Bisalir is a beautiful display font, so you can create beautiful headings or signature looks. Open type features 1000+ glyphs including stylistic alternates so you can fine tune your creations (this option works well also for other languages)

Mahally, Some vintage fonts with regular & italic version both with creative and sense of art. Ready for your crafting material as wedding decorative, invitation card, greeting card, T-shirt design, some merchandise, or to make your Branding Product.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

MoanLisa, a font for monster movies. Caps only...

Gala72 font consist of 72 calligraphic greetings letterings for different event. These letterings are original and handwritten. This font makes it possible to use high quality calligraphy in your projects - greeting cards, certificates, invitation cards, letters of commendation etc.

Congratulatory 2.0 font consist of 36 calligraphic greetings letterings for different event. Letterings are original and handwritten. This font makes it possible to use high quality calligraphy in your projects - greeting cards, certificates, invitation cards, letters of commendation etc.

This font can make a great art element to emphasize, to provide impact, can stand out as a banner, or with a few words in headers and headlines and allow you to optimize space and keep neat and organized.

Congratulatory New Year and Christmas font consist of 36 calligraphic greetings letterings. Letterings are original and handwritten. This font makes it possible to use high quality calligraphy in your projects - greeting cards, certificates, invitation cards, letters of commendation etc.

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Are you tired of the same old fonts that everyone's using? Add a touch of nostalgia and personality to your designs with Sacharon, a retro pop font! Whether you're working on a vintage-themed project, designing a catchy poster, or simply want to stand out from the crowd, our fonts will give your work the groovy vibe it deserves. Sacharon takes inspiration from the bold and vibrant styles of the '60s and '70s, bringing back the essence of the good old days. From funky disco fonts to psychedelic lettering, we've got the perfect typefaces to transport your audience to an era of fun and excitement. Perfectly fit for logo, branding, advertising, poster, food and beverages, restaurant, book cover, album artwork, decoration, sign painting, and many more. Don't settle for ordinary typography—take a trip down memory lane with Sacharon! Browse our collection now and transform your designs into eye-catching works of art. Get ready to embrace the vibrant, nostalgic spirit of the past in a modern and trendy way. Get it now and let the grooviness begin!

This is a radically modernized uncial with many OpenType features and 415 characters: Caps, lower case, small caps, numerators, denominators, accents characters and so on. There are 21 ligatures. It is an experimental look at medieval writing for the 21st century.

This font is inspired by ancient games that still use pixel displays. This font can be used for various designs as needed, especially pixel-themed designs. In addition, the Shape Bit font can also give a retro feel to your designs.

Modal Stencil is the companion to Modal type family. It brings an extra expression for different uses. It can be used for Display better than Modal. It has all the styles that Modal so it can be used together harmoniously.

wondershine is elegant,beauty and smoothless serif display .This font is suitable for invitation cards, decorations, clothing products, greeting cards and others. This font also has uppercase, lowercase, numeric, puntuation and multilingual. and there are several ligature and stylistic alternate.

Introducing Blush & Bloom, a smooth, elegant typeface with 80 ligatures and alternates for an authentic hand-written feel. Blush & Bloom looks gorgeous on business cards, envelopes, logos, signage, greeting cards, wedding materials and packaging. And works beautifully with Cricut & Silhouette machines!

Candy Shop is a vintage decorative font. It has a classic elegant look, perfect for food packaging and label design. Additional curly swashes can help you to create a unique lettering compositions. Five additional swashes can be found in "Glyphs" panel.

Malamondo is a versatile and effective all caps display font. Each version has 200 interlock ligatures that will help you to create custom looking designs. To access the ligatures you only need to write in CAPS in any Opentype supporting program.

Introducing the elegant and fashionable Nagotire handwritten font, which looks like a signature, this font is purposely made with a quirky alternative. Nagotire is suitable for greeting cards, product packaging, news, invitations, posters, blog posters, branding, business cards, logos, etc.

Standie Bold is inspired by Inspired by the 90's playful cartoon & comic books. This font comes in Regular and Italic. Each letter is modified so that the distance, width, and weight can give the beauty of the alternates given. This font can be used for modern and vintage designs and also can be easily paired with some graphic elements (Illustration, Photography) this font is perfect for, Logotype, Branding, Title, and Packaging.

Now here's a font that won't spoil anything! It's my ALL CAPS brush font with slightly uneven and quirky lines. Just enough to make font look lively and fresh, but not overdoing it. Every letter has 7 different versions, which automatically cycles as you type - and I have added an extra SMALL CAPS for each letter. Exchange every letter here and there with SMALL CAPS, and you will get an even more authentic result!

Yume is a fun loving font with a cruel streak that can sometimes turn laughter into daggers. This wicked personality can lead to some aggressive turns of phrase, but when it’s not being mean, Yume can use its strength and sense of humour to do a lot of good. Either way, Yume is sure to have a big impact on your audience, shocking them into paying attention through crisp, sharp lines and chunky, bold characters.

Broughtes is a beautiful, hand-drawn font duo. Script and sans that create a casual, yet stylish combination. This font would be suitable for logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, congratulations. cards, and all your other beautiful projects. Contains a full two set of lowercase and uppercase letters, punctuation, numbers, and multilingual support. This font also includes Ligatures and Swashes

DeLumary is a new unique and funny display font. This font adopts a bold, cute, firm, and trendy style. Very suitable to meet your various design needs that are trending now. With a style like this, this font will be suitable in use for comics, logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Walbert is a bold and bold new display font. This blocky font creates a brave and strong style. It is suitable to meet your various design needs that are currently trending. With a style like this, this font will be suitable in use for comic, logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Hi true font connoisseur I introduced my second font Rogertt this is a modern handwriting that is unique and cute ... please try it is definitely fun and you will be happy. good luck.. With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects.

Road Crew is a handwritten, monoline font that includes two styles, regular and bold, with which you can combine and create unique designs in an instant. Also included in this font are alternatives and touches that you can use to make your design more diverse and attractive. You can also use them to create a logo or use them for small businesses, t-shirts, book covers, stationery, marketing, blogs, magazines, and more.

Challans is a flowing handwritten font, described by an elegant touch, perfect for your favorite projects. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! Challans Features : Uppercase and Lowercase Numerical and Punctuation PUA Encoded Multilingual Language Easy To Use

This is a squared sans serif font family developed out of a taller Bank Gothic model plus a true lower case with many OpenType features and over 600 characters: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters (including CE), ordinal numbers (1st-infinity: lining and oldstyle), and so on. It is designed for text use in body copy. For display tighten the tracking.

Mintaka is a gorgeous and retro-styled script font crafted to add tons of stylish character to your designs. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! This font can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more! Mintaka Features : Ligature Kerning Stylistic Alternates Swash PUA encoded which means you can access all glyphs Multilingual Support

Introducing Silver Fields. An authentic & organic hand-drawn script font with relaxed style and carries the impression of luxury. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures

Introducing a fresh product that can be a reference for your collection, we called Beyond Worth, this font has a fun and bold style so your project can feel more outstanding and elegant. *Beyond Worth* made with regular and outline styles so you can mix and match for your design project. Beyond Worth font is perfect for headline, title, logotype, branding, bold text, etc that especially for the purpose feel outstanding and stand out.

Better Smile Signature is a flowing handwritten font, described by an elegant touch, perfect for your favorite projects. It looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! Better Smile Features : Uppercase and Lowercase Numerical and Punctuation Ligatures PUA Encoded Multilingual Support