Morality is a Modern Elegant Sans Serif Font that perfect for branding, logotyp, poster design, etc A new San Serif Font that we created special for Headline, Title and more stand out typography needs. It's so perfect to add your style and headline overview. And specially for Headline font, we crafted for unique style and modern feels so enjoy to create any project that will show your main idea out. Morality Modern Elegant Sans Serif Font ready with: Any options to get creative variations Preview as a inspirations that you can do with Morality font Ready with All characters Wish you enjoy our font. :)

Nxrma is a font designed by Nxrmalist. This font has a design that combines calligraphy, modern, and geometry. This font is designed to make it easier for designers to create custom typefaces, logos, or for decoration. The neat design makes it easy for designers to create cool works.

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Elegance flows through Couturier Poster soul. The new cousin of early launched Couturier, brings higher contrast and an extended family, perfect for big sizes. Inspired by the didones from the 18th century, its design its heavily influenced by contemporary ideas makes it suitable to use for almost anything you can think of. Equipped with swashes, ligatures, small caps and alternates, this typography is very versatile and allows you to set a big range of compositions with discretion or personality. Couturier Poster comes in six weights and matching true italics, from thin to black. It's a good choice to pair with Couturier for smaller sizes and Couturier Poster for the big titles. It has a set of 1248 characters that cover more than 200 languages derived from latin.

Senja Mentari is elegant modern calligraphy font inspired by delicate inky hand lettering, gorgeous wedding calligraphy and trending minimal branding designs. This beautiful font is for those who are needing of elegance and stylish for their designs and particularly well suited for wedding invitations, cards and feminine branding. I have wanted to create such combination a long time and can’t believe that it is here. I’m super excited and hope you’ll estimate it too. Now all you need for perfect wedding invitation design is in one product. I think this decision will help you to save your time! What's included? More than 100 beautiful swashes in this font Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual Support : à á â ã ä å æ ç è é ê ë ì í î ï ñ ò ó ô õ ö ø ù ú û ü ý ÿ š fl fi ž œ ı ç ø š ž æ œ À Á Â Ã Ä Å Æ È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Ø Œ Ù Ú Û Ü Ý Ÿ Š Š ŽŁ Ð Ç

*About the Product* **Centrio Typeface** Retro with an artistic touch elegant modern yet vintage the as well as a unique blend of ligatures a letter, so that the authors compose it with a and little swirly embedding, so that a modern font is formed and ready to make a statement by adding elegant and unique flair to your next design project. **Centrio Typeface** can be used for various purposes such as Magazine Title, Poster, Logo, T-Shirt, Sub Title, Business cards, Magazines, Book Covers, Wedding Invitations,Templates Instagram Story Post, Greeting Cards, Quotes, etc. These letters are embedded into the font file and easily accessible in programs such as photoshop and illustrator. You can access these in more basic design programs but you will need to use your character map or font book Come on..let's style and pamper your next design with **Centrio Typeface**

The Centurion is a gothic blackletter. It feels classic and artistic. Add this beautiful font to each of your creative ideas and notice how it makes them stand out! The Centurion is perfect for Band logos & branding, product designs, label, product, movie, book tittle, product packaging, t’shirt design

A version of Futura, but very bold, ideal for modern advertising.

19th Century American Initials is a collection of beautiful Art Deco letters surrounded by swelling, sinuous, stylized natural forms of flowers, scrolls, spirals, rosettes, waves, and rain drops. This curvy artistic font Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters. Perfect for starting off the beginning of paragraphs in artistic publications, storybooks, fairy tales, and texts conveying the feel of the Art Deco period.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

The Century Old Style family was modeled on Century Expanded, which had been cut in 1900. Similar weights and proportions were maintained, but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style family is a useful text design that offers good legibility and economy.

Under the commission of the American Century Magazine"", Linn Boyd Benton designed a new text typeface in 1894 with a design typical of the Neorenaissance movement in typography. Morris Fuller Benton produced various interpretations of this font for American Typefounders and the companies Linotype, Intertype and Monotype quickly took up the typeface. New Century Schoolbook font is a very legible font, fairly narrow and with relatively little stroke contrast. This font is from Morris F. Benton and appeared in 1915.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Century Old Style Pro is one of the fonts of the SoftMaker font library.

We have created this font as a complement for the 825 Karolus. It is a set of decorated letters in the style of those used by the scribes during the early medieval era. It is inspired from a manuscript copy of "The Hobbit" (in Caroline style) that we obtained in the year 2000 as a present for our daughter’s 15th birthday.

Swiss 721™ is a sans serif family that ranges in style from thin to black while mixing in a few unexpected, but beautifully made and ironically flattering, outline weights that spice up the grotesque design. Couple these upstanding letterforms with matching italic styles and you have yourself a beautiful tool that is as legible on screen as it is off, has the technical prowess to conquer even the trickiest of design riddles and will work in a myriad of projects. Swiss 721 is a staple sans serif that you’ll never be sorry you have in your library. It’s been said that a simple sans serif is one of the most difficult typefaces to design. This is because when letters are reduced to their most basic details, irregularities and inconsistencies in design become immediately visible. The Swiss 721 typeface family is a quintessential example of letterforms distilled to their essence while still possessing warmth and verve. Based on mid-century sans serif typefaces, Swiss 721 is a versatile family of weights and proportions ideally suited to a wide variety of print and interactive design projects and is equally at home as headlines on billboards as it is navigation content on small screens. Swiss 721 takes the essence of mid 20th century sans serif typefaces and melds it with modern design consistency and a systematic weight range. OpenType® fonts of Swiss 721 also benefit from a rich character set and a range glyphs supporting most Western European and many Eastern European languages.

Enthra Centro script is an elegant combination of a script . It is slender, feminine and classy, while still maintaining a friendly feel. Enthra Centro script is versatile and will work perfectly for e-commerce brands, wedding boutiques, initial name cards or any business that wants to appear upscale and chic. With its many varian stylistic character Enthra Centro script is perfect for creating original and functional designs. It has extensive language support and alternates, stylistic sets that add visual interest to every letter. You can use the Enthra Centro script for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

Centar Sans is a simple, modern, universal, powerful, invisible but not characterless, sans serif family. The family is designed for identities & corporate projects. Its wide range of styles covers lots of possibilities of use, from headlines to texts. It supports a lot of languages including cyrillic and comes along with 19 OpenType features - Small Caps, ligatures, alternates and many more. Regular styles are FREE! Extended detail here. or here.

Venture Point is a modern signature script font. With upright consist mono-line stroke, fun character. To give you an extra creative work. Venture Point font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Venture Point font. Cheers, Maulana Creative

Conture Script is a classic script typeface with a thin contour. This high-quality font is drawn and created by Måns Grebäck during 2017. With its hundreds of glyphs, Conture Script supports a very wide range of languages.

Introducing, Center Voyage - a Sans Serif typeface. This type of font perfectly made to be applied especially in headlines which is need a standout font, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : numbers and punctuation multilingual ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Artistic Venture Typeface, Inspirated those bold wide letters you see on. computer screen, movie futureistic with combine classic , Well, some of them have these strong or hooks on the ends of the letters. But, there's also this new style of font that's super cool and futuristic. It's called a Artistic Venture Typeface. There Include : All Caps Opentype Feature Alternate Character Ligature Multilanguage Thank You

Center Screen is a universal font dedicated to making office documents in popular text editors. Due to the interesting disign it is also used for making websites and advertising for films and posters. Center Screen font also allows to create images of work in many forms of marketing due to its versatility and adaptability to many languages of the world. Creating images and text with Center Font Screen allows you to gain competitive edge by highlighting your brand and by bringing attention to the originality of the presentation and the readability of the message.

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

Designed by Morris Fuller Benton in 1907; an improved version of the familiar nineteenth century blackletter as he had executed it in his Wedding Text.

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.