The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923. This version takes its name from the Biblical character who lost his head to the original font’s namesake. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Sofimaria is a super unique ligature font that you wont forget! It’s a high contrast serif that has loads of style. A modern take on a Caslon style typeface, this font is ideal for those bold headings or wedding invitations. It’s got hundreds of characters and ligatures plus all those European letters! Sofimaria pairs perfectly with a light scripts font or minimal sans serif. Main Features: Uppercase & Lowercase letters Punctuation and special characters Multilingual support Ligatures & Alternate glyphs

Looking to take your design game to the next level? Look no further than Auzhera Brush Font! Handmade from a real analog fude brush pen, this stunning handwritten font boasts a unique brushed texture that adds a natural, hand-written feel to any project. From bold headlines to understated designs, Auzhera Brush Font’s versatility is unmatched. Crafted with meticulous attention to detail, this font is perfect for creatives looking to add a touch of personality to their work.

For those of you who require a typeface with an attractive classic, retro, and vintage vibe, Ruihant Retro Condensed is the ideal option. This font was created with an original and striking look, making it ideal for all of your creative projects. Premium features like ligature, alternative, and multilingual support are included with the Ruihant, allowing you to customize the font’s design to suit your needs. This font’s straightforward and compact form will enable you to produce designs that are more well-structured and effective. Ruihant is the ideal option to boost your creative endeavors because of its distinctive style and flexibility to alter the font’s appearance. Purchase this font right away and benefit from its advantages to raise the caliber of your designs. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Meet the new font family! This font came to my mind while I was sitting in line at the dentist. There are often different magazines at the front desk to read and pass the time while waiting. One of those magazines turned out to be about fashion. When I opened it on a random page, I saw beautiful pictures. But you know what the first thing that catches my eye? The font! The font in which the headline or quote is written. After you read it, you look at everything else. And I wondered what my font would be in this case. I present to you my version of a font for fashion lettering. Good luck and love to you, friends!

Ahganirya is display font that boasts a modern, minimalist design, making it perfect for businesses looking for a clean and sophisticated look. The font's elegant curves and sharp edges make it a stunning choice for logos, business cards, and other design projects. Ahganirya font offers versatility and flexibility to designers looking to create a cohesive and professional brand identity. Whether you're working on a print or digital project, Ahganirya font's legibility and unique design will surely make your work stand out. Complete with - ligatures - alternates - regular - italic - icon - kerning - multilingual support

Casual Face is a display variable font with a natural handwritten feeling. The font supports Latin and Cyrillic uppercase characters, numerals, and the main set of punctuation and symbols. The character of the font is based on the classic sign-painter casual script. The font’s option variability is upright and slanted letters up to 17 degrees. This enables the designer to define the gradient himself and be free to create designs suitable for advertising, packaging, and events. The font is perfect for headlines and personal products with casual characters and the mood conveyed is warm, and relaxed.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

Covenante is an antique font that contains futuristic elements that give it an unusual look. Sharp serifs and unusual shapes of ovals, create a solid character and make the font fresh. More language support, ligatures, and alternative characters will increase the font's usability. 450 glyphs, 282 languages of the Latin group, 7 alternative characters, 21 ligatures, a capital set and more than one day spent for kerning-create a great potential for this font. Text, covers, posters, prints, titles, interfaces, web, book covers, packaging, logos, and much more where you can apply this font. If you find an error in the font, kerning, or just want to add something or suggest something, then write to me: bunineugene@gmail.com

Collogue - Variable Font is a cutting-edge and versatile typeface that brings a new level of adaptability to display typography. Unlike traditional fonts with fixed styles, a variable font allows designers to manipulate various aspects of the typeface, such as weight, width, and slant, along a continuous spectrum. Here's a comprehensive explanation of the features and functions of the Display Variable Font: Key Features: -Adaptive Design Elements: The primary feature of the Display Variable Font is its adaptability. -Designers can seamlessly vary specific attributes of the font, including weight, width, slant, and more. -This flexibility empowers designers to fine-tune the typography to suit the visual aesthetics of their projects. -Single Font File, Multiple Styles: Display Variable Fonts consolidate multiple styles into a single font file. This eliminates the need for separate files for different styles, providing a streamlined and efficient solution for designers. -Smooth Transitions: Changes in the font attributes occur smoothly and continuously. Unlike traditional fonts that switch abruptly between styles, a Display Variable Font ensures a fluid transition, allowing for a more harmonious and visually pleasing typographic experience. -Precision Control: Designers have precise control over the variation axis, enabling them to adjust the font's appearance with granular precision. This level of control enhances the typographic customization possibilities and allows for fine-tuning based on specific design requirements. -Responsive Typography: Display Variable Fonts excel in responsive design. They adapt gracefully to various screen sizes and resolutions, ensuring optimal readability and aesthetics across different devices. Functions: -Dynamic Branding: For brands looking to establish a dynamic and adaptable visual identity, Display Variable Fonts offer the perfect solution. The font's ability to adjust seamlessly allows for a versatile and cohesive branding experience across diverse applications. -Editorial Freedom: In editorial design, Display Variable Fonts provide editorial teams with the freedom to experiment with typography. The font can be adjusted to suit different sections or emphasis points within publications, enhancing the overall visual appeal. -Web Design Innovation: Display Variable Fonts are at the forefront of innovation in web design. They enable designers to create dynamic and interactive typographic elements that respond to user interactions, contributing to a modern and engaging web experience. -Attention-Grabbing Displays: Whether used in signage, banners, or large-scale displays, Display Variable Fonts stand out with their adaptability. Designers can experiment with different styles within a single font to create attention-grabbing and visually dynamic displays. -Customizable Interfaces: In digital interfaces, Display Variable Fonts provide a customizable typographic experience. Designers can optimize text elements for different device sizes and orientations, ensuring a seamless and visually pleasing user interface. -Innovative Advertising: Display Variable Fonts offer a fresh approach to advertising typography. Brands and advertisers can leverage the font's adaptability to create visually striking and memorable campaigns across various media channels. In summary, Display Variable Fonts represent a groundbreaking evolution in typographic design, providing designers with unprecedented flexibility and control

Brotherline is a connected script built from a single bold mono-line, inspired by hand-lettering style and various calligraphy letterforms.The first idea with this font is to create a font for Logotypes. Curves are smooth and flow with very nice circle shapes. This font is great for logos, logotypes, packaging, and store-front or signboard. NOTE: To access the alternate glyphs, you will need a program that supports OpenType Features. Activate the Ligature (liga) and Contextual Alternates (calt) for better experience.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Devil Inside is a spine-chilling display font that will send shivers down your spine. Designed in a large, bold font, this typeface demands attention and exudes an aura of darkness. Each letter is meticulously crafted with a square shape, high contrast, and haunting brush details, adding an eerie and sinister touch to the font. The large size of the letters enhances the font's ominous presence, making it impossible to ignore. The square shape of each letter adds a sense of rigidity and sharpness, while the high contrast brings an element of drama and intensity. These design choices contribute to the font's unsettling and sinister look, immersing the viewer into a world of darkness and fear. The brush details in Devil Inside give the font an organic and handcrafted appearance, as if it were inscribed with ancient symbols by a malevolent force. These haunting details add a sense of craftsmanship and enigma, creating an atmosphere of mystery and foreboding. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Devil Inside fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

Hello Freeday is a striking display font that combines a bold and clean font weight with playful swinging endings. With its uniform letter proportions and unique character details, this typeface effortlessly balances sophistication and a touch of whimsy. The bold and clean font weight of this font commands attention and adds a sense of strength and impact to your designs. Each letter is meticulously designed with precise geometric forms, resulting in a polished and professional appearance. The consistent proportions of the letters contribute to the font's overall coherence, ensuring a harmonious and balanced visual experience. What sets this display apart is the charming swinging endings found in select letters. These decorative details add a hint of playfulness and movement to the font, injecting a touch of personality and delight into your designs. The swinging endings give the letters a sense of rhythm and flow, making Hello Freeday an excellent choice for projects that require a dynamic and captivating visual presence. The font's bold and clean aesthetic ensures legibility and readability, even at smaller sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hello Freeday fits in headlines, logos, attention-grabbing titles, product packaging, greeting cards, branding materials, editorial layouts and website headers. 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.

Isonorm was created in 1980 by the International Standards Organization (ISO). The font's design is simple, clean, and geometric, with strokes that all have rounded ends. Isonorm is a font whose forms are very legible by both the human eye and machine readers. The font is also a good choice for drafting and architectural purposes, as well as for technical charts and graphics.

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.