Introducing Möfita font This time we launched a formal font that is unique with the others. This font looks simple and elegant, the font is also very easy to read and suitable to be applied anywhere. Möfita fonts are supported with multilingual characters, and in the future, they will always be updated for additional characters and alternatives. This font is perfect for your collection for making designs that are elegant, unique and slightly formal. Very good for logotype, header texts, quote design, menu design, etc. We are sure you will not be sorry if you choose the Möfita font to be your collection. Thank you Alit

IMPuzzled uses the OpenType feature of Contextual Alternatives to alternate two sets of characters. The sets are on two puzzle pieces that tessellate, that is, fit together to fill the plane with no gaps or overlaps. Empty pieces are on the brace keys and can be used to fill spaces. The black or solid style is designed to be used in a layer under the regular style, though it can be used alone if adjacent pieces are given different colors. This unusual font has limited uses but may be appropriate when the topic is related to the broad areas of puzzles, puzzled, and fitting pieces together.

Sometimes your budget is limited. You may not have all the money it takes to make a project exactly how you want it to be. But sometimes a limited budget forces you to be creative, and work in ways you haven't thought of at first. Maybe the end result could be better than the plan you first thought of? Anyway, here's a font-family that fits into every budget! It comes in 5 different versions that mix nicely, or can be used as a single font as well. All versions have multilingual support as well as contextual alternates - 4 different versions of each letter, that automatically cycles as you type!

Introduce Mantrap, a basic sans serif typeface made specifically for those of you who want your project to be seen by a large number of people, fascinate the audience, and win the camp. Your design project will be unique, appealing, and charming if you use this font in it. Because each anatomical shape of this font has been adjusted so that when combined, it can offer a varied impression while being easy to read, the audience that sees it will be captivated and grasp the content of the message you want to express to all audiences. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Le rock is the newborn sister of my first typeface Jazmo and a relative of my music-inspired font family. Le Rock seems to wiggle and jiggle a little as if it invites you to dance. This is caused by the gaps in the individual characters. The typeface can also be seen as eroded, carved and sculpted by mother nature. But besides, the design of Le Rock can also be associated with the characteristics of stones: Solid and since ever, here, there and everywhere. To walk on, lean against, to be surrounded by, to build with and to shelter in. It cannot be denied, that there are also some comic art influences. The font is outspoken enough to be used in any form of graphic design, like poster and flyers, but at the same time it remains readable enough for longer texts.

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. TessieSomeMore has two family members, a solid style that must have different colors to be useful and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. TessieBugs contains shapes that resemble insects such as moths, ants, butterflies, and weevils. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Carcel is the typeface to be behind prison bars.

Mayfield could be anybody's handwriting. Very clean and legible.

Stoilen is font duo family serif typeface made with the desire for a quality, elegant, classy font that can still be used for all design needs. Wrapped with a modern yet unique character with a style. with so many alternate variations that are so unique but still elegant, it will add to the impression that this font is so luxurious for your design. Stoilen is ideal for design, logo design, blog graphics, style quotes, wedding stationery, art prints, additional design, packaging, social media, magazines, fashion, creative branding, editorial design and web designing. Features a Latin character set of more than 500 glyphs covering various languages, and includes advanced open type features such as standard and discretionary ligatures, positional numbers, style alternatives, and so on. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this has given PUA Unicode Fonts (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Features : Lowercase and Uppercase Stylistic Alternates & Discretionary Ligatures Numerals & Punctuations Accented characters Multilingual support Don't forget to check out other cool fonts in our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Last year I went to visit a friend in Tuscany. One day he took me to meet his neighbor, a nice old man; Mr. Giulio. After giving us a tour of his small vineyard, he insisted us to try his production: a delicious Vernaccia! When his wife left the bottle containing the gold liquid on the table, I fell in love with the label: it was handwritten by herself, as if to highlight the "homemade" feature. As a tribute to this beautiful and hardworking couple, I asked permission to be inspired to make a typeface ... and here goes! The family Font Vernaccia... Vernaccia is a type family of four fonts: Regular, Bold, Condensed and Condensed Italic. Is a modern and casual calligraphy family font.
As an exclusively Open Type release, with 759 glyphs and 45 ornaments, it has several special alternatives for all letters with lots of possibility and an infinity of combinations. Most of the ornaments can be used alone, but really were especially designed to combine with the different glyphs. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, ornaments, and much more. These lovely fonts have already an extended character set to support Western European languages. Vernaccia was made to make your project more beautiful and attractive! Have fun with it!

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Windha is a modern and awesome signature font with extraordinary charm. This will change any design idea to be beautiful and perfect! Can be used as a logo, branding, or just writing. It supports multilingual languages, which you can combine into great designs.

This font was created for use in a ”bird nest story”. It can be used for any other things but the main idea is that someone looking for a font to use anything related with birds, this can be a perfect match.

Shapeingo is a modern elegant typeface that would be perfect for branding, logos, headlines or captions. The font could also work as a stylish text overlay on any background image you like, minimalist and warm while still being versatile enough to use anywhere!

CP Company Flash is the version of CP Company designed for use in Adobe Flash. Available in three versions: Big to be used at 16pt, Medium at 16pt and Small at 8pt. Originally designed to be used in the cpcompany.com web site

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

A squarish font with rounded edges with an amazing number of ligatures—298 to be more precise. That should be enough to make your text look like hours of fun! You will need to use OpenType supporting applications to use the autoligatures.

Beautiful caligraphic font and can be used with long texts.

Yummy dönut ya? Does this type make me look fat?

This font may be conservative and classic, but also may be more playful and modern. It is good for theater or art posters and for modern music, web-pictures or vinyl covers. Of course it also will be good for coffee shops, cafe's, restaurants, magazine's headers, signs or gift/post cards and weddings. Try to use it in your beauty or travel blogs, you will see how many options you will have with stylish Banner Font.

Abitare Sans was originally commissioned by the group Rizzoli Corriere della Sera. It’s a typeface of 30 weights designed to be used in Abitare magazine. The request of the president Mario Piazza was a new CP Company with some redesigned glyphs, but the result is a radical evolution of its concept being intended to be used as a font for text far more readable. In Abitare Sans the geometric structure was kept without neglecting the numerous editorial requirements.

The 'Alzheimer' font has a shape in which parts of the font have been erased as if memories are being erased. The remaining letters, which are minimal enough to be distinguished from other letters, create a different feeling, like an alien language. It is useful for creating titles or logos rather than expressing text. It was produced thinking of all of us adults whose memories are slowly disappearing. May they be full of health and love.

Cordially Yourz is a bouncy, witty little font. Sometimes there are no caps, or there are only caps… there is no real baseline… it is a headline font but can be used sparingly as body copy. I wouldn't set a whole book in it but a paragraph could be fun. And fun is what this little font is all about. Cordially Yourz can be seen in the 2012 Typodarium Page-A-Day Calendar on 5-29-2012.

Argonautica is based on a relict of the future that was left on earth by time-travelling extra-terrestrials. In 1947, an UFO crashed in the New Mexico desert. There were unknown glyphs found on the spaceship which couldn�t be deciphered to date. Based on one of the unknown glyphs, Gabriele Lindemann developed a complete alphabet readable for human beings. Argonautica is particularly suited for colored typography and can be read much better with growing distance.