many opentype features like Old Style Figures, Tabular Lining Figures, Alternate characters, Ligatures and more. Uniform was first drawn starting with the Black weight. This careful process allows each character to look consistent and balanced through all weights. As a result, the typeface does not ‘break down’ or lose its form in the boldest weights like many typefaces do. The three widths of Uniform make an ideal type family for a host of various uses. From branding to web design, book covers to signage, Uniform is a very versatile solution to complex typographic needs.

Last Dance: Redux - The 80s Feel-Good Script Font - Updated! Welcome to Last Dance: Redux, a new and improved version of my popular brush-script font inspired by 80s movie posters, VHS covers and Friday nights at the video store! This hand-drawn script aims to capture the feel-good vibes of movie blockbusters that won our teenage imaginations, while serving as the go-to font for recreating this unique and nostalgic period. The original Last Dance font features a gritty, hand-drawn texture that looks equally at home on an aerobics competition poster or steamy urban thriller - making great titles that look distinctly cinematic. Last Dance: Redux takes that original design and strips it back to it’s bare essentials resulting in a clean, uniform look that improves letter flow and readability. It’s also much lighter on system resources making it the preferred choice when using extensively across print and web projects. Both versions come with upper and lowercase characters along with punctuation, numerals and language support, plus two full sets of alternatives and a selection of underlines. Check out the visuals to see it in action!

Layal is an Arabetic type design with a calligraphic flavor. It follows the guidelines of the Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Layal employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying Tatweel before Alif Lam Lam Ha will display the Allah ligature. Layal family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to standard English keyboard punctuations and major currency symbols. Layal is available in normal, bold, black, light, and extra light, each both in regular and italic styles.

When I released the original Organic in 2009, I was satisfied with it. It was what was possible from me and the technology at the time. The Organic Pro of 2021 takes those original desires of delivering a highly legible and friendly sans serif, and doubles down on those notions, while exploring what further infusing warmth in a highly structured sans serif can really do for a client. Free of distracting and potentially dating visual traits and cues that could be seen as endemic of a specific time period or ‘type trend’, Organic Pro is its own person—take it or leave it. Inviting warmth, assured reliability, and a head nod of confidence is what you walk away with—a stark contrast to the cold, impersonal geometrics and grotesques proliferating the design annuals currently. Releasing this typeface now, completely redrawing the masters, as well as expanding the weight and language options, should be seen as a laid back challenge that we need to do less with type, let it communicate confidently and warmly when it needs to, and stop forcing one-size-fits-all type trends on everyone.

NorB Architect Line architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They even can be used with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB Architect Line is a retracing from scratch of my "NorB Architect" font coming in a sharp and round look, featuring small caps with some long stems of the following letters: b, d, f, h, k, l so resulting in more dynamic lettering font. It comes with 8 weights: Regular Italic Bold Bold Italic Round Round Italic Bold Round Bold Italic Round Note: The Italic versions are intentionally set to 20° rather to 12° for more dynamic lettering look.

Old Thunder is a revival of an 1800’s Tuscan style font called Lavinia, we've expanded the original font to include a lowercase, an Open faced version, a very attractive Black face and last this set just wouldn't be complete without a Fill font. When you see the word Fill in a fonts name this describes its purpose which means the font is intended to be used for filling in the open space of its parent font or the Open faced shadowed version from that font family or group. Some Fill fonts look as if they may be used as stand alone fonts but others simply do not look good used as a plain font. The Fill font for Old Thunder was designed to work as both a fill and a regular font, although when used as a regular font the letter spacing will appear a little wide. If needed the spacing can be adjusted in some applications font settings, check the help file in your application for further information on spacing. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.

Introducing Patihan, the font that will bring your designs to life! With sharp, strong, bold characters. Patihan font family is a combination of three different styles – Sans, Slab, and Serif – each with nine different weights: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extrabold, and Black. This font has beautiful Ligature and Stylistic Alternate settings, Patihan font is also equipped with the Smallcaps feature which gives more control over the typography, allowing you to create elegant and unique typography. Sans version of this typeface is versatile and easy to read, with a minimalist but impactful aesthetic. The Slab version is characterized by its solid, powerful strokes, while the Serif style has that extra classic flair with elegant curves and extreme contrast to its look. Patihan font is optimized for readability, making it a great choice for headlines, titles, and any long-form content. Ligature settings and discretionary styling add an extra layer of sophistication, making this font a great choice for magazines, branding and advertising. Overall, this font is a great choice for those looking to make a lasting impression. Its versatility, readability and unique features make it an excellent choice for any project.

Graziella Script is a calligraphy script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Graziella Script Manuscript is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very readable, because of its many fancy letter joints. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . Graziella Script has 436+ Glyph alternative characters, including multiple language support. With OpenType features with alternative styles and elegant binding. The OpenType feature works automatically, but you can access it manually and for the best results necessary for your creativity in combining these variations of the Glyph. I really hope you enjoy it! I can't wait to see what you do with the Graziella Script! Feel free to use the #Black Studio tag and the #Graziella Script font to show what you've been up to.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

Introducing Kids Place, a delightful and vibrant display sans serif font designed to bring joy and playfulness to your designs. This font is perfect for adding a touch of whimsy to children's books, nursery decor, party invitations, and more. Let your creativity soar with Kids Place and create designs that capture the imaginations of both young and young-at-heart. With its charming combination of uppercase and lowercase letters, Kids Place offers versatility and adds a sense of fun to your typography. The extensive set of numbers and punctuations ensures consistency and usability in various design projects. Kids Place goes beyond language barriers with its multilingual support, allowing you to express your messages in different languages and connect with a global audience. From English to Spanish, French to German, Kids Place provides a seamless experience. Unlock the full potential of Kids Place with its PUA encoding, which grants easy access to additional glyphs and characters. This feature enables you to add playful elements and unique touches to your designs, making them truly stand out. Let your imagination run wild with Kids Place, the perfect font for all your whimsical and playful projects. Whether you're designing for children or simply embracing your inner child, Kids Place is the font that will bring a smile to your face.

Outspace Fighter is an electrifying game-themed display font designed in uppercase, capturing the essence of futuristic space battles. This font is made in boxy shapes with sharp corners, evoking a sense of strength and precision. Each uppercase letter is meticulously crafted to exude a futuristic aesthetic, mirroring the angular and geometric forms found in the vast expanse of outer space. This design choice gives the font a sleek and modern appeal, perfect for conveying the intensity of space battles. With low-contrast letters, this font places emphasis on the overall form and structure of the font. The subtle differences in stroke width create a balanced and unified visual experience. This design choice ensures legibility while maintaining a cohesive and visually appealing composition, allowing your audience to effortlessly engage with your game-themed designs. You can also enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Outspace Fighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

I am so happy to introduce my brand new handwritten font that exudes chic elegance like no other - meet In Love With Rome Script. Every single letter has been lovingly crafted by hand, resulting in a stunningly unique typeface that's perfect for anyone looking to add a touch of sophistication to their designs. With 274 alternate letters and ligatures, you'll have all the tools you need to create truly one-of-a-kind pieces. But what sets this font apart isn't just its beauty - it's also incredibly versatile. Whether you're working on a wedding invitation, a branding project, or simply adding some flair to your social media posts, this font is the perfect choice. It's feminine, cool, and it strikes the perfect balance between modern and classic. So if you're looking for a font that's as beautiful as it is functional, look no further! In Love With Rome Script Font Includes: Over 274 Ligatures and Alternates Full Language Support Lowercase and Uppercase letters Numerals & Punctuation Web Font Kit is Included as Well NOTE: Ligatures are supported in most desktop programs including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Most of them will have this option automatically switched on. If you're using Canva, ligatures are not supported out of the box, however, I have included detailed instructions on how you can use them for your designs as well! Happy creating everyone!

Although it is an orthodox semi-cursive script, Kana is designed to be somewhat larger for better line alignment and is tailored to both horizontal and vertical typesetting. Bold can be selected for the subheading, body text, or headline. オーソドックスな行書体ですが、タテ組ヨコ組両方に適した書体となるよう、仮名をやや大きめにデザインし、ライン揃えを意識しました。独特の組み版効果が特徴です。太さに合わせて、小見出し用から本文、大見出し用に活用いただけます。一筆書きの脈絡を多用し、続け書きによる「連綿線」を持つ書体です。行書体の特徴である流れるような筆の運びを表現できるよう心がけました。同じ部首でも「へん」と「つくり」で処理が異なる字があるのは行書体の特徴でもあります。

Amazingly easy on the eye; it draws the reader in with minimal brain bandwidth use. Designed to enable more focus on the content. Good for web pages. Very Dyslexia friendly. Our mission has been to create a font that scientifically designed to be dyslexia friendly while also being attractive and useful. Dyslexia features: Each letter is unique even if reversed or flipped. The spacing is carefully designed using scientific evidence to help all readers from those who read via word shapes to those who read using phonemes and syllables. The visual stress caused by contrast pattern glare is minimised and has fared well when measured by professionals against other common fonts. Usefully mid-sized to make it easy to transfer artwork from common fonts to Aravis. This is very helpful when providing reasonable adjustments for people with Dyslexia. Based on algorithms found in nature. Range of use: Ø 72 Latin based languages Ø Greek and Coptic Ø IPA extensions Ø Good Maths symbols provision with OT support for vulgar fractions Ø Innovative OT support for creating boxes for forms Ø Small Capitals with some accents also supported (Czech) Ø Subscripts and sups: Complete alphabet upper and lower case and numbers Ø Customers can request additional symbols and characters within reason, or add an accent /shape unique to their country if it fits with the overall mission of the font.

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living. Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility. This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

FF Attribute™ Text is a proportional design with a faux monospace appearance. It has an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting a many languages, also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Text’s 14 designs, huge character set, including box-drawing characters and user interface-icons, make it the Swiss Army Knife® of monospaced fonts.

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert

Cubio™ Mono is a new monospaced geometric sans serif inspired by the hexagonal silhouette of isometric cubes. We applied this angular form through all aspects of Cubio™ type design from the overall look of letters and icons down to the small details such as the end of each letter stem and hexagonal dotted lines. This font family comes in 3 weights/styles: 300 (Regular), 500 (Medium), and 700 (Bold). With over 1,500 glyphs, Cubio™ Mono not only supports most Latin-based languages, but also features an extensive set of UX/UI icons, and patterns. Cubio™ Mono is a versatile typeface for both digital and traditional designs. Perfect for packaging design, logo design, print design, store signages, UX/UI web & apps designs. Cubio™ Mono packed with features such as case-sensitive marks, punctuations and math symbols. It also comes with an extensive set of box/compartment drawing glyphs to help you create a unique modern design without even using the line tools. We designed the Cubio™ Mono font system with your convenience in mind. It comes with two sets of hexagonal dotted line and icon positions (Mid Cap Height and Mid X-Height ), so you don’t have to use the baseline shift command to set them to the perfect spots. To find out more about Cubio™ Mono Opentype features and type specimen, please visit www.r9typedesign.com

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Luckiest is a Stylish Ligature Serif Font. Its soft curves mixed with high-contrast glyphs, give it a feminine and masculine quality. Come in two versions, namely Regular & Italic. It comes with beauty ligatures. Great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, and invitations. Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower, Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North, Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu. Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration only. Feel free to follow, like, and share. Thanks so much for checking out my shop!

Varese Outlined is the perfect font for giving content a retro, dimensional, and playful feel. Use it for headlines or short body text for an optimistic or nostalgic tone. It comes in two variations, outlined and shadow. It has standard uncolored and colored options. Please see the slides to know what each color font is named. This geometric and modular typeface was inspired by Italian posters of the 1920s and 1930s. Its design playfully explores the boundaries between unity and variety. The blocky characteristics lend it well to tightly composed text either horizontally or vertically. The lowercase is similar in form to the uppercase, yet many of the lowercase letters have interior spaces (counterforms). It comes with standard ligatures; ff, fi, fl, ffl and three alternate glyphs for number 1. The color fonts in Varese Outlined are vector-based and in the fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator and InDesign 2018, and QuarkXPress 2018 (and later versions). Those who do not want a color font should purchase the files simply named “Regular” and “Outlined”. These will not have any color words in the names. Varese Outlined has two siblings; Varese and Varese Soft. The designer suggests pairing Varese Outlined with his ornamental fonts FormPattern or FormPattern Color Two, Three, or Six.

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher was a long-time teacher of design with many years of practical experience as a graphic designer. He named Rotis after the small village in southern Germany where he lived. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable font contains 2 axes: weight and oblique – all in just one file. Features: With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the static version of the Garino family here: https://www.myfonts.com/fonts/julien-fincker/garino/

Hibernica is a new genuine Irish sans in the classical modern style. With Hibernica it is possible to express Irishness in an up-to-date fashion rather than the traditionalist way. The design of Hibernica is based on my Lapidaria family. With Lapidaria it shares the classic appearance and coolness, stroke pattern, proportions and dimensions. Therefore Hibernica and Lapidaria are a perfect couple for bilingual text editing, e.g. Irish–English (not to forget the Greek parts of Lapidaria!). All fonts contain the full set of dotted ḃ ċ ḋ ḟ ġ ṁ ṗ ṡ ṫ in upper- and lowercase and an additional set of a dozen celtic ornaments. Hibernica also ows its “Minor-Medior” concept to Lapidaria, that is a special uncial-style variant set for lowercase letters. Choose from the six Hibernica fonts which suits your needs best! The Minor fonts are performing elegantly even in longer text bodies, whereas the Medior sorts offer a brillant and entirely new typographic look for headings and captions. Use Hibernica for outstanding designs – for a contemporary Irish understatement in typography. Wether you’re designing menus or shop signs, banners or ads, wether you do textwork upon historic topics or create T-shirts for St Patrick’s day – Hibernica is your new friend! For more new wonderful Irish fonts look at Ardagh and Andron Gaeilge!

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/garino-variable/

It may be a hard challenge to find an attractive, prominent font in a unique way amid the abundant font options available. Due to the significant reason to find the right font to deliver appropriate messages and emotions, we would like to introduce you to the Monthir, the perfect choice to express any of your project designs. Monthir is a capitalized brush font in brush details to produce authentic looking handwriting displays. The font’s bold, firm displays which are the advantages of such a font can create more interesting, prominent designs. Besides, people can feel closer to the brands or designs created through its personal, natural nuances. The letters’ proportions are relatively consistent, yet its dramatic, bold styles are suitably applied for bigger text sizes rather than the text body. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Monthir fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Rainy Stars is an irresistibly adorable, naive sans-serif font that captures the magic of a child's imagination. With its round, cute, and cartoon-like letterforms, this font adds a touch of whimsy and playfulness to your designs, perfect for projects aimed at children, nature, or rustic themes. The soft, bold strokes and charming personality of Rainy Stars make it a delightful choice for comic books, illustrations, and any creative work that aims to evoke the innocent joy of a toddler's world. The Rainy Stars font family includes six delightful styles to suit various design needs: The weights Light, Regular and Bold for balancing and impact, as well as each thickness as Italic for a touch of movement. Use asterisk * to make a star. Use multiple asterisks to make different space symbols. Example: Magic**Planet (Download required) Built with advanced OpenType functionality, Rainy Stars ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs as unique and enchanting as the font itself. Rainy Stars offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos