It’s true -- having your own font IS The Secret Of Happiness! At times suave and sophisticated, at other times rough and ready for anything, superstar comics artist Dan Panosian has worked on the likes of CAPTAIN AMERICA, SPAWN, THE FLASH,, SPIDER-MAN, X-THE X-MEN and GREEN LANTERN, as well as the movie, HARRY POTTER AND THE SORCERER'S STONE and games like DUKE NUKEM. He hasn't been seen in comics for some time, but he’s back, baby, working on a series of JOHN TIFFANY bandes desinée, and he’s brought his own font with him, courtesy of that awfully nice John JG Roshell at Comicraft. John Tiffany is one of the best bounty hunters in the world and he has no illusions about the world that employs him. Tiffany relies exclusively on four people: the Reverend Lovejoy, who taught him to love his money; Wan Chao, of the geek underworld who serves as an interface with the outside world; Dorothy, his partner, and Magdalena, the ‘call girl in his life.’ But in Mexico, the hunter has become prey, his head has a price. And if his rivals know his location, it means that John Tiffany was betrayed by one of four people he thought he could trust...and now he can rely on only ONE thing, his secret weapon. His FONT. See the families related to Dan Panosian: Urban Barbarian.

It may be a hard challenge to find an attractive, prominent font in a unique way amid the abundant font options available. Due to the significant reason to find the right font to deliver appropriate messages and emotions, we would like to introduce you to the Monthir, the perfect choice to express any of your project designs. Monthir is a capitalized brush font in brush details to produce authentic looking handwriting displays. The font’s bold, firm displays which are the advantages of such a font can create more interesting, prominent designs. Besides, people can feel closer to the brands or designs created through its personal, natural nuances. The letters’ proportions are relatively consistent, yet its dramatic, bold styles are suitably applied for bigger text sizes rather than the text body. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Monthir fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, 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.

Fnord is a contemporary humanist serif typeface, it is ideally suited for display purposes, titling, headline copy and branding. The family has been designed to be highly versatile, containing a total of 23 fonts. Each font features discretionary ligatures, swash alternates and true small caps. The overall design is clean and simple with a little bit of rebelliousness thrown in for good measure – Fnord does not conform to the traditional serif blueprint. Fnord’s design has been strongly influenced by the complex, thought-provoking and mischievous works of authors Robert Anton Wilson and Robert Shea from the 1970s. I was re-reading their work while sketching the initial letterforms and realised that some of the proportions and angles were coinciding with some themes that run through the books – particularly the numbers 5, 17, 23, 40 and 93, which are key to this font family’s spacing and geometry. I found it both very interesting and enjoyable to play with a specific theme and purpose for creating this typeface. I am sure you will enjoy working with it in your own design projects. Key features: • 5 Weights in 4 Styles – Roman, Italic, Condensed and Extended • 3 Additional Display Styles in 1 Weight – Engraved, Inline and Woodcut • Small Caps, Alternates, Swashes and Discretionary Ligatures • Full European character set • 680 glyphs per font.

Fushar is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin alphabet of European languages, Vietnamese and Pinyin with standard ligatures, digits, punctuation, currencies and other symbols - the total of 555 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic script which is available in Fushar Arabic. The Latin character set is a useful addition and is available in multilingual bundles. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include contextual alternates, standard ligatures, fractions, ordinals, case-sensitive forms, proper mark attachment, superscript (1, 2, 3) & localizations.

Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it. Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full range to explore a whole host of applications, while the fonts outlined give a real modern feel to any project. Any specific license questions or questions, feel free to contact zamjump@gmail.com zamjump

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer's personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. There are many subtle details in Cyan that become more interesting in larger sizes, for instance the subtle curves in the serifs and the overall smoothness as a result of the mostly rounded angles. Cyan is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". The color cyan can have many different variations. One definition is a color made by mixing equal amounts of green and blue light (it also is a pure spectral color). As such, cyan is the complement of red: cyan pigments absorb red light. Cyan is sometimes called blue-green or turquoise and often goes undistinguished from light blue. Obviously the Cyan family is a perfect companion to the Cyan Sans family.

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

Korpen Tag is a cool and edgy graffiti font that captures the essence of street art and urban culture. With its tag-inspired handwriting and paintbrush strokes, this font brings an authentic and vibrant touch to your creative projects, making them feel dynamic and alive. Ideal for streetwear branding, album covers, posters, and other projects that require a cool, contemporary vibe, Korpen Tag is an uppercase font that adds a raw, energetic touch to your designs. Its distinctive style makes it a great choice for projects that need to stand out and make an impact. The Korpen Tag font family includes four high-quality styles to suit various design needs: Regular: A free-flowing, paintbrush-inspired graffiti style Upright: A more controlled, vertical version of the regular style Bold: A heavier, bolder version for more impactful designs Bold Upright: Combines the boldness of the bold style with the structure of the upright style Built with advanced OpenType functionality, Korpen Tag ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. It has extensive lingual support, covering all Latin-based languages, from Northern 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.

Jackalope is a new original script font from LetterPerfect Fonts. The design is a hybrid of pressure-pen calligraphy infused with whimsy and curlicue terminals. Letterforms are free-spirited and edges are rough, simulating spontaneous writing on rough paper. In addition to the full ANSI western character set, Jackalope includes a full set of small capitals, both lining and old-style numbers, and swash lowercase alternate characters that can be used as terminal letters at the ends of words for additional flourish. The genesis and realization of Jackalope was also a hybrid process. In 1996, LetterPerfect commissioned type designer Kathy Schinhofen to provide pen-written source material based on her commercial handwriting style and specifically on a logo she had designed for its "Viva la Fonts" line of script fonts. This work was digitized by LetterPerfect’s Garrett Boge and later fonticized by former Hallmark Cards type maven Myron McVay who unified the design and contributed additional characters. The design sat unfinished for over 12 years until Garrett Boge revived the project in 2010 filling out the extended character set. Jackalope is released in two versions: Jackalope LP Regular, which is the base font for continuous text setting; and Jackalope LP Expert, which includes swash variants, small capitals, and old-style numerals which can be swapped into text for extra flourish and effect.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set with full support for three language scripts. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Sunday Popice is a delightful display font that brings a dose of cuteness and whimsy to your designs. With its rounded shapes and high contrast, this typeface exudes a unique charm that is perfect for adding a touch of playfulness to any project. Designed with love and attention to detail, Sunday Popice captures the essence of childlike joy and innocence. Each character is carefully crafted with rounded edges, creating a friendly and approachable appearance. The high contrast between thick and thin strokes adds a dynamic and lively quality to the font, making it truly stand out. This font's rounded and soft shapes evoke a sense of warmth and coziness, reminiscent of a Sunday afternoon spent in the company of loved ones. Because of the unique style, for the best readability use this font at large text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Sunday Popice fits in children's books, product packaging, greeting cards, headlines, logos, and any design project that requires a touch of whimsical elegance. 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.

Banana Yeti is a brush script typeface with a condensed vertical slant, inspired by a handmade sample drawn by the calligrapher Ross Frederic George and depicted in Speedball 1947 Textbook Manual. Banana Yeti has a vintage brush script look, perfect for food packaging, display and logo design and period advertising. The original design has been completely reworked and extended by the Zetafonts Masterclass 2016 Team to provide three lighter weights, and a monoline variant, as well as to produce an extended character set with open type support for ligatures, alternates, European languages and ending swashes. Banana Yeti covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in four weights plus a special monoline weight. Banana Yeti makes full use of Open Type ligatures to provide swashes, arching letters and a wide array of ligature characters for a more handmade, natural look. Swashes can be accessed through glyph palette or by typing one to six underscores after the letter. Typing an underscore before a phrase creates arching text; close arch with another underscore. Variant ampersands can be accessed through glyph palette or by typing multiple ampersand characters. Take care: open type features are developed using open type technology, fully compatible with Adobe software and major design softwares and OS, but not supported by every software. Check before buying!

Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

Night Scream is a spine-chilling display font that brings a horrifying twist to your designs. With its big letters and bold weight, this font commands attention and instills fear. The details of the letters are carefully crafted to resemble menacing plant roots, adding a nightmarish and eerie touch to the font. Each letter in this font is bold and impactful, demanding to be noticed. The large size of the letters adds to the font's imposing presence. The root-like details in Night Scream give the font an organic and otherworldly appearance, reminiscent of sinister, twisted plant life. These details add an element of the unknown and create an atmosphere of dread, immersing the viewer into a world of dark and chilling horrors. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Night Scream fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

Redfighter is an attention-grabbing display font with a games theme, featuring large letters and a rectangular shape with sharp corners. This font shows large letters that demand attention and make a statement. The generous size of each character ensures maximum visibility and impactful design elements. This design choice allows this font to stand out and grab the viewer's attention with its imposing presence. The rectangular shape with sharp corners in Redfighter adds a sense of structure and strength to the font. The clean lines and defined angles create a visually bold and striking appearance. This unique feature evokes a sense of power and precision, reflecting the intensity and competitiveness found in the gaming world. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Redfighter fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other projects that aim to create a strong visual impact. 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.

Wooden Alphabet is a peculiar wood texture and shape-inspiring display font having unique, attractive letter designs in prominent uppercases along with wood textures to express natural nuances. All of the font letters are very carefully, smoothly designed in detail as if they were made of real wood. In fact, wood textures on the letters leave the impressions of warmth and nature on the designs. Wooden Alphabet excels at the ability to create natural impressions and warm nuances in order to make your designs look interestingly different for increasing the product’s attractiveness. Such a wood-themed font is a perfect match for any nature, environment, or organic related products. To be greatly legible, you can use it for big text sizes. Wooden Alphabet provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Wooden Alphabet fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, 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.

Sofia Pro is a geometric sans font family who dares the modernism and the harmony of the curves. Created in 2009 and completely redesigned in 2012, it has become over time a popular alphabet and has received many accolades from graphic industry professionals. It has very rounded curves with very open terminals that makes this font family elegant, friendly and contemporary. Sofia Pro has been designed with a higher x-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences, circled numbers, and more alternative characters to give personality to your projects. This typeface already has a powerful home kerning system called “Pro Kerning”. With all its specificities, Sofia Pro is a geometric sans that can meet the needs of professionals who want a family of clean geometric font; elegant with a wide character set for more than 130 languages of Western Europe, Europe Eastern, Central Europe, Greek and Cyrillic for international communication.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

Scary Notes is a spine-chilling display font designed to evoke fear and horror. With its big letters and bold weight, this font demands attention and is sure to send shivers down your spine. The details of the letters are meticulously crafted to resemble brush strokes, adding an unsettling and handcrafted touch to the font. Each letter in Scary Notes is bold and commanding, creating an impactful presence that cannot be ignored. The big size of the letters adds to the font's intensity. The brush details in this font give the font an organic and chaotic appearance, reminiscent of chilling hand-painted writings. These details add a sense of unpredictability and terror, immersing the viewer into the world of horror and fear. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Scary Notes fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any project that requires a terrifying touch. 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.

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

Introducing Gadimon Layered Bold Script. This font is used with layers method, so it can generate interesting fonts to see, you no longer need to worry about how to make effects on the text. Use the Gadimon Basic style for purposes without shadow effect and when spacing is important for a project. Gadimon is suitable to use as a logotype, product designs, labels, watermark, social media posts, apparel, invitations, signboards, sports club, motor/car, special events or anything that need handwriting taste. What you get: - Gadimon includes capital and lowercase letters, Alternates, and Ligatures - Numbers + punctuation - Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

The Parisii was a small Gallic people settled in the current Paris region, which gave its name to the city of Paris. According to Caesar (53 BC.), their main town (oppidum) was Lutetia (Paris). Parisii was born of inspiration to be leafing through some old magazines on the terrace of a cafe in the beautiful city that is Paris. Parisi is like the city: casual, youth, romantic, free spirited and, at the same time, sophisticated, elegant and classic. The Parisi family font is a lovely and casual handlettering script, which is based on gestual calligraphy. Parisi has a slight bounce and intentional irregularity giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Parisi consists of 3 subfamilies: Regular, Italic and Condensed. This font includes Parisi font has OpenType features such as Stylistics and Contextual alternates, swashes, Standard and Discretional Ligatures, stylistic sets and ornaments that allow you to mix and match pairs of letters to fit your design. This will help your creativity and make it easier to make the impressive and elegant typographic work. This OpenType features may only be accessible via OpenType-aware applications, a Central European language support. Parisi looks lovely on wedding invitations, greeting cards, logos, business-cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

Cas Pixalatte Typeface - Dive into Y2K Nostalgia with Pixel Perfection Unleash the power of pixelated aesthetics with Cas Pixalatte Typeface, a cutting-edge font inspired by the iconic Y2K era. This unique typeface is a masterful blend of typography, graphic design, and pixel art, crafted to infuse your projects with a distinct visual style that's both nostalgic and contemporary. Two Distinct Pixel Font Styles Tailor your designs with precision by choosing between the 'Regular' and 'Rounded' styles, allowing you to achieve the perfect balance between retro charm and modern aesthetics. Multi-Language Support Cas Pixalatte goes beyond borders, offering comprehensive support for Latin-based languages across Western Europe, Central Europe, South Eastern Europe, South America, Oceania, and Esperanto. Why Cas Pixalatte? Here's what sets it apart: Visual Versatility: Whether you're working on a gaming interface, website design, or branding project, Cas Pixalatte adds a unique visual flair, making your creations truly stand out. Easy Integration: With a range of file formats, seamless integration into your design workflow is guaranteed, ensuring a hassle-free creative process. Global Appeal: Break language barriers with multi-language support, allowing you to reach audiences around the world without compromise. Elevate your design, embrace nostalgia, and make a lasting impression with Cas Pixalatte Typeface. Discover the possibilities, unlock creativity, and transform your projects into unforgettable visual experiences.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. It is an extensive type family, with versions for both formal and informal applications. Alverata consists of three different fonts: Alverata, Alverata Informal and Alverata Irregular, that variate in form and width, but maintain the same spirit. The ‘irregular’ version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata PanEuropean includes Greek and Cyrillic relatives. The typeface strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.

Biloner is a font in simple, clean sans serif base forms. Its letters have no ornaments and serifs making them look modern and simple. The firm, straight letter shapes look strong and evident. This font shows enlarged capital letters to create a brave, prominent look enabling it to be the center design and to make an explicit message. Despite its original sans serif font base form, Biloner adds detailed brush touches to the letters to give extra rough textures on the letter lines. The brush scratches are on the edge or certain parts of the letters adding dimensions and attractive visuals. Fortunately, this font is applicable for any text sizes thanks to its great legibility, and you may also enjoy the available features here.) Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Biloner’s flexibility enables it to adapt to any design styles, either the modern and contemporary, or brave and creative ones. It surely fits for any design contexts such as titles, posters, book covers, and brandings. 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.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

This is the first true pixel-font released by CheapProFonts. It may not be the first font based on a 5x5 pixel grid, but it probably has the best language support. The glyphs have all been optimized for Flash (by making the pixel shapes slightly overlapping) and should render sharp and perfect when set in 10px size (or multitudes of 10). As with all pixelfonts: make sure to place the text at coordinates with whole numbers, and always use left (and NEVER centered) alignment. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often , the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts: each character is partly covered by its predecessor creating a three-dimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features (GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg , the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants , a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes.

Have you ever searched for a font that looked like it was really someone's handwriting, only to find that it was too feminine or too hard to read? I used to want a font like that, too, until I discovered that a font like that had been residing in my attic, in letters to me from my late grandfather. Not only was I thrilled to have a font like this at hand, but also one that would be a memory of my grandfather every time I used it. He was a hard-working man, raising a family during the Depression, yet was still fun-loving, kind, and generous. We called him Grandhappy. As a wedding present, I received from him rolling pins and a cutting board made of 8 different kinds of wood that he pieced together. In this font, the bullet is a rolling pin in honor of that! Other than the fact that this is a font from the hand of one greatly loved, my favorite thing is that although a True Type Font, it has some features of an Open Type font. There are many alternative letter choices available through the use of little-used keys on the keyboard and alt codes. This font was chosen to portray Jay Gatsby's handwriting in The Great Gatsby (2013).

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Sedid, “solidity; It is an Arabic term meaning “righteousness”. In particular, the correctness and soundness of a word is indicated by this word. The fact that I gave this name to the writing family is to point out its accuracy and robustness. This typeface, which is sans serif, consists of three families: ▪ Sedid: Font family containing Latin letters ▪ Sedid Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Sedid World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Those who want to meet a new face of writing for their works and projects and make a difference in their work should meet the Sedid writing family. This typeface is as serious as it is affectionate, and solid as well as elegant. The Sedid font family can be used as a text and title font in all publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites. Sedid also has a pleasant-looking, flexible face with smooth lines and transitions. The inner and outer spaces of the font are proportioned so that the text can be read easily. Sedid font family consists of 14 fonts, seven plain and seven italic. The font family includes open type features, as well as a large number of ligatures, small caps, modifiers, and currency symbols of many countries.

Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version. Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other thus giving your design a fully authentic look. There are also stylistic alternatives, which offer different style to a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, k, t, y. Lastly, is a large set of swashes, 3 for each letter they accompany. For the most part this includes the whole uppercase alphabet as well as lower case letters with an ascender or descender. Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

We have updated TT Rounds Neue! TT Rounds Neue was released as a logical continuation of the TT Rounds and TT Rounds Condensed fonts, more modern and technically advanced. In the update, we have preserved the visual nature of the font, the proportions of the letters and the balance between bold and thin faces. We have made the typeface even more functional and convenient by fixing technical flaws, expanding the character set and adding a full-fledged variable font. In the new version of TT Rounds Neue, you will find additional extended Latin and Cyrillic characters, updated kerning and hinting. The font can be used for headings or for text typesetting. The typeface is optimized for web, print and packaging design. Thanks to its soft character and rounded shapes, it is suitable for decorating baby food and eco-products. TT Rounds Neue consists of 3 subfamilies: Compressed, Condensed and Normal. There are 55 faces in the font: 27 upright, 27 italic, and 1 variable font. Variability is across all three axes, thickness, slope, and width. Each style has 684 glyphs. The font has 29 OpenType features, including ligatures, a set of alternative characters, old-style figures, and many others. ?Please note that we are removing the TT Rounds and TT Rounds Condensed fonts from the marketplace, but you can still get them by contacting TypeType's commercial department directly commercial@typetype.org TT Rounds Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, salt, liga, dlig, calt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10 TT Rounds Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chiga, Embu, Gikuyu, Gusii, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Tsonga, Tswana, Vunjo, Xhosa, Zulu, Maori, Alsatian, Aragonese, Arumanian, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsican, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapu?k, Vo?ro, Walloon, Walser, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua,, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Ossetian, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Shor, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmykk