Cute, curly, & very "little missy", Girltalk was specially designed for the pre-teen & young-teen market. Its design was inspired by the kind of curly handwriting that junior school girls use for notes to each other, diary entries, autograph books etc. Pretty & feminine, with a large dose of cheek, Girltalk is a must for all marketing media aimed at the 7-14 age group: -- “girl style” stationery -- diary covers -- clothing hang-tags -- party invitations -- greeting cards -- book covers -- movie posters -- CD covers -- toy and game advertising media Girltalk can also be used for "big girls"! Great for hen parties, baby showers, pamper parties and other occasions that bring out the "girl in" women. Think pink, think hearts & flowers, think ribbons & bows, add Girltalk to the mix, and you have a winner! Girltalk has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

The Metalista font was created as a sign of undying admiration for the persistence of heavy metal culture. The angled font of almost fixed width proportions combines capitals with small letters for more variety and better definition of individual letters. Stressing the horizontal strokes subdued the historical Gothic character and emphasized a more modern signature, which is far different from the majority of current attempts at a modern adaptation of Fraktur fonts. We offer Metalista in three styles, or rather widths to be exact: Speed is inspired by the whiplash pace of 70s and 80s speed metal, and can tell and perform a lot even in a very small space; uncompromising Death balances on the fine line between expression and readability; and Metalista Black is the universal go-to, whether as megalomaniacal titles sprawled across the entire LP cover or as tiny texts for glam rock CD booklets.

This pearl by Kevin King was the best faux chinese font I've ever come over, and now it can be used for setting themed text and menus in many more languages! :) Kevin King says: "I have said before you know - I can if I want to (Stamp! Scowl!). Cod Chinese of the worst kind, I wanted a "Chinese" font for a project and couldn't find what I wanted. I painted this font with a Chinese brush and imported the resultant mess - it's been a while since I did any Chinese calligraphy - add that to the fact that I don't read or speak Chinese..." 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.

Scrittura was inspired by Anton Scholtz’s font, Honeybird, and developed into a contemporary variation with three styles. Scrittura Moderna: sleek and calligraphic. A dramatic, vigorous yet elegant font, whose upright letter shapes flow into each other like molten gold. Use Moderna for marketing cosmetics and clothing, for book covers, greeting cards, wedding stationery. Scrittura Antiqua: weathered, almost grungy. A new font with an “antique” look , reminiscent of ancient parchment manuscripts. Use Antiqua for certificates, medieval banquet or wedding stationery, theatre posters and programs, and book covers. Scrittura Fantasia: magical and ghostly. A slightly distorted, evoking Halloween, the Day of the Dead, and your favorite horror movie. Use Fantasia for horror comic covers & posters, horror movie posters, CD covers, Halloween material. The font contains over 272 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It also includes "open-type"characters to enhance the flow of the text. It has all the accented characters used in the major European languages.

TA-kirigirisu is the most popular designed font in Japanized font. TA-kirigirisu is one of the representative works designed by Yasushi Saikusa who is famous as a typographer in Japan. TA-kirigisu is used in book covers, flyers, POP advertising, TV commercials, and Web designs everywhere in Japan. It looks superficially imbalanced, but then it also projects an image of attachment. TAキリギリスは、日本語のデザイナーズフォントの中で一番人気の有るフォントです。 フォントのデザインは、有名な七種泰史がデザインした代表作品のフォントです。 日本国内では、本の表紙、フライヤー、POP、TVのCM、Webデザインなど至る所で使われています。　一見アンバランスに見えるデザインが愛着のある可愛らしさを伝えます。

Richy unique chic font with any beauty shape and fancy ligature suitable for brand and logo design. Crafted by graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with a classy shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, chic, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah cb ch eb eh ak am ck cm ek em an ap cn cp en ep ar cr er ca ea ss ob oh ub uh ib ih ok om uk um ik im on op un up in ip or ur ir ka at ga Richy-font is also included full set of: uppercase and lowercase letters multilingual support numerals punctuation Wish you enjoy our font. :)

Peppo is an informal, simple, readable and easy-on-the-eyes handwritten typeface inspired by hand-written script. Each font providing an organic and spontaneous hand lettering feel. Combination of 12 styles (3 widths and 4 weights) and wide range of glyphs guarantee high freedom and flexibility of typographic work. Peppo typeface includes extended Latin characters with capitals, small letters and small capitals, lining and old style figures, superscripts, scientific inferiors, currency symbols and arrows. You can use this font to create childrenís publications, posters, CD labels, T-shirts, coffee mugs, and banners. Important technical notice: Combining diacritical marks (U+0300, U+0301, U+0303, U+0309, U+0323) are only 'compatibility characters' for codepage 'MS Windows 1258 Vietnamese'. Combining diacritical marks (U+0312, U+0315, U+0326) are only 'compatibility characters' for Czech, Latvian, Romanian and Slovak language. OpenType features 'Mark to Base' and 'Mark to Mark' is not supported. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

The Art Nouveau styles of the the turn of the 20th century (1890 - 1905) exhibited a bold approach to organic lines and lavish decoration. This new style was spread throughout the world and helped usher in a new era that led to modern art and design. Art Nouveau SCF is strongly influenced by the style of decoration and typography created by Rennie Mackintosh as well as the Art Nouveau movement in general (with particular reference to Gustave Klimt and Alphonse Mucha). However, it differs from much of the art nouveau typography in that it largely avoids the use of straight lines in its letter forms. It is a decorative, romantic font and its subtly curved bolder lines contrast with delicate tracery to create an intricate pattern of organic flowing shapes. Use Art Nouveau SCF for: -- posters -- wedding invitations -- advertising material for clothing and beauty products -- Music CD covers and advertising media -- Film advertising media

Rahere Sans Inline is a bold, no-nonsense display font featuring an inline that imbues the design with classic overtones while still looking modern. It’s imposing without being overpowering and practical but not boring. As part of the expanding Rahere typeface family, Rahere Sans Inline is specifically designed to complement both Rahere Sans and Rahere Roman Display, pairing beautifully when used for headings, stand-out quotes or drop caps. Whether you’re in design, marketing or advertising, Rahere Sans Inline is a versatile display font suitable for all types of applications including: Design, advertising - posters, leaflets, brochures, adverts, books and banners Publishing - magazine covers and editorials and book covers Music, film - DVDs and CDs Announcements - offers, events, birthdays and anniversaries Rahere Sans Inline is a capitals-only font with small caps in the lowercase slots and matching numerals, plus a few ligatures. The following languages are supported: Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility. DAVISON SPENCERIAN CREDITS: Typeface Design: Meyer “Dave” Davison Typeface Digitization: Mitja Miklavčič Typeface Direction: Ben Kiel and Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Inspiration The pounding tribal rhythms of Afrobeat music is expressed through this psychedelic brand new font, Afrobeat. Every letter becomes art as every letter is elegantly placed side by side, like music notes, creating music for the eyes. Afrobeat is a musical style performed by many African artists such as Fela Kuti, Femi Kuti, Antibalas and many more, which is a fusion of jazz,funk, and psychedelic rock, originating from the 60s and was based on the political movements of Nigeria. The Font This font is perfect for when you want to use eye-catching big texts for anything from posters and flyers for concerts, events, parties, to CD covers, advertisements, and art, but it´s especially striking for printed projects. Afrobeat Light thinks green Think green. With Afrobeat light you save up to more than 35% of your ink toner. Being green in no longer a luxury, but an an essential. By using Afrobeat light you openly demonstrate that your company integrates the 3 Ps into its operations: People, Planet. Profit. Go ahead - be green! Check out also the original ‘Afrobeat’

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Now, more than ever, the world needs BenderHead. Why? – Because... it just does. Don't ask why, just take our word for it. BenderHead has its thicks and thins all mixed up. For you typographic aficionados, stroke weights and hairline weights aren't consistent, and many rules of typographic design were broken to make this font. We're sure there's a use for it... we've used it on CD covers and posters - and have seen it on a poster for the Zelda video game at Babbages. It's offered here for the first time through Altered Ego Fonts. I don't think we need to explain its history, its inspiration, or its historical reference to you... (we're not certain there is any.) Just accept it as it is, and use it profusely. Benderhead AEF features a full character set, including the Euro. It supports the following codepages: -Latin 1 -Latin 2 (Eastern Europe) -Western Baltic -Turkish AEF highly recommends the OpenType version for compatibility with future Macintosh and Windows operating systems. Not to mention they work better in Adobe InDesign.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

ULGA Grid Rounded is the smooth, rounded sibling of ULGA Grid and ULGA Grid Solid. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. ULGA Grid Rounded features a rounded square design, giving this typeface a soft, yet sturdy appearance. A contradictory mix of stiffness and suppleness, characters slide around like lead-filled snakes trying to find their way through a maze. If this typeface were a snack, it would be a smooth, chocolatey treat - too much of it and you’ll feel dizzy and a bit sick. But, hey, I’m not your dad, do what you want. Learn from your mistakes, that’s what I say. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, name badges for robots, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Solid, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Rabigail is an unique and very elegant font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah am an ar ak ap at oo cb ch ck cm cn cr ct eb eh ek em en ep er ub uh uk um un up ur st tb th tk tm tn tp tr tu ty fl fi ff ft oo cra ee ga gi it UPDATE v2 - New Additional Ligatures: ob oh om on op or Wish You enjoy it. :) Rabigail is also included full set of: uppercase and lowercase letters multilingual symbols numerals punctuation Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help :)

CONCEPT/ CHARACTERISTICS The lava/soap/pudding character of the font reminds us of a modern bitmap pixel font. »Curly lava bubble« goes even further. The rectangular hard edges expands to soft and almost organic forms. APPLICATION AREA The fancy, modern & decorative font »curly lava bubble« would look good at dis­play size for party flyer & movie pos­ter, music covers or head­lines in maga­zi­nes or websites… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Decorative Font »curly lava bubble« with 3 stlyes (light, regu­lar, bold) & 305 gly­phs inkl. accents & € KONZEPT/BESONDERHEITEN Der Lava/Seifenblasen/Pudding Charakter der Schrift lässt an eine moderne Bitmap Pixel Schrift erinnern. Wobei »curly lava bubble« noch weiter geht und die harten rechteckigen Kanten zu weichen und fast schon organischen Formen ausbaut. EINSATZGEBIETE Der Font würde sich über fol­gende Gebiete sehr freuen und sich dort wohl füh­len: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten­Co­ver, CD-Cover, Pla­kat­De­sign, Game- und Video­spiel-Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher, Web­sei­ten… TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Deko Font »curly lava bubble« Open­Type Font mit 3 Schrift­schnit­ten (light, regu­lar, bold) & 305 Gly­phen inkl. dia­kri­ti­sches Zei­chen & €

Linotype Punkt, from US designer Mischa Leiner, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This font, from US designer Mischa Leiner is available in three weights, light, regular and bold. The basic forms are those of a robust sans serif, however the figures are composed of evenly placed dots, hence the name Punkt, the German word for dot. This distinguishing characteristic lets this font look as though it appears on a background of light. One other unique trait of this font is the nature of the three weights. The figures of each weight have exactly the same measurements, the same width, breadth, etc. The only variable measurements are those of the individual dots making up the forms, making the bold weight much darker than the light while retaining the same outer contours. Linotype Punkt should be used in larger point sizes, as when it is too small the dots blur together and rob the font of its 'light'. The font is therefore best for headlines in large and very large point sizes.

Stagen is a cloth with a length ranging from 5-10 meters and a width of about 15 cm which is usually used by traditional Javanese women as part of the traditional kebaya dress. The stagen is wrapped around the stomach to help maintain posture and "lock" the jarik cloth on the kebaya. Stagen existed before World War II in Indonesia and became an elegance in the harsh world at that time. Inspired by the rich culture, Stagen is a modern sans serif typeface that has an upright and sturdy impression, with unique curves in it. A simple, yet distinctive, elegant font that can be applied to many areas of design. Coming with 130+ stunning and super easy to use alternates and ligatures. Very suitable for magazine, headline, website, ads, product package and all type of design project you have. Features: OpenType support Multilingual support (15 languages) PUA Encoded Super Easy to Use alternates - It's OpenType support but you can easly call alternates character using special combination like A.2 R.3 L.A L.a etc so you don't need special software. To get results like the preview just type Sta.gen.

Bruney is a Classy and Unique font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more classy and unique, here we prepared some ligatures: KA KI KU KE KO LA LI LU LE LO RA RI RU RE RO EB EH EP ER EK HB HP HK HR TB TD TE TF TP TR TT UB UD UF UK UM UN UP UR VA WA AB AD AR AV AW CK OO OC CA CY EA EB ED ES GB GH GK GB GR HB HP HR HK KB KD KS EY FY LS ME MU MB MD MF MH MK MP MR NN SO RS SB SD SE SF SP SY SR ST SS LL UN CS Bruney is also included full set of: uppercase letters multilingual symbols numerals punctuation Wish you enjoy our font. :)

Sleeve Notes: A font from the analogue age. Inspired by album covers and hand-written song lyrics. Sleeve Notes is an experimental script font and all-caps pair with a loose hand-written style that explores the golden-age of record stores, vinyl albums, cassettes and CDs. It imagines our teenage selves kicking back with a coke (oversized headphones on) discovering a new band and studying the notes on their latest album. Besides production credits, the best sleeves (otherwise known as liner notes) included photos, cool artwork and hand-written song lyrics that gave the listener a human connection to the mind of the artist. This font embraces it's subtle ink blotches and rough edges; all imperfections that build to create a sense of a hastily written lyric, set-list or just a fun little scribble. The package includes six fonts in total; the regular script with two complete sets of alternatives, then two sets of all-caps, and finally the special characters font that features a decorative alphabet plus symbols and underlines. For authentically retro, hand-made looking lettering, it's a great choice and offers the flexibility few other fonts can match. Check out all the visuals to see it action!