In the world of graphic design, the typeface is everything. It’s the foundation on which you build your message, the first impression your reader gets of your brand. And when it comes to creating a unique and memorable brand, there are few typefaces more distinctive than Shnixgun. Based on the venerable Franklin Card Gothic, this inky, textured typeface takes inspiration from the age-old tradition of metal type, infusing it with a modern, edgy twist. Its rustic, weathered appearance is the perfect choice for anyone looking to add a touch of authenticity to their work. But Shnixgun is more than just a pretty face. Thanks to its custom letter pairs, it breaks up the monotony of repetitive letters and adds a level of nuance and sophistication to your message. With Shnixgun, your words become more than just a series of letters—they become a work of art. But what really sets Shnixgun apart is its rusty texture. This is a typeface that wears its age proudly, with every letter infused with the character and patina of a bygone era. Whether you’re designing a vintage-style poster, a hand-crafted logo, or an art magazine spread, Shnixgun is the perfect choice for anyone looking to infuse their work with a sense of warmth, authenticity, and honesty. So don’t settle for a bland, soulless typeface. Let Shnixgun’s rusty glyphs permeate your message with affection and depth, and bring your designs to life with a touch of artistic flair. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Kinesthesia, the hypermodern typeface that channels the sleek, futuristic aesthetic of liquid crystal displays. With its sharp diamond points and hi-tech letterforms, Kinesthesia is the perfect choice for anyone looking to communicate their message with a cool, technical tone. Whether you’re designing a cutting-edge website, a high-tech advertisement, or a bold logo, Kinesthesia will give your work an unmistakable edge. But what sets Kinesthesia apart from other typefaces on the market? For starters, it offers a wide range of monetary symbols, as well as numeric ordinals, primes, and OpenType fractions. So whether you’re writing a report for work or creating a digital design for a client, you can be confident that Kinesthesia has all the symbols and characters you need to convey your message with precision. And of course, let’s not forget Kinesthesia’s angular design. With its sharp, diamond-shaped points, this typeface is the perfect choice for anyone looking to add a contemporary edge to their work. Available in Ultra-Light, Extra-Light, Light, Regular, Semi-Bold, Bold, and Heavy with obliques, Kinesthesia offers a wide range of weights and styles to suit any design need. So if you’re ready to take your design game to the next level, look no further than Kinesthesia. With its technical aesthetic and wide range of features, this typeface is the perfect choice for anyone looking to make a bold, unforgettable statement. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Why do we need another typeface? This is a prickly question often asked of typeface designers. Depending on who you ask, the answer in simplified form is usually one of two: 1. As the basis of written communication, type design carries social responsibility, so we must continue to improve legibility. 2. Type design is a form of artistic expression. Without art, life is not worth living. The best work, of course, accomplishes both. Xavier Dupré, the designer of the Malaga typeface family, has at least one leg securely planted in the latter notion. He believes, like others, that within typeface design most legibility needs have been worked out and that today we are satisfying aesthetic desires. We design typefaces to differentiate our communications. Type design is primarily a formal exercise reflecting our personal quirks, technological obsessions, and cultural heritage. In case of Dupré’s work, issues of cultural heritage and personal quirks are of particular consequence. An incessant traveler, he visited the following countries during the development of the Malaga type family: Thailand, Malaysia, Indonesia, Myanmar, Cambodia, Vietnam, France, Belgium, and finally, Spain, where his choice for the name Malaga originates (Malaga is a port city in southern Spain). Dupré’s home is where his laptop is. He travels with a 12- or 15 inch PowerBook, without a printer, and with sporadic access to his reference books and other historical documents. All he needs is a table and chair. He even learned to design without a mouse since hotel and cafe tables are often too small to also fit a mousepad. Dupré is the new global designer who can take disparate influences and fluidly process the information into a coherent whole. Malaga is a case in point. It is inspired by ideas ranging from blackletter to Latin fonts, and from the Quattrocento’s first Venetian antiquas to brush stroke types. This makes Malaga a richly animated font saturated with unorthodox detail. Its black and bold weights are particularly suited for headlines and short texts, while the subtle modulation and moderate contrast in the regular and medium weights makes it perfectly readable in extended text settings. While Malaga doesn’t claim to resolve any particular legibility issues, it is nonetheless perfectly readable and will impart any design with a healthy dose of visual character.

The Joanna® Sans Nova family is the only typeface in the Eric Gill Series that was not initially designed by Gill. Created by Monotype Studio designer Terrance Weinzierl over a three-year period with digital applications at the forefront of the design criteria, Joanna Sans Nova is a humanist sans serif based primarily on Gill’s original Joanna. The design comprises 16 fonts, from thin to black, each with a complementary italic. Joanna Sans Nova has a larger x-height to ensure high levels of legibility – even on small digital screens. Due to its inherent humanist proportions, Joanna Sans Nova is surprisingly comfortable for longer form reading. Its low contrast in character stroke weights also improves imaging in a variety of environments. In addition, the calligraphic and fluid details enable the roman and italic designs to shine in headlines and other display uses. Joanna Sans features a robust range of OpenType features for fine typography, including small caps, old style figures, proportional figures, ligatures, superscript and subscript figures and support for fractions. With over 1000 glyphs per font, Joanna Sans supports more than 50 languages – in Latin, Greek and Cyrillic scripts. “I've always been a fan of Gill’s work, explains Weinzierl, and found the simple, humanist qualities of Joanna really fitting for a sans serif design. I wanted to make something with Gill flavor, but with more harmony in the extreme weights than Gill Sans – and with my twist on it. I went through six or seven different italic designs before landing on the current direction.” “The original Joanna had a very distinct italic, Weinzierl continues. “It’s very condensed, and has a very shallow angle. I wanted to have an italic that stood out, but in a different way. I took a cursive direction for the italic details, which are wider and slanted more, both improving character legibility.” The Joanna Sans Nova typeface family is part of the new Eric Gill series, drawing on Monotype’s heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

Introducing space-bright COLORED hologram font. Soft color transitions combined with minimalistic clean glyphs. Ideal for modern web and print design. Excellent readability of glyphs for both the title and the large volume of text is preserved. Multi-colored modern family with different types of coloring - a highlighted gradient border of letters or fully hologram glyphs - a large selection of 11 ready-made font styles. Originality of the font will fit well into the fashionable logo, headline in the magazine or on the website, emphasize the trend of the product in branding and complement web advertising on social media. This font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 11 OTF SVG color fonts in the family Free Demo font to check it works. Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

"VTF League" is a fully-kerned, hard working, 14-font athletic block display family. Its letterforms feature a synthesis of heavy verticals and lighter horizontals that create a steady visual rhythm, and chiseled terminals to help establish a competitive personality. Although developed for sports branding and similar projects, "VTF League" was inspired by the harmonized mix of sturdy, industrialized, no-nonsense typefaces and the brand uniqueness of local distilleries around Eastern Tennessee during a week-long moonshine tour in February 2018. As of July 2019, "VTF League" has been redeveloped to include a complete alphabet of uppercase, lowercase, and small cap alternates with 7 weights and oblique style variants for each. Enjoy!

This is the sibling font of Ink Brush, with the addition of Arabic glyphs; Arabic, Persian, Urdu, Kurdish, and Jawi (Pegon). The Ink Brush Font is a captivating addition to the world of typography. This versatile typeface offers two distinctive versions, adding a dynamic element to your creative projects. The textured version brings a sense of artistic spontaneity with its handmade appearance, while the solid version delivers clarity and precision. Whether you’re aiming for a rustic, handcrafted feel or a sleek, professional look, the Ink Brush Font has you covered. It’s perfect for a wide array of design applications, from branding and packaging to invitations and artistic endeavors, infusing your work with character and style

Basilisk is a futuristic and retro-inspired typeface that works well in any sci-fi space thriller. This one is for you if you like futuristic fonts. The different weights give you a lot of flexibility when it comes to choosing the right typographic color for your project. The available Ligatures and Italic styles offer a wide range of characters to give your project design an unique design. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Summer Desire is an original typeface that's perfect for all of your summertime and happy designs! Use Summer Desire in your designs to create a lively, optimistic mood. Its playful, and lighthearted vibe is perfect for any design that needs that extra umph. Make your next blog post, social media update, or poster the most memorable thing your customers have ever seen! And you can also use it for logos, business cards, posters, headlines, T-shirts, product packaging, and more. So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations works on PC & Mac Thank You!

Like many of Jim Parkinson's alphabets, Pueblo began as poster lettering. It shows a range of influences: turn-of-the-century sign painting, old Speedball lettering books, and a touch of art nouveau. While developing Pueblo, Parkinson debated whether to make the ends of the serifs rounded or square. Rounded looked more like the work of a Speedball lettering pen, but squared stroke endings made the letters more legible at small sizes. The finished design sports serifs that are just slightly rounded. According to Parkinson, the design feature is “enough to be noticed at large sizes, while going virtually unnoticed at smaller point sizes,” adding to the versatility of this distinctive typeface.

Quinie is Modern Retro Fancy Font is a well-balanced contemporary font with a fancy, unique, and versatile vintage serif, font that you can combine to get any variations and unique shapes easily just in seconds with choose alternates of them. It is a serif display font with moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility. What's Included: Character set A-Z Normal & Italic Style Numerals & Punctuation Accented Characters (West Europe) Stylistic alternates Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font. :)

The Monotype Janson font family is based on types originally cut by the Hungarian punch-cutter, Nicolas Kis circa 1690. Named after Anton Janson, a Dutch printer. The original matrices came into the hands of the Stempel foundry in Germany in 1919. New type was cast and proofs made; these were used as the source for Monotype's version of Janson. The original hand cut Janson types have a number of small design irregularities which give the typeface its unique charm. These have been carefully incorporated into the new version. The overall effect is of even color and an easy readability that makes Monotype Janson most at home in book and publishing work.

Here’s a typeface that’s both primitive and playful. It could aptly be described as having a modest bounce, unusual web feet, and a slightly grotesque croak. Joking aside, this amphibious creature-font is ideally suited for funny headlines as well as other goofy stuff. Great for party announcements, cartoon lettering, or just about anything involving kids. Or even fun-crazed adults! Little Brown Frog is also available in the OpenType Std format. Some new alternate characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Aint’ nuthin but the Thang. Thang is a street cred script family with big initial caps and tight flow. Thang is great for flashy headlines or as a logotype. Thang family comes with three weights. Thang Extras is a pack of strokes and dots that can be used to decorate your texts typed with Thang. Thang Extras can also be combined with Thang letters for custom Swash. Thang is packed with several OpenType features: keep on Standard Ligatures and Contextual Alternates for smooth flow. Try Swash, Stylistic or Titling Alternates for alternate characters to create customised lettering works. Check out Glyph Palette for even more alternate characters and go wild the Thang.

Galleds Stars Display Typeface is a single font with a minimalistic but standout style for any work from movie titles, music album covers, magazines, beauty ads, and even wedding invitations. --- Minimalist type design has been a success for professional designers worldwide. - Galleds Stars Display Typeface is legible from much larger distances than typical fonts - Elegant letterforms give the feeling of luxury - Smooth curves for elegant typography This font has several alternative characters as in ( A,N,O,R,S,a,c,e,o,t,y ) Tips for using fonts in projects. Use this font with a simple background, not too busy so that you can highlight your branding This font file OTF

“I originally drew the primary characters with a felt tip marker, scanned them and then proceeded to noodle on the computer,” says George Ryan of his new typeface, Koorkin. “Over the years, I’ve designed many original typefaces, but Koorkin has become one of my favorites. I’ve worked on hundreds of highly structured text faces. For the most part, the roots of all of them can be found in the handwritten letterforms we learn as children. I enjoy going back to these shapes whenever the opportunity presents itself. ”The happy result of Ryan‘s felt tip marker sketches and his love of simple letterforms is a new family of upright and italic scripts in medium and bold weights.

Viva Beautiful is a lovely hand painted brush script. Viva Beautiful includes two script styles (Regular or B) and an all caps font. Both scripts come in a basic or pro version. Viva Beautiful Pro and Viva Beautiful Pro B include opentype alternates and common ligatures. Try the alternates and ligatures to give your designs a realistic hand painted look. Viva Beautiful and Viva Beautiful B include opentype ligatures. The all caps font is a basic version and pairs beautifully with any Viva script. This brush script family works best for fashion, beauty products, food, apparel and magazines. Viva Beautiful could also be used for film, television, marketing, advertising and websites. Bring beauty to your designs with Viva Beautiful!

Super fresh paintbrush style lettering with a definite graffiti slant. Reverse italic and highly detailed these hand-made letters, splats, swipes, numbers and symbols give an energetic human feel to your custom text. This font is an all-caps style with no real lowercase letters however the single font actually contains 3 full alphabets (78 individual letters) so you can mix and match to create endless unique letter combinations. Fresh Paint also includes several highly detailed paint splatters, brush strokes and swipes to use along with your custom lettering. All glyphs are created from hand made, painted letters, all splatters and strokes are made from real specimens & have sufficient detail to work even at very large sizes.

Fontanella is a typeface designed by Coto Mendoza, which emerged from calligraphy and manual drawing exploring the skeleton and classic proportions of Roman capital letters. This initial process later gave rise to a sans serif family composed of 8 pesos and its italic variants. It also includes small caps, old numbers and width variants in the set of alternates. The slightly enlarged x-height makes it perfect for composing short texts in editorial, fashion, branding, magazine, television, window display and other media projects. Fontanella a classic spirit reinterpreted in a contemporary language. We especially thank Alfonso García for his impeccable work on the digital edition and Nicolás Tobar for the art direction on the specimens.

When was the last time you listened to elevator music and found yourself humming along? And perhaps the tune you were listening to, got stuck in your ears for the rest of the day...the rest of the week? That's often what happens with elevator music: maybe you don't notice it - but it is there, and it could most likely be one of your all time favourites! :) My Elevator Music font does somewhat the same: it's nice and pretty harmless - but it works, perhaps even without you noticing! :) I've added 4 slightly different versions of each lowercase letter - and that goes for both Regular and Scratch versions. And they both have multilingual support, because elevator music is universal!

Conga Brava is the work of type designer Michael Harvey, a combination of the high-minded, purist letterforms of revivalist, modern calligraphers with the mundane, even crude, lettering of warehouse stenciling. The resulting lyrical yet utilitarian forms have a visually exciting graphic effect, which Harvey has frequently used in his book jacket designs. Like his other typefaces, Ellington, Strayhorn, and Mezz, Harvey named his design after a jazz classic, Conga Brava", by Duke Ellington and his trombonist Juan Tizol. The rolling rhythm, polished swing, and stacatto brass treatment of the tune suits the look of this sassy roman design and even more so, its stencil mate. When you need a typeface that radiates sound and motion, think Conga Brava."

Vasili Vasilyevich Radlof or Wilhelm Radloff (Russian: Василий Васильевич Радлов; German: Wilhelm Radloff; 17 January 1837 - 12 May 1918) was a German-born Russian orientalist and founder of Turcology. Radloff is a German-born Russian Turcologist who researches the Turkish world from different perspectives, opens a new era in the history of Turkology by bringing them to light, and devoted 60 years of his 81-year life to these studies. He published his work known as Radloff's Atlas with a runic font specially developed for the Old Turkish Runic Alphabet. I made the Turkish Runic Font using Radloff's Atlas. I developed this Anglo Saxon Futhark font based on this font and adapted it to Anglo Saxon script.

Dueblo is a font family in serif, sans serif and semi serif with variability in weight and serifs. It's a classical antiqua with a sans serif basis, a semi serif version, two decor styles for headlines and initials and the italics in sans and in serif. The small caps, alternates as well as other useful optional and contextual open type features are included in the fonts. It has been in development since 2012 and in use for several projects and publications since 2015. It was worked on until 2020, the cyrillic and greek letters were added, and it was built up in a new and modern way. Now it's really ready for building words and paragraphs.

Lucid Fantasy is an elegant and sophisticated script font that will transport your designs to a dreamlike world. With its flowing, fluid strokes and graceful curves, this font captures the beauty of calligraphy and handwriting in a digital format. Its unique style and attention to detail make it perfect for wedding invitations, greeting cards, and other high-end design projects. Lucid Fantasy's intricate and delicate design will add a touch of luxury and refinement to any project. Whether you're a designer, artist, or creative professional, Lucid Fantasy is the perfect font to elevate your work to new heights. Experience the magic of Lucid Fantasy today and create designs that are truly unforgettable.

Spadoya is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: - Uppercase - Lowercase - alternative - Ligature - Punctuation - number - multilingual support. And also Spadoya Alternates and Swash, working in tandem with Spadoya Regular to create extraordinary typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: - https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

Introducing Austragen - Beautiful Bold Serif inspired by the famous minimalist logo, perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more. Perfect for adding a unique twist to word-mark logos, monograms or pull quotes. Austragen has 11 unique ligatures and 50 Alternate Glyphs as well as numbers and punctuation making it super fantastic. Like all of my fonts it is inspired by lettering from the good old past, but it still has a strong modern appearance. Its wide range of stylistic alternates allows versatile design options and works perfectly for headlines, logos, posters, packaging,,coffee shops, restaurants, magazine's headers, signs or gift/post cards,cafe's and weddings.

Introducing "Vagodha" a captivating retro reverse contrast script font that brings a unique and striking visual appeal to your designs. Inspired by vintage aesthetics, this font features an intriguing twist with its reverse contrast, where the thin strokes are replaced by thick ones and vice versa. The result is a font that effortlessly stands out and grabs attention. With its bold and dramatic letterforms, "Vagodha" adds a touch of retro charm and edginess to your projects. Whether you're designing logos, headlines, posters, or any creative work that calls for a standout retro style, this font will make a bold statement. Features: Uppercase and lowercase letters Alternates Letter Ligatures Multilingual, numerals, and punctuation Thank You!

Introducing the Born Spirit font, it is a display typeface that demands attention with a bold vintage look. Sharp hooks and strong lines create a sense of toughness. It's great to tap into designers or product owners who need solutions to make their designs look more uniquely elegant. Features: Uppercase, numbers, punctuations; Multilingual support. PUA Encoded We highly recommend using a program that supports OpenType features and Glyphs panels like Adobe apps and Corel Draw, so you can see and access all Glyph variations. This type of family has become the work of true love, making it as easy and fun as possible.I really hope you enjoy it! Thank you Enjoy the font and go get creative :)

This Vintage One - Retro Font is a script typeface that embodies bold retro aesthetics with a touch of nostalgia. The font is crafted with a multitude of alternative characters, each offering unique variations and even decorative swooshes in the alternates. Its thickness and groovy style make it a great choice for a wide range of applications. Whether you're working on logos, packaging, invitations, greeting cards, posters, magazines, titles, business branding, or designs with a retro and vintage theme, This Vintage One adds a sense of classic charm and style to your projects. The font's alternative characters and swooshes allow for a myriad of design possibilities, making it a versatile resource for creating captivating visuals with a vintage flair.

Lovanaru is a Sans Serif font with all caps, that provides a modern and minimalistic design. It comes with smart OpenType features, ligatures, clean letterforms and monoline strokes. Lovanaru is an excellent choice if you are looking for an easy to read and enjoyable font. Lovanaru is perfect for minimalistic themed product, branding, logo, invitation, stationery, product packaging, merchandise, monogram, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Lovanaru Font - Ligatures - Multilingual, US Roman, Latin 1 Support Thank you for purchasing premium fonts from Attype Studio. Follow and explore our work on Pinterest & Instagram. If you have any question, don’t hesitate to contact us. We hope you enjoy with our font! Attype Studio

Cooper Goodtime is a font based on the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972). The name pays tribute to its two origins, the other being Cooper Black. It was never an actual complete font set on the TV show, only a limited number of handmade letters, all upper case. It has lain dormant since the show went off the air in 1972. With this incarnation, a set of lower case letters has been created to complement the upper case letters. These lower case letters never existed before now. Cooper Goodtime is a funky, nostalgic, cool way to create a display, and it works surprisingly well in text sizes, too.

Sweet Raspberry is a cute and casual handwritten font with an incredibly friendly feel. It is a playful and adventurous display that radiates authenticity. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the stunning glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures. What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Every element in this typeface shouts tall and narrow, slender and provocative. With wispy delicate serifs attached to elevator-style vertical stems, Stratosphere’s only goal seems to be getting to the top in style. And no matter how you describe it - ultra thin or ultra condensed - this typeface is best for short headlines and titles. Use only in large display sizes and use sparingly. Stratosphere Light is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Aretha is a classy and beautifully designed sans serif. The main idea of Arteha is to combine the sans serif humanist font style with traditional styles so as to provide a pleasant atmosphere for the reader. The horizontal side of Aretha is designed with a slightly thinner so that the counter can look wider and also looks stiff in some parts to give a firm impression on the letters. Not only for display size, Aretha also works well in text size. Represents multilingual and is equipped with several Open Type features such as tabular figures and stylistic alternates in letters a, g, t and y, so this is very suitable to complement your various design needs.

Draetha is the 6-font companion to Biblia and Biblia Serif. But it is definitely designed to be used with Biblia Serif for book design and production. It is a nearly monoline sans with a clean style which contrast beautifully with Biblia serif. The Black versions push monoline to the extreme of boldness. It has the same font metrics as Biblia and Biblia Serif. The only compromise is that Ultra is too extreme to be able to provide small caps or oldstyle figures. It is designed with text spacing, to work in text with Biblia and Biblia Serif. For heads and subheads, you will need to adjust the tracking. But it tracks well.

Marseilazi – 9 Strong Bold Style Font is an imposing and robust typeface with nine additional versions, all sharing the same bold and powerful character. This font's thickness and strength make it incredibly versatile, as it can be seamlessly integrated into a wide range of designs, alongside various other fonts and themes. The nine available versions include serif, sans-serif, sport, grunge, slab, stencil, display, and more, providing ample choices for your creative needs. Whether you're working on logos, titles, headlines, posters, films, magazines, business materials, personal names, and more, Marseilazi delivers an impactful visual presence. With its versatility and commanding presence, this font is an excellent choice for making a statement in your designs and leaving a lasting impression.

Olivetta—an ironic sans. Its name is inspired by Antique Olive typeface. These two fonts share a few common design features but Olivetta is more in tune with the spontaneous, ironic style of today's typefaces. Olivetta illustrates the power of words as images. The high contrast between thick and thin strokes of the lowercase letterforms gives visual strength to the font. The stroke contrast increases as the weights get heavier. Olivetta comes in 10 weights with matching italics and each style contains more than 400 glyphs which include alternates. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, branding and editorial design. The intermediate weights are ideal for continuous reading.