Hamis vol. 2 is an improved version of "Hamis" font, and provides advanced typographical support with features such as ligatures, case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. This is a more professional than "Hamis" font. "Hamis vol. 2" is a display font of a single weight " Regular ", ideally suited for advertising and packaging, festive occasions, editorial and publishing, logo, branding and creative industries, posters and billboards as well as web and screen design. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Say hi to “Metalsmith” font family, a stylish custom culture typeface. Started from the enthusiasm of custom motorcycles, artsy looks of hand made typefaces & illustrations, along with the freedom vibes that came with it, become the first motivation in making this Metalsmith typeface. Packed up with three styles font; regular Clean, Ink Paint & Vintage textured. Italic version on each styles are included. There are 655 glyphs on each styles font including Stylistic sets, Discretionary Ligatures, Standard Ligatures, Contextual Alternates etc. Powered with OpenType features that allows you to mix and match pairs of letters to fit into your design.

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Munc is the uncial version of Magma. It has been designed with the same stroke weights and cap heights. Characters from the two families can be mixed. Uncial letterforms are ancient, but familiar. Their history remains somewhat mysterious.

A bittersweet hand-drawn face, pleasing and assertive. Available in two weights, both all caps, with alternates for each letter. Comes with some ​ligatures and ​handy swash alternates to sweeten things up every now and again. Starting… Now!

Kunjani, (the Zulu word for "How are you?") is a feisty, contemporary "African Renaissance" font, vibrant and richly decorative, embodying the spirit of modern Africa. The characters are full of movement and excitement, combining a hand-carved look with contemporary elegance. Traditional and contemporary designs are used to make the upper-case alphabet essentially African, while lending variety to the already interesting structure. The font is a must for creators of the contemporary look of Africa. It is perfect for music media & promotions, film media & promotions, clothing hang tags & promotions, posters for "Support Africa" events, and indeed, any project that has its focus on Africa. The font has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

What can I say? I like fonts with stars. Space Time is a hand drawn font with a lot of variety. I started designing the regular version with the characters slightly touching but it wasn't quite what I had in my head. I’d imagined tightly spaced letters with overlapping shadows and the only way to get that effect was to create a second version with stackable layers. That means this download includes regular, base, outline, shadow, and stars files. Plus, the base and outline can be used for stacking or work fine as standalone fonts. This font is all caps but the lowercase letters feature alternative styles.

VILLANTEZ is a display that is basically a serif font that has been modified in such a way that there are breaks or distances at the body meeting of each letter, almost like in stencil letters. Creating a more attractive and different impression from other display serifs, this font can also be categorized in a more modern Victorian style by carrying a slight stencil modification. This font is also an all caps font with different letter and character heights in the uppercase and lowercase. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

GUACHEVA is a serif-based font that looks more vintage and slightly feminine, with long hooks and curved elements that make it look a little more flexible and less rigid. It will be very suitable for art and elegant themed designs. This font is an all caps font with a height difference between its Uppercase and Lowercase. So even though it's a little feminine, it still looks sturdy and thick, because this font has bold characteristics too. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Cheers!

Goldie Sans is a clean sans serif that is perfect for logos, quotes, long-form copy, and more. Both uppercase and lowercase are included in light and bold, but I am particularly fond of using it as an all caps font for logos, headlines, and short quotes. INCLUDED uppercase letters lowercase letters numbers & punctuation light and bold fonts foreign language characters

Motiva Sans is the chosen typeface for Valve’s Steam OS, a 125.000.000+ users gaming platform. With 7 weights and matching italics (a total of 14 fonts), it comes with essential OpenType features such as small caps, caps to small caps, tabular, lining, oldstyle figures, fractions as well as extended language support and alternate characters in the italic weights. It performs well in printed and digital environments. The italics are more cursive than the average sans serif design and provide very good contrast to the their roman counterparts. Motiva Sans pairs beautifully with our high-contrast didone serif Tenez or with our cute vertically connected script Primot.

Aztek emerged as a custom face for an ethno-music festival, and gradually developed a more robust, geometric base. The original ethno roots can still be seen in some of the alternative caps, and the ease with which Aztek forms decorative elements and borders. There is also an alternative “Tall Caps” set, that goes alongside normal uppercase characters as if they were Small Caps. The font features Latin (extended to support German and Polish) and Сyrillic character sets. Though Aztek is an accidental face designed primarily for display work, it holds well at smaller sizes and can endure high ink gain printing found in letterpress and silk-screen processes.

From tablet to table – from freehand to font – Average Handwriting was designed originally in freehand on paper then onto a tablet with the help of an appropriate app to give it a ‘wet brush’ feel – this was transferred to paper then tweaked PS and only then imported into a font design programme – this is how we work to keep the original flourishes and a freehand feel to the font. Thus, a well-ordered handwriting with both elements of freehand and precision. It looks especially good in lower-case text situations, delivering an original look - there again you may be looking for a new display font for some large graphic projects such as posters, Average Handwriting also works well in these situations, again, delivering an original look.

An elegant, contemporary and quirky handwriting font inspired by fonts such as Satisfaction and Nothing. There are many handwriting fonts out there, almost all of them tending to highlight the individuality of a particular person's handwriting. I wanted to go beyond this. What I've always wanted was to write in an elegant, casual yet legible style: something which my own hand often refuses to do. So I set out to produce the handwriting of my dreams - this font. While it doesn't match my dreams 100%, it certainly comes close! Affable comes in three styles, Affable Regular, Affable Blak and Affable Lite. The Affable family is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

Smoke Signals is a calligraphy font handmade using a real dip pen and ink with lots of bonus goodies. Smoke Signals includes: tons of ligatures for a smother text small caps that act as an all caps font a bonus set of ornaments a bonus set of grunge elements, such as splatters, ink blots, scratches Smoke Signals is perfect for any design that needs a vintage calligraphy look. Use it in signatures and logos, notes and quotes, social media posts, and branding and packaging.

Mastro™ Sans is a contemporary humanist sans serif and the sans version of Mastro. The lowercase shapes are simple yet distinct, its organic design (specially the italic) are based on different stroke modulation ideas combined into a coherent whole. The uppercase is inspired in roman capital proportions yet keeping the lowercase stroke modulation. Mastro™ Sans has a total of 16 styles and it covers a large set of languages. It also has many Opentype features, such as small caps, superscript numbers and letters, old style and lining figures, tabular figures, case sensitive forms, fractions and more. It is a design with a lot of personality while being versatile. You can use it in branding, editorial, web and video.

Vincenza Display is a modern high-contrast semi-sans with sharp edges and sleek curves. A distinctive typeface for exquisite headlines. Winner, Gold Award, Graphis 2018 Typography 4. http://www.graphis.com/entry/f6b469fe-c5d3-4bea-87e3-796c1d727b3c/ We felt there was a missing in the world of fashion-forward high-contrast typefaces, so we created Vincenza Display. Based loosely on the proportions of Bodoni, Vincenza features stylized curved descenders and unique semi-serifs, bringing a bold and distinct look to your headlines. The typeface has several alternates and ligatures, and is spaced for all caps as well as sentence case executions. It also contains a robust number of special characters. Vincenza Display is the debut typeface from the team at The Rare Form.

Marceaux is a sophisticated font with a touch of elegance and modernity. The letterforms are sleek and slender, with clean lines that give this font a refined and graceful appearance. Whether you're creating a logo, a book cover, or a website, Marceaux will bring a touch of class to your project. Marceaux features a complete set of small caps, uppercase, and lowercase letters. The font has been developed in six weights, from light to black, with corresponding true italics and oblique letters, and two styles (serif and sans-serif) for a total of 24 styles, making it versatile enough to use in a variety of design applications. Marceaux includes an expanded character set that supports over a hundred latin-based languages.

Them Bones is a hand-drawn, spooky, ghost pirate, cartoon font for Halloween. Them Bones is a hand-drawn and spooky font made from the remains of ancient skeletons and ghostly pirate ships. It has a fun, light-hearted design inspired by campfire tales, Saturday morning cartoons, kids adventure movies and vintage comic books. This unique all-caps font comes in two flavours - a novelty design that’s drawn to appear like old bones, and a clean, versatile alternative that works great on it’s own or as contrasting characters. Each of these come with a hand-drawn outlined version with their imperfections intact for an authentic inky look. It’s a great choice for light-hearted Halloween designs or adventure stories with a fun, gruesome edge!

This family was inspired by the well-known Caslon typeface created by William Caslon, the English font designer, who was, with John Baskerville, the progenitor of English Transitional typeface classification in the mid-18th century (See also our 1776 Independence). We were inspired by a Caslon style set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of Caslon style in the 1840s. Our font covers all Western, Eastern and Central European languages (including Celtic diacritics) and the Turkish alphabet, with a complete small-caps set in each of the two styles. (Please note: The complete character set is available only in TTF and OTF “Pro” version.)

Inspired by the Indonesian island’s laid back feel and easy going culture, Bali Script is a tribute to the hand-lettered signage on beach bars, surf shacks and cafes. The swell of the stroke endings and the bolder-than-your-average gooey look convey a cool, contemporary take on baseball scripts. Overlay Bali Script Highlight for a cartoonish, glossy finish. Perfect for logos. This font is jam-packed with OpenType features that make smooth flowing text a doddle. Contextual alternates and ligatures are best left on by default. The alternates especially work a subtle magic that helps letters connect with an even rhythm, and automatically substitutes letters with the best fit alternatives based on their context, such as at the end of words, or adjacent to certain other letters. There are four stylistic sets (or all grouped together in the stylistic alternates feature for those without easy access to them) which do the following: SS01 - changes the r to a script form SS02 - makes certain caps more ‘scripty’ SS03 - capital I (and accented versions of it) get serifs SS04 - underline function. typing two or more underscores extends on underline beneath the previous word. Also included for your pleasure - oldstyle figures, automatic fractions, superior and inferior numbers, ordinals, some discretionary ligatures, swash alternates and extended language support.

MVB Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Space Armada - A Science-Fiction Font for Out of this World Designs! Space Armada is inspired by a 1980s interpretation of the future, referencing blockbuster sci-fi action movies of the period, along with the emerging video-game consoles and home computer technologies. It's nine unique fonts are designed to work together in a variety of ways, so you can layer it's different styles on top of each other to retro-futuristic effect!* Here's an example of how it works: Start by placing the Regular font on top of the Bold for a simple base outline. Add contrasting gradients to both fonts for an instant metallic or chrome effect. Take it a step further with one of the readymade Outlines for an embossed look. Overlay the Wireframe font for a glimpse inside the machine! This looks particularly good when you apply a glow effect and reduce it's opacity so the other layers show through. That's just one way to use it. Check out my visuals for more usage ideas! You can also follow my short tutorial! Space Armada is an all-caps font with unique uppercase and lowercase characters, along with a range of alternatives for experimentation with different looks. It also includes punctuation, numerals and language support, plus a selection of underlines and symbols. It's a highly customisable font, perfect for retro designs such as movie titles, posters, games, book covers and more! Every care has been taken to ensure that all fonts align perfectly when layering. Due to the variations in how different software handles text tracking, some minor tweaking may be required for pixel perfect alignment.

Rosabella is a script typeface with plenty of decorative details — flourishes, swashes, twists and other elements, which impart to the face a gorgeous festive look. An unusually large number of alternates and ligatures make it possible to imitate live calligraphic writing. Lower case letters are divided into several stylistic sets from relatively modest variants to the most decorative contextually-dependent swash shapes. Besides that there are two sets of upper case letters — the second one contains larger and more complex shapes. Letters from the different stylistic sets can be used in a wide variety of combinations with the different levels of embellishments. Rosabella was designated for display material, greetings and advertising.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

Originally published by OurType, Dan Milne’s Tasman has found a new home at Retype. Milne first conceived Tasman as a typeface for newspapers. This influenced the proportions and look of the face considerably: the goal was to keep the personality as warm and playful as possible without losing the credible tone required to deliver all kinds of news. A sturdy, warm type family that is neither mechanical nor fragile. It borrows its name from Abel Janszoon Tasman (1603–1659), a Dutch seafarer, explorer, and merchant who mapped parts of Australia in 1642, including Van Diemen’s Land (now known as Tasmania). Tasman’s primary purpose is an unbiased presentation of information; it strives for neutrality over elegance. Its characters are sturdy and unambiguous, sporting strong serifs, punctuation, and diacritics, as well as generously sized small caps and hybrid figures. Rationalized letterforms give the face enough robustness to withstand the stress of screen applications and laser printing. The figures’ three-quarter x-height makes them considerably larger than traditional oldstyle numerals, yet they still integrate with the lowercase much better than lining figures do. Although initially intended for newspapers, Tasman’s somewhat corporate, objective appearance also makes it an excellent candidate for digital and print magazines, websites, annual reports, and corporate identities. Tasman is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes small caps, fractions, case-sensitive forms, bullets, arrows, special quotes, and nine sets of numerals. Besides standard Latin, its extensive character set supports Central European, Baltic, and Turkish languages.

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

[D]ONLINE is the first font family designed by Don Citarella for his blog, [D]ONLINE, and was created to provide a signature feel for its namesake. It combines a strong, medium stroke with arching end caps to embue the typeface with a futuristic curvilinear feel. This display font is best used for headlines, identities, wordmarks and other instances involving minimal copy and maximal whitespace The typeface includes 300 characters, including 45 accented glyphs and 30 ligatures.

Monatta is a luxury signature font. Created carefully with specific OpenType features include all caps, multilingual support (including currency symbols), 94 ligatures, standard numbers, and many others. this font perfect for any purpose, and very easy to use. Features : Uppercase and Lowercase Letter Number and Punctuation Stylistic Alternate Multilingual Accent : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ Pua Encode Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Please fell free to contact me on Hipenculture@gmail.com if you have any question Thank you

Arae GT is all caps font created by the ably creative team, inspired by the look of comics and Japanese written text, Arae GT comes in regular and shadow line styles and comes with ligatures and a simple look, making this font very easy to use for your design needs. Arae GT is very suitable for text on comics. cover, company logo, unique and funny qoute, branding t-shirts, bags and so on. enjoy imagining designs.

Intensiva font family has been designed for Graviton Font Foundry by Pablo Balcells in 2019. It is a slightly condensed, humanistic sans serif typeface with angular details and shortened endings that provide an unorthodox appearance. Despite of this particular features, it is suitable for any kind of project, text length, size and, due to it subtle condensation, it is particularly effective for space economizing. Intensiva consists of 8 styles, each containing small caps and glyph coverage for several languages.

Introducing Ferghaus Sans, a modern sans serif font. This all-caps font is crafted with high attention to the details, gives you a clean and sharp feeling using it on your designs. Packed with so many OpenType features (such as alternate chars, swashes, ligatures, etc), lets you play and explore every possibilities with the letters combo. Ferghaus Sans is highly versatile, suits best for almost everything, whether you're working on classic themed design, or the modern ones.

Ad Lib designed by Freeman Craw for the American Type Founders (ATF) in 1961. A bold Grotesque with irregular rectangular counters in round characters. This type was designed by cutting the letter images out and thus has some wood-cut character. Some lower case characters have slight inclination. Initially numerous alternative characters were provided. Unusual shapes make this typeface useful for advertising and display work.

Classic Celtic style of lettering with an alternative set of capitals and a few alternative lower case.

Tobacco came about from the drawing programs and the way they display a line with control points.

A bold condensed caps-only cross-stitch font, based on an embroidery pattern from the middle of the 20th century. Use it in large sizes for advertising, posters, greeting cards, etc.

Sparkle is an expressive yet legible monoline font, benefiting from OpenType with nearly 800 glyphs for alternate letterforms, smooth ligatures, complimentary sans-serif small caps, accents, and a variety of swashes.

A bold typeface with very very extensive cap height, and short descenders. Poster 1492 is suitable for headlines, titles, newspapers, magazines, and advertisements. Poster 1492 is an OpenType/TTF Unicode font.