Are you ready to bring some dark and edgy vibes to your designs? Look no further than the Hellfire Flames | death metal font! With its black fire-inspired design and brutal form, this font is perfect for adding a touch of darkness to your work. Hellfire Flames is a death metal font that embodies the essence of infernal power and brutal energy. The font's letters take the shape of black flames, with a raw and aggressive design that will leave a lasting impression. The font includes both uppercase and lowercase letters, as well as a range of symbols, numerals, and foreign language support, making it a versatile tool for any project. Hellfire Flames also offers an array of extraordinary and unique death metal ornaments. These intricate designs are perfect for adding a touch of dark ambiance to your project, and are sure to impress any fans of the genre. Hellfire Flames is perfect for anyone looking to add a touch of darkness and aggression to their design projects. It's especially well-suited for projects related to death metal, black metal, gothic, horror, and other genres of heavy music. This font is also great for creating logos, album covers, merchandise, and other graphics that need a raw and intense look. Its unique death metal ornaments make it a great choice for adding an extra level of detail and flair to your designs. So why settle for boring fonts when you can unleash the power of darkness with the Hellfire Flames? Get ready to create designs that are truly unforgettable and take your work to the next level! ——— Hellfire Flames features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +238 Total Glyphs +50 Death Metal Ornaments and Splatter included! ———

The typeface Hand of Hannah is designed from 2021 for the font foundry Typo Graphic Design by Hannah Englisch & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Regular, Bold, Heavy & Icons) with 732 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand of Hannah ■ Font Styles: 4 font-styles (Regular, Bold, Heavy, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 732 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 80 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician German Gusii Hungarian Indonesian Irish Italian Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Manx 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 Zulu ■ Design Date: 2021 ■ Type Desi­gner: Hannah Englisch, Manuel Viergutz

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Sunset Imaginary is a captivating duo of fonts that brings together the charm of a handwritten style and the timeless elegance of a serif typeface. This combination creates a harmonious and versatile typographic pairing, perfect for a wide range of design projects. The first font in the Sunset Imaginary duo is a beautiful handwritten font. Its letterforms are intricately crafted, with each letter seamlessly connected to the next, creating a flowing and cohesive script. This handwritten style exudes a sense of warmth and authenticity, as if each word was lovingly penned by hand. The connected letters add a touch of fluidity and rhythm to the text, enhancing its visual appeal. Complementing the handwritten font is a refined serif typeface. With its classic and elegant characteristics, the serif font provides a sense of stability and sophistication to the overall design. The carefully designed serifs and balanced proportions give the text a timeless and polished look. The combination of the handwritten font and serif font in Sunset Imaginary offers a versatile typographic palette. It allows you to create striking contrasts and establish hierarchy within your designs. Enjoy the various features available in this font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Sunset Imaginary fits in invitation posters, branding materials, packaging, editorial layouts, or any project that demands a balance of personal touch and timeless elegance 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

Hey there, font fanatics! Have you met Bonobo? This casual-style transitional serif typeface is the perfect addition to your font collection. With its robust uprights adorned with blunt serifs and curls, Bonobo exudes a friendly yet sophisticated vibe. But that’s not all—the italics are flared and laid back, adding a touch of playfulness to your designs. And the best part? Bonobo comes in a variety of weights to suit your every need—Regular, Semibold, Bold, and Italic. So whether you’re crafting a brochure, designing a logo, or just jazzing up your social media posts, Bonobo has got you covered. Why settle for boring fonts when you can add a little personality to your work with Bonobo? Try it out today and see the difference it makes! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

With Transmute, you’ll be transported back to a time when science and machines were the focus of the world. Our display typeface is inspired by vintage technical lettering, with squarish letterforms and quirky angles that give your designs an unmistakable edge. Transmute’s harsh, precise letterforms are the perfect choice for anyone who wants to evoke thoughts of unusual electromechanical, scientific apparatus from a bygone era. Whether you’re designing a cutting-edge website, an eye-catching poster, or an attention-grabbing ad campaign, Transmute has everything you need to make your designs stand out from the crowd. And with three weights to choose from—light, regular, and bold—you’ll have complete control over the look and feel of your designs. So why settle for boring, traditional typefaces when you can add a touch of techno to your designs with Transmute? Try it out today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing the spookiest typeface on the block—Darkheart! With its condensed horror style, this font will send shivers down your spine. The interlocking letterforms are reminiscent of the monstrous creatures that roamed the silver screen in the 1960s. Darkheart’s eerie letters will give your message a mournful and terrifying voice, perfect for any horror-themed project. Use this font to create movie posters, book covers, or even Halloween party invitations. And, for your convenience, Darkheart is designed with ligatures that automatically create interlinked combinations. No need to fiddle around with separate letters, let the font work its magic and create the perfect spine-tingling message. Don’t miss out on this creepy typeface—get Darkheart today and let the monsters lurch to life! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Brainly Script is the font of choice for writing things that go beyond words. This font type is designed with high detail to deliver stylish elegance. So, it can be said, the character of the change is very beautiful, a kind of classical decorative copper script. Brainly Script presents alternative variants of most letters, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, personal stationery, and compositions for certain brands, beautiful titling, verses, letters and short texts, which are intended to be read only with the eyes or intended to whisper into someone's ear. Brainly Script has 792+ glyphs and 534 alternative characters, including various language support. With the OpenType feature with an alternative style and elegant binder. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining these Glyph variations. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "maximal.fonts@gmail.com" Thank you for watching!

Hey there, font fanatics. Feeling like your messages are falling flat and lacking some serious funk? Well, we’ve got just the typeface to turn that frown upside down! Introducing Strenuous, the unicase headline typeface with a fashion groove that’s sure to transport you straight back to the ‘1970s. But wait, there’s more! Strenuous isn’t just any old boring typeface—oh no. This baby is unique, distinctive, and funky. And with alternative uppercase and lowercase versions for some letters, you can mix things up and keep things interesting. And don’t even get us started on the eight weights and italics—this typeface is truly versatile and can handle anything you throw its way. So go ahead and give your message the voice it deserves with Strenuous. Your audience will thank you for the groovy vibes. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing "Wasleyton," a vintage ephemera font that weaves the elegance of a bygone era into your modern design projects. Drawing inspiration from the timeless charm of elegant signage, gold leaf craftsmanship, and the artistry of old label products, Wasleyton is more than just a font—it's a journey into the aesthetics of the past. Unleash the power of nostalgia as Wasleyton offers a plethora of alternate characters, ensuring your designs are not just eye-catching but also uniquely authentic. The versatility of this font makes it a perfect choice for a range of applications, from authentic logos and elegant headings to the artistry of sign painting and captivating posters. Infuse your projects with a touch of vintage sophistication as Wasleyton lends its charm to letterheads, branding materials, magazines, album covers, and book covers. Watch as your designs come alive in movies, apparel, flyers, and label designs, each one telling a story of craftsmanship and timeless style. Combine Wasleyton with other fonts, be it a script for a touch of fluid elegance, a serif for classic appeal, or a sans serif for a modern twist. Add a few effects, and suddenly, your project transforms into a masterpiece—classic yet contemporary, elegant yet bold. Elevate your design game with Wasleyton's ability to transport your audience to a different era. Whether you're working on product packaging that demands attention or creating an atmosphere on a movie poster, Wasleyton brings that touch of vintage authenticity that turns your project from ordinary to extraordinary. In summary, Wasleyton isn't just a font; it's a time machine to the aesthetics of yesteryears. Perfect for logos, signage, posters, branding, magazines, album covers, and much more, Wasleyton is your key to infusing a timeless vintage charm into the modern design landscape. Add it to your toolkit, and let your creativity unfold in a tapestry of nostalgia and elegance.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Introducing Dirtstorm—the ultimate street stencil typeface that is sure to make your message stand out from the rest. With its raw, hand-cut edges and tattered texture, this font exudes an undeniable edge that will leave an impression on anyone who sees it. Featuring unique OpenType ligatures, Dirtstorm creates bespoke character sequences that add an extra layer of realism to your design. Whether you’re creating posters, flyers, or social media graphics, this typeface is the perfect way to convey your message with a distinct, grungy tone. Dirtstorm is not your typical, cookie-cutter font. It’s a rebellious, handcrafted typeface that embraces the imperfections and roughness of street art. So if you’re looking for a font that speaks volumes and demands attention, look no further than Dirtstorm. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Serling Galleria is a classy, classic serif font that exudes an air of fine art and high-end creativity. With its clear, legible letterforms and modernist inventiveness, Serling Galleria brings a touch of strict creativity to your designs, making them stand out in sophistication. This versatile font family is perfect for projects that require a refined, elegant aesthetic. With its variable font feature, you have the flexibility to fine-tune the font to your specific needs and create a truly bespoke typographical experience, or use the pre-defined font styles: Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic The diverse styles in the Serling Galleria font family provide unmatched versatility, allowing you to adapt your typography to various design contexts and moods seamlessly. With this array of weights and styles at your fingertips, you can effortlessly create a visual hierarchy, emphasize key elements, and establish a cohesive, engaging design language across your creative projects. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. Built with advanced OpenType functionality, Serling Galleria 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 truly unique and tailored to your needs. Serling Galleria 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.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

"Saint Petersburg" fonts were created to look as close to a natural handwritten script as possible by including over 20 ligatures. With built-in OpenType features, this script comes to life as if you are writing it yourself. It's highly recommended to use it in OpenType capable software - there are plenty out there nowadays as technology catches up with design. Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple’s TextEdit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Your download will receive 4 font files, designed to work as perfect companions or simply as strong standalone typefaces. WHAT'S INCLUDED : 1. Saint Petersburg • A clean, free-flowing script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Saint Petersburg Alt • This is a second version of Saint Petersburg Script, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Saint Petersburg Slant • The Slant Version of the point 1. 4. Saint Petersburg Slant Alt • The Slant Version of the point 2. I surveyed mostly common letter combinations and made 20 Discretionary ligatures with following letter combos: aa bb ee ff ll ss tt at et it ot sl st rt ut att ett itt ott utt (in Saint Petersburg & Slant Version) aa bb ee ff ll ss tt at et it ot sl st rt ut att ett itt ott utt (in Saint Petersburg Alt & Slant Version) By using these ligatures, you can give realistic handlettered style, escaping font "pattern" effect.

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Introducing Geoparody, the typeface that channels the free-spirited energy of the 1960s with its bold, groovy style. This typeface is inspired by the iconic Anonymous font, which rose to fame as the font of choice for the hit TV quiz show, Jeopardy. Geoparody takes the original Anonymous typeface to new heights with a range of six weights and italics. Plus, you can unleash your creative side with OpenType stylistic alternates, featuring an alternate “X” and “Y” that add an extra touch of playfulness to your designs. Whether you’re designing a retro poster, a funky album cover, or a psychedelic website, Geoparody will help you stand out with its distinctive style. So, let your creativity run wild with Geoparody, the typeface that captures the rebellious, futuristic spirit of the late 1960s. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Swing to the beat of your message with Zingende, the typeface that oozes sleek and stylish Art Deco vibes. With its razor-sharp points and elegant waistline, Zingende exudes a ritzy tone that’s perfect for capturing attention and making a statement. This isn’t just any typeface, it’s a flashy and sophisticated headliner that demands attention. Zingende is available in six different weights, making it easy to customize and tailor your message for maximum impact. And for those who want to make an even bolder statement, Zingende is also available in a solid, counterless design. Whether you’re creating a poster for a swing dance event or designing a retro-inspired branding package, Zingende is the typeface that will give your project a touch of class and sophistication. So don’t settle for an ordinary typeface—let Zingende take your message to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of Permanence, where the past meets the future. Inspired by the iconic cover of Alvin Toffler’s groundbreaking hardcover, “Future Shock” from 1970, Permanence is the perfect typeface to transport you to a world of limitless possibilities. With its bold, clean lines and sleek design, Permanence captures the essence of the retro-futuristic style. Its crisp, angular shapes and unique curves evoke a sense of progress and innovation, harking back to a time when anything was possible. Permanence is more than just a typeface—it’s a vision of a better tomorrow. Its timeless design captures the optimism and hope of a bygone era, while still feeling fresh and modern. Why settle for the ordinary when you can experience the extraordinary with Permanence? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to Heavy. The respective 10 Italic styles do not support Arabic, Georgian and Thai, since Italic styles are unfamiliar in these scripts/languages. Separate Non-Latin products to support just the Arabic, Cyrillic, Georgian, Hebrew and Thai script are also available for those who do not need the full language support.

Brown Hunter Inspired by the design style of the 1830s, the elegant Victorian style design is full of charming sharp curves. Designs with a classic Victorian style from the cruel era, people always use it for redesigning needs or creating new designs. The Brown Hunter typeface is designed in an elegant Victorian style which contains many font characters which when combined will make an attractive design and of course very cool. Included in the download package are: Brown Hunter Vic, which is a classic Victorian serif style and contains swash and alternatives, there are two types of Brown Hunter Vic, the standard one and the hold one, which contains ornaments on the inside of the body. Brown Hunter Script is an elegant street writing style made with spontaneous and sharp brush strokes giving a bold impression. Brown Hunter Dis is a Serif display style font that is intended for subtitles in designs, besides this font has 13 families from thin to heavy. Brown Hunter Black is a font with a charming black letter style and is still comfortable to read when used for body text in a classic Victorian style. This font also has 13 families from thin to heavy so it can be used for headers or body text. Brown Hunter Ornament is a font made with a unique orament shape in the classic Victorian style, besides that there are also border frames, animal vectors, silhouette logos, flowers and many more. With 4 styles and 30 different fonts, the Brown Hunter typeface when combined will create a cool design and a Victorian concept. By collecting Brown Hunter Typeface you can easily create classic, Victorian and elegant themed designs. Brown Hunter is perfect for designing vodka labels, beer, pomade, logo tattoos, book covers, t-shirts and so on.

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

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."

Interrogator Stencil. This is not your average typeface. It’s a weapon in your design arsenal, engineered for maximum impact. With its military-inspired design and crosshair divisions, Interrogator Stencil is built to command attention and convey authority. Its technical style makes a bold statement, lending your message an assertive accuracy that cannot be ignored. Whether you’re creating a poster for a sci-fi blockbuster or designing a logo for a cutting-edge tech company, Interrogator Stencil is the perfect typeface to elevate your designs to the next level. This font is not for the faint of heart. It’s for those who demand perfection, who refuse to settle for anything less than the best. So if you’re ready to take your designs to the next level, gear up with Interrogator Stencil and get ready to dominate the battlefield of graphic design. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The coffee made typography. CoffeeBreak is a typefamily designed by Carlos Fabian Camargo G. Its purpose is to communicate similar feelings to the ones you get when you first try the best roasted Colombian coffee early in the morning. That is the reason of the waiting, accompanied, or when you only want to be, nuances your design with its fonts full of flavor, texture and passion. For each time, every time, it gives you hints of flavor to design your day. It unleashes your artistic streak mixing possibilities as you wish, to your taste or the taste of your friends or that special someone. From handwriting to every warm drop of your first mug of the morning, we've always got something for you. Eye catching, modern, beautiful, cool and adventurous styles in the CoffeeBrwak shop ready for you to purchase. - CoffeeBreak A & B: 2 typographic tools with countless swashes and ligatures ideal for use at the beginning, in the middle or end of words that need italics, flavored dancers and rhythm masterfully expressed in gestural strokes for his calligraphic experimental logic. - Coffee Break Script 1 & 2: write them you can easily with decorative letters advocating a return to the artisan product ingenuity of the primacy of man over machine so your upper and lower case letters travel in a single line. - CoffeeBreak Words & WordsBold: It contains words specially designed to attract attention. - CoffeeBreak Dingbats: They are figurative silhouettes with textures that add warmth and a highly communicative environment. All are easily activated glyphs using the Glyphs panel in Illustrator, InDesign and Photoshop. Special thanks: Ilustrations: Eduardo Gomes. Photos: Karen Salvatierra. Texts: Javier Lineares- Description: Ernesto Googolplex. French translation: Marta Cano

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Introducing Zamora, the typeface that embodies the grit and determination of the open road. With its cracked finish and sharp Latin serifs, it’s a font that commands attention and respect. Each cut and scratch on the surface of Zamora is like a battle scar, a testament to the font’s toughness and resilience. Zamora is not just any typeface. It’s a font with a history, a story that’s written into every curve and corner. The sharp Latin serifs give Zamora a strong foothold, and the slew of ligatures that come with it give text a natural, unpredictable appearance, like the twists and turns of a winding mountain road. So whether you’re designing a poster for a rockabilly concert, creating a logo for a biker gang, or just looking to add a touch of rebel flair to your work, Zamora is the font for you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

The Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Introducing Superia Aurora - a unique and modern display font that brings a classic, fun, and trendy impression to your designs. This font features various styles, including ligatures, making it even more unique and distinct. Superia Aurora is inspired by elegant typefaces and posters with display themes, making it perfect for a wide range of display purposes, such as album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, logotypes, and more. It also supports multi-language characters, making it accessible for designers around the world. Superia Aurora offers alternative characters that are divided into several Open Type features, including Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligatures. These features can be easily accessed using Open Type savvy programs like Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. This allows you to customize and create unique lettering compositions that suit your design needs, giving you ample options for creative exploration. In your zip package, you'll find the Superia Aurora font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Superia Aurora is also designed to support multi-language characters, making it suitable for designing in different languages. Whether you're creating designs in English, Spanish, French, or any other language, Superia Aurora has got you covered. In summary, Superia Aurora is a unique and modern display font that offers a variety of styles and Open Type features for customization. With its multi-language support and versatile design options, Superia Aurora is perfect for various display purposes. So, unleash your creativity with Superia Aurora and create eye-catching designs that stand out and make a statement! Thank you for choosing Superia Aurora from our collection. Happy designing!

Rolling Brush is a script font that gives handwriting appearance with original and personal brush details. This font is made beautifully so that the letters are connected to each other, creating a continuous and flowing look. Each letter is attached to the previous letter and continues to the next letter, creating beauty in writing unity. This font shows brush details on each letter. Brush strokes displays a rough, organic texture to the edges of the letters, adding dimension and visual life. These details give a unique impression to this script font. On the other hand, even though it has a rough border, this script still maintains a natural and elegant aesthetic touch. Some letters may have dramatic twists, while others are simpler. This flexible shape creates an expressive and creative look to the lettering. Because it is designed with a rough border, it would be better if you use this font at a large text size so it is more easy to read. Enjoy the various features available in this font as well. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Rolling Brush is suitable for any designs that want to convey a warm, personal and alluring impression. You can use this font in the design of greeting cards, invitations, logos, labels, and many other design projects that want to create uniqueness through a natural, handwritten touch. 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.

Introducing Voivode—the charming and playful headline typeface that will leave you hooked! With its fish-tailed design and postmodern geometry, Voivode offers a unique and refreshing twist to traditional typography. But Voivode isn’t just a pretty face. Its welcoming letterforms give your message a genuine and sophisticated voice that will capture the hearts and minds of your audience. This typeface is perfect for anyone who wants to make a bold statement with their design while still maintaining a sense of whimsy and cuteness. Whether you’re designing a poster, a website, or even a greeting card, Voivode will add a touch of charm that is sure to delight. So what are you waiting for? Dive into the world of Voivode and experience the magic of this one-of-a-kind typeface! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Barge is the epitome of architectural precision in typography. This monolithic and technical headline typeface commands attention with its chamfered strokes that maximize space and provide consistent gaps. Its design embodies the very essence of strength, solidity, and confidence. When it comes to establishing an authoritative presence, Barge is unparalleled. Its bold and imposing structure captures the attention of the viewer and instills a sense of authority and power. It is the perfect font for institutions and organizations that wish to project an image of stability, security, and dependability. In short, Barge is a font that stands the test of time. Its architectural design and technical precision make it an ideal choice for anyone looking to make a bold statement. With Barge, you can create a visual language that speaks of power, strength, and authority, and conveys your message with unwavering confidence. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Ladies and gentlemen, it is with great pleasure that I introduce to you Camulogen, a typeface that embodies the opulent glamour of the Moulin Rouge era. Inspired by the late-nineteenth-century poster designs, Camulogen is the epitome of boldness and sophistication. Its full-bodied, rough letterforms are crafted to capture the attention of all who lay their eyes upon it. This typeface is the quintessence of style, and with it, you can effortlessly convey your message with an unmistakable tone of class and elegance. Whether you’re looking to create a stunning headline for a fashion magazine or an eye-catching logo for your luxury brand, Camulogen will elevate your designs to new heights. So indulge in the sumptuousness of Camulogen and let your creativity soar to new heights. Your message will be delivered with panache and flair, leaving a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.