YomTov is a whimsical hebrew font. Traditional in design with a free spirit and slightly bounced. Hebrew alphabets contain 22 Hebrew letters along with five final letters which are automatically activated when used in Applications such as Apple Pages® and MicroSoft Word®. The Hebrew Letters do not contain cantillation marks very much used in everyday modern Hebrew. Designed with acomplete latin font that mirror the Hebrew letterforms. Latin lower-case letters have been replaced with smaller caps. You may also be interested in my other Hebrew fonts, NEWMARK Hebrew, HEBRON Hebrew, PAGEANTRY Hebrew and a Hebrew Script font KOMUNIDAD Script. YomTov requires OpenType-aware software.

Linotype Finerliner is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contest. The American artist Gary Munch, from whom we also have Linotype Ergo and Ergo Sketch, designed Linotype Finerliner as a handwriting font with calligraphic influences. The small, regularly formed lower case letters contrast nicely with the generous, sweeping capitals. The font is available in a light and medium weight and displays no stroke contrast. The lighter weight, micro, is best used for shorter texts in point sizes 18 or larger and the medium weight, macro, is mainly intended for headlines in larger point sizes.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

Altman Grotesk was initially planned as an internal studio typeface for the graphic design studio Ateljé Altmann based in Stockholm, Sweden. After thoroughly researching both classic and contemporary sans serif typefaces, the aim for Altmann Grotesk was set at joining unobtrusiveness yet distinctiveness in one look. As a result, the sans serif successfully embraces a polarizing image of minimalism and uniqueness. During the design process of Altmann Grotesk, it soon became clear that it had the potential to be more than a studio typeface—which ultimately led to a sans serif font family with five distinctive weights that are perfected to fit every possible typography use case.

Freehouse is a reinterpretation of the well-remembered Watney’s logo, a brewery and pub chain infamous for its poor quality beer and brutalist decor. In Design Research Unit’s corporate guidelines from 1966 the font is described as Clarendon Bold Expanded — however, this is not the case. Clarendon has square serifs, whereas the Watney’s font is rounder and friendlier. A fixture of the British high street landscape for decades, this digitisation adds a full international character set, numbers, punctuation and many other characters that did not exist in the original. A distressed version that evokes rough print on a wet beermat has also been developed.

British type designer Chris Burke created this sans FontFont between 1994 and 2004. The family has 8 weights, ranging from Regular to Black (including italics) and is ideally suited for book text, editorial and publishing as well as logo, branding and creative industries. FF Celeste Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Celeste super family, which also includes FF Celeste and FF Celeste Small Text.

Hodgepodge is a confused mixture of letters that somehow work together. While I know this has been done before I create fonts that I need. And I occasionally have found a need for this. And it was not there, so now it is. There is a mixture of light and dark, bold and regular, caps and lower case but not where you would expect them to be. Since this is a headline font you can set the headline and then easily go back and change a letter here or there to get the best-looking combination. Hodgepodge was in the 2011 Typodarium Page-A-Day Calendar on 7-17-2011.

Scriptek was created by British designer David Quai in 1992, based on the constructivist forms which became popular after the First World War with the progressing industrialization in Moskow. Typefaces such as Scriptek were often used in the propaganda of totalitarian political systems and can still be seen on monuments like the central train station in Milan or political posters of the 1930s and 40s. The robust Scriptek has strong serifs in the upper left and lower right of characters and this, together with the diagonal strokes of many lower case letters, gives the font a dynamic feel. Scriptek is best used for headlines and display.

Slovak type designer Peter Biľak created this sans FontFont between 2000 and 2001. The family has 20 weights, ranging from Light to Black in Condensed and Normal (including italics) and is ideally suited for book text and editorial and publishing. FF Eureka Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Eureka super family, which also includes FF Eureka and FF Eureka Mono.

Kandin is a modern geometric sans inspired by Scandinavian interiors. With a cool and collected feel and low-key luxury, Kandin has a crisp and uncluttered feel providing legibility with strong doses of aesthetic pleasure. Being one of the most static and clinical of all classifications, Kandin successfully brings its playfulness in a subtle manner, keeping its minimalist, restrained, supremely peaceful feel. Although Kandin has geometric proportions, it has been carefully adjusted by eye for a simple pleasing look. It is suitable for a wide range of applications where a clear yet wonderful impression is required. Details include six weights, 470 characters, manually edited kerning, ligatures and case-sensitive punctuation.

Draughtwork is a special decorative font designed to have the look of a work in progress, showing the process of constructing letters using a ruler and a compass on a grid. It's in the tradition of our very popular Roughwork font, but more detailed and with additional features. Unlike Roughwork, Draughtwork includes a full upper and lower case character set plus some special alternate character variants. Developing Draughtwork was a monstrous task. The complexity of the 9x9 grids with each character were a challenge to the rendering capacity of Fontographer and required an extraordinary amount of fine tuning - but the result was worth the effort.

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the first in a series of handmade fonts! Play around with the three layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 5 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

After designing two script fonts (lp Pinselschrift, lp Bambus), Peter Langpeter has now drawn an elegant Antiqua font, namely lp Saturnia, derived and conceived from his work in developing headlines and logos. The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms. Also, the difficulty of spacing characters with excessive forms, such as the long tails of 'K' and 'R', are avoided. Additionally, lp Saturnia also comes with lower case characters. The result is a contemporary and elegant typeface that is more suitable for practical use, without renouncing the classical Roman character.

German type designer Ludwig Übele created this serif FontFont in 2011. The family has 12 weights, ranging from Extra Light to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, music and nightlife as well as small text. FF Tundra provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2011, FF Tundra received the TDC2 award. The typeface was also selected as one of Typographica’s favorite typefaces of 2011.

Julia Script is a playful calligraphic font designed by David Harris in 1983. It takes the viewer back to the flower power of the 1970s. Generous capitals with cheerful, rounded stroke beginnings and endings contrast perfectly with the narrower, closer, but nevertheless vibrant lower case letters. Characteristic of this typeface and similar to Candice is the marked increase in stroke width in the lower third of the figures. This detail is reminiscent of the platform shoes typical of the 1970s. Julia Script suggests freedom and fun and can often be found on party fliers and retro advertisements. Used sparingly in headlines and slogans, Julia Script will be sure to attract attention.

I started to work at the Bernhard Studio in 1952 to 1959 in New York. I helped with some type designs and many other projects, this two tiered signature was added on all of Bernhard’s art that was produced in the past and in his later years. In the 50’s I thought Bernhard’s Gothic face was quite a bit outdated but as you may know it has become one of todays most used faces. His signature is based on his Bernhard Gothic Font. With todays computer technology I have digitized the caps and added lower case glyphs with lower ascenders and other slight changes.

»Cristal Text« has nice to read lower case letters. It contains 636 letters per font style and some Open Type features: Different stylistic alternates and different sets of numerals. It is not monospaced: Therefor it stays not true to an underlying grid like it’s bigger brother »Cristal True«. But this offers a better legibility. The basis of this font is a Union-Jack or sixteen-segment display (SISD). I have found myself in the need of a precise and well-made font, that simulates the look of such a LCD display. Also it should offer enough letters and language support for the whole European region as well as different font styles.

The Oyster family is a useful toolkit for hand-draw moods. It's a super casual and somewhat messy font that comes in two flavors: regular and outline, or rather, truly-hand-drawn-outline. Both styles have two choices for each upper- and lower-case letter, for that additional handmade feel. The OpenType contextual alternates feature instantly get these alternate glyphs to dance. The regular style also brings a set of glyphs with filled counters in a stylistic alternates pack, for a little twist now and then. And finally, the family has also a picture font with useful icons and ornaments. Handmadify your message and give Oyster a try!

German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont in 1998. The family has 6 weights, ranging from Regular to Bold (including italics) and is ideally suited for advertising and packaging and logo, branding and creative industries. FF Info Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. In 1998, FF Info Correspondence received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Display and FF Info Text.

Streeters is a hand brush typeface, created for a specific project, where one of the assumptions in creating it was to combine the appearance of a manual brush, liquid paint but also a spatial effect. Uppercase and lowercase letters create a slightly different effect with the same character height. They are created in such a way that, in addition to writing with one letter case, it is also possible to mix and create many different combinations of uppercase and lowercase characters, for example, a unique look for the same repetitive words. The font is best for works where a non-standard, strong and distinctive form of communication is needed.

I love my bike, and I couldn't dream of not using it on a daily basis - I use my bike in rain, sun, snow, and windy days...all year, in other words! This font is dedicated to my bike, and is the second in a series of handmade fonts! Play around with the 5 layers and your favourite colours, for awesome effects. All versions comes with Contextual Alternates, which means several versions of each letter. In this case, every letter has 7 different versions that automatically cycles as you type! A quite awesome thing, because it makes your text more lively and natural looking!

French type designer Albert Boton created this sans FontFont in 2003. The family has 8 weights, ranging from Light to Bold (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing as well as logo, branding and creative industries. FF Page Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Page super family, which also includes FF Page Serif.

Because we know that you will never get tired of using them and that you will always need a new tool for Identity Design, we created Identa. Conceived to translate corporate and humanist ideals in its typographic form, it seeks a dialogue between neutrality and contemporaneity. With a pragmatic attention to functionality that does not forget aesthetics. It is a Sans serif model, accessible and well-founded. All-terrain, workhorse that seeks to be reliable and durable. It solves any type of content with efficiency, intelligence and professionalism. Its clean forms and x-height make it a very competent face for both short identifiers and long text bodies, ideal for display use where legibility and personality must match new design needs within a company. It is available in eight styles, ranging from its White version to the darker Vantablack, each optimally set with its respective italic variables, and a Dingbats font designed to solve everyday cases. Each font contains 737 glyphs, macro and micro aesthetic details inspired by current visual communication systems and trends. The dingbats font includes 303 signs and is a set of icons and symbols that can be used in multiple environments, both for print and digital media. This typeface family seeks to meet the needs of brand designers looking to create an assertive appearance, whatever the case. It is a solid and self-confident typeface, without appearing overly constructed; on the contrary, its nuance makes it look fresh.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Lydia Sans™ is an elegant geometric sans serif with a charming profile and organic flow. Inspired by the clean typography of the 1920s, it's character and legibility make it suitable for any kind of text applications, from brand design to extensive text layouts. Lydia Sans™ has 22 styles, variable font technology and its weight range spreads from hairline to ultra bold forms. Flexible and adaptable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1300 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localised forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. As a workhorse type system, Lydia Sans™ is a sans serif for everyday use and a great choice for a wide range of applications. • Suggested uses: perfect for brand design, editorial design, web design and packaging design; • 22 styles: 11 weights + 11 italics. • 2 variable fonts; • 1315 glyphs in each weight; • OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive forms, Glyph Composition, Discretionary Ligatures, Denominators, Fractions, Standard Ligatures, Lining Figures, Localised forms, Numerators, Oldstyle Figures, Scientific Inferiors, Small Capitals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets).

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Full Sans is a geometric sans in the tradition of Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Full Sans is the younger brother of original Full Neue, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Sans LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Sans LC comes 5 weights and italics also Full Sans SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Sans is the perfect font for web use. You can enjoy using it. UPDATE: 08 March 2019 - Fixed extension of glyhps "y" and "g". - "LineGap" error has been fixed. - Fixed bug in "onum", "pnum", "tnum" and "tnum" software in OpenType feature.

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I first worked with the individual glyphs Hector Guimard designed and I discovered that they vary constantly from a poster to another, depending on the overall result he was looking for. Another difficulty in transferring his design to printing is that there was no lower case. I was excited to create the whole font from the original designs of Hector Guimard, incorporating its variations and "crazy kerning". After several attempts, it appeared to be impossible to include all variations and I slightly moved to my own new design as a complete font, upper and lower case, with kerning. I voluntarily limited the ascenders and descenders to the usual typography so that it can be used from 10 / 12 points. This version can be used to edit letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

A modern sans serif with open round forms. The ”round“ letters emphasize the condensed open oval; the light counter forms provide the rhythm of the typeface, causing the typeface to appear gentle and pleasing. The ”modern“ design of a and g being especially contributive here. All of the letters are recognizably narrow, almost ”condensed,“ the forms being very functionally shaped. The construction of the ”triangular“ upper case letters A M N V W as well as v and w, especially catches the eye with the shafts joined together as beams are stacked upon each other. With this construction Hedwig displays a down-to-earth touch. Contrary to the classical sans serifs, a few letters were given light echoes of serifs which promote fluency: a d l are displayed below the line in a reading direction and end in a compressed but also very short serif style; on m n p r the upstroke is gently displayed and on u the downstroke. For all the typo-maniacs among you designers there are alternative forms for a number of letters in Hedwig: A B D G I M R W and a d f g j l ß u. Even an antiquated ”long“ s and an upper case ß is available. Plus, Hedwig includes numerous ligatures which can save that little bit of space where required and which allow the typeface to appear more variable: ch, ck, ct, fi, fj, fl, ff, ffi, ffl, ft, mm, ti, tt, tz.

Inspired by a find a coarse but decorative font was created. "Fundstueck" ist the German term for it. Fonts can be so simple. That is what I was thinking as my attention was turned to this rusty piece of metal. Only a few centimeters in size, I couldn’t imagine which purpose it might truly serve. But my eyes also saw an E, even a well-proportioned E: a width to height ratio of approximately 2/3, black and fine strokes with a 1/2 proportion — could I create more characters on this basis? Thought it, did it. The form is based on a 5mm unit. The strikingly thick middle stroke of E suggests that the emphasis is not necessarily placed on the typical stroke, and likewise with the other characters. But if the font is going to be somewhat legible, then you cannot leave out slanted strokes completely. Eventually I found enough varying solutions for all letters of the alphabet and figures. A font designed in this way doesn’t really have to be extremely legible, which is why I forwent creating lower case letters. Nevertheless, Fundstueck still contains some diverse forms in the layout of upper and lower case letters. Thus, the typeface is a bit richer in variety. By the way — the “lower” letters with accents and umlauts stay between the baseline and cap height. And with that, you get wonderful ribbon-type lines.

Balanga is a smooth, elegant and flowing handwritten font. It has a beautifully balanced character, goes well with many designs. Balanga features varied baselines, smooth lines, beautiful glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant such as branding, web and editorial designs, prints, crafts, quotes, It's great for logo types, wedding invitations, romantic cards, labels, packaging, name spelling and other . Add to your most creative ideas and see how they make it happen! Balanga includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative, you need a supporting program such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Balanga is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

Whether you’re promoting your business, designing merchandise, or creating a new social media campaign, good presentation is crucial. The font you choose plays a key role – it completely shapes your audience’s reaction. Introducing Clarkson – A Retro Brush Script Font. Perfectly balanced between power and refinement, this handcrafted font delivers your message with style. The modern take on the retro design makes it ideal for branding, business cards, presentations, logos, clothing, packaging, banners, ads, and much, much more. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Akira Kobayashi’s Between™ typeface comes in three main states. While different from each other, they all offer human-centered design to ensure that copy set in them is affable and approachable. An added benefit is the ability to transition “between” font designs, choosing different styles – or even individual characters – to create hierarchy, contrast or emphasis. Kobayashi designed the Between typeface in response to the current popularity of rounded, humanist sans serif designs over the cool grotesques of the 20th century. Between 1 melds industrial and humanist sans ethics. Between 2 represents a sans version of Kobayashi’s Cosmiqua® typeface, striking a balance between crisp and legible, organic and friendly. Between 3 is a freestyle sans with an uplifting sprightly mien. Between has 48 styles; each has eight weights of roman with its own italic counterpart. The family offers a large set of alternative glyphs and OpenType® features. A full interactive type specimen can be viewed here: http://www.monotype.com/fonts/between/ Featured in: Best Fonts for Logos

Thunderboss is a strong modern sans style with upper and lowercase feel nice balanced. Its wide range of uppercase with alternates and ligatures allow versatile design options and works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : Regular and Italic version Character set A-Z Ligatures in Uppercase Alternates in Uppercase Numerals & Punctuation Accented Characters Multiple Languages Supported Format File: OTF Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. Ligatures feature is default setting in Adobe Illustrator or Adobe Photoshop in Uppercase character. So when you want not to use the ligatures. Open glyphs panel : In Adobe Photoshop choose tool Window Character and then please klick fi symbol In Adobe Illustrator choose tool Window Type Open Type and then please klick fi symbol How to access Alternate Characters? Open glyphs panel : In Adobe Photoshop choose tool Window glyphs In Adobe Illustrator choose tool Type glyphs If you have questions, just send me a message and I’m glad to help. Have a great day, Haksen Std

Alagereas – A Scifi Display Serif Font Alagereas, a captivating Sci-Fi Display Serif font, seamlessly blends futuristic aesthetics with timeless sophistication. Designed for maximum impact, its sleek and angular letterforms exude a sense of technological advancement and avant-garde elegance. Alagereas strikes a harmonious balance between readability and artistic expression, making it ideal for immersive digital interfaces, space-themed designs, and cutting-edge editorial layouts. The font’s meticulous detailing and precision convey a sense of otherworldly precision, while its serif elements evoke a classic charm, resulting in a typeface that transcends the boundaries of conventional sci-fi typography. Alagereas is a bold and versatile choice that transports typography into the realms of the future, embodying the essence of innovation in every character. Alagereas is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Discover the effective simplicity of SP Honey Bunny, a masterfully crafted display font created in 2023 by Studio Pulp. Inspired by the character Honey Bunny, the partner of Pumpkin in the cinematic classic "Pulp Fiction" (1996), this font, while not taking center stage, exudes a striking presence. This remarkable typeface, designed with meticulous attention to detail and craftsmanship, showcases versatility that seamlessly complements various design projects, particularly excelling in titles. The three well-balanced weights provide the freedom to unleash your creativity, while the clear, open forms optimize readability. SP Honey Bunny, anchored in a clean grid design, embodies modern minimalism and accessible elegance. Whether you're working on web design, graphic design, or print materials, this font adds a touch of timeless class to your creations. Be inspired by the seamless blend of functionality and aesthetics in SP Honey Bunny. Specifically crafted to meet the demands of 2023, this font brings a contemporary flair to your projects while remaining true to Studio Pulp's legacy of dedication to quality and innovation. Transform your typographic landscape with SP Jody and leave a lasting impression.

Gin And Tonic is a classical serif typeface family. In a cocktail of soft arches and sharp corners, this traditional type has a multifaceted flavor, just like a well-balanced drink. Inspired by turn-of-the-century quality produce, Gin And Tonic is a genuine victorian typeface, that brings class and authenticity to any graphic project. The type of lettering that could be seen in an old-west saloon. This serif font is provided in eight styles: Thin, Regular, Bold and Thin Italic, Regular Italic, Bold Italic. As well as the Outlined style and its complementary Outline Italic. Write in CAPS for decorative conjunction words. Example: Gin AND Juice, Bird OF Prey (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Nebula is a modern display font that captivates with its futuristic design and striking aesthetics. Created with a combination of geometric elements and artistic touches, Nebula features sharp lines and smooth contours, exuding an elegant and contemporary impression. When you encounter Nebula, your eyes are immediately drawn to its unique characteristics. This font combines creative geometric shapes with innovative typographic elements, creating an outstanding and attention-grabbing appearance. Each letter in Nebula is meticulously crafted, showcasing a perfect blend of clarity and creativity.The strength of Nebula lies in its perfect balance between boldness and sophistication. With various weights and thicknesses, this font allows you to express messages in an engaging and impressive manner. In other words, Nebula has the ability to emanate a distinct power and impression for every design project you undertake. Moreover, Nebula is versatile and adaptable to various design contexts. Whether you use it in advertisements, posters, logos, or other media, this font will deliver exceptional visual appeal. Its clarity and legibility ensure that your intended message remains clear, while its unique character adds a captivating and distinctive touch.

Dialogist is a display serif font animated in balanced beauty with curvy lines on each letters’ edges to make it look elegant and classic. Due to its bigger size than any other serif fonts, it becomes a noticeable and eye-catching font design. Proportions among letters equal to low contrasts, but it is still legible due to the font’s wide spaces. As a result, you may apply this font for any text sizes. Additionally, you can enjoy various features available here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Dialogist fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.