MandyHand is a lighthearted handwriting font with a casual tone. It contains four sets of alternates to accurately imitate the variations in handwriting, with OpenType code to randomise repeat letters. This font also contains full language support for all Latin languages including all European langauges.

Auliya Rahmah is a bold serif font, and is trendy, contemporary in style. This font is PUA coded which means you can access all the glyphs and swashes easily! Fall in love with her incredibly versatile style and use it to create spectacular designs!

La Bisane is a sans serif family with eight weights, and eight italics. It is suitable for your word documents, editorial design, packaging, web text, and many other projects. La Bisane is also equipped with alternates that are easily accessible with the PUA code.

Sign and Design JNL is a casual brush alphabet modeled after an Alf R. Becker design that appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

Cigra is a standout display font that is an ode to fashion typography in present day. It's elaborate curves and unique shapes make it perfect for headings, logos & wedding invitations. Cigra is all class so if you want a stylish font that is guaranteed to draw the eye, then this is it! The alternative characters were divided into several features such as Stylistic Sets, Stylistic Alternates, Contextual Alternate, SWASH and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full What’s Included : Web Font Hundred of glyphs Alternates and Ligatures Punctional Works on PC & Mac PUA Encoded Characters - Fully accessible without additional design software. Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. Fonts include Multilingual Support Extended Latin

P22 Saarinen is a typeface based on the architectural lettering of Finnish American architect Eero Saarinen.The Saarinen fonts were created to help commemorate the 75th anniversary of Kleinhans Music Hall in Buffalo, NY, which was designed by Saarinen in collaboration with his father Eliel Saarinen and is recognized as one of the greatest concert halls ever built in the United States. Saarinen’s own lettering styles were combined with various lettering manual suggestion for proper lettering to create a flexible casual lettering style in regular and bold weights. The Pro fonts include multiple variations of each letter for a more natural lettering style as well as stylist in variants to achieve various highs for crossbars and other customizable variants. The Pro fonts also include Central European character set, fractions, small caps and an array of hand drawn directional arrows. Individual non-pro versions feature: Saarinen Regular - characters with low cross bars Saarinen Alt 1 - characters with high cross bars Saarinen Alt 2 - characters with mid cross bars and old style figures Saarinen Arrows - bold and regular arrows combined in one font

Inspired by a small fragment of sign-written lettering, discovered by accident, Snag is a robust mono-line font with small, pointed tips on its terminations. These embryo serifs are inspired by the legacy of a sign-writers brush, and add an overall texture and character to this, otherwise minimalist, style of lettering. Snag has a warm and traditional feel with a modern clarity. A strong component for a multitude of graphic design functions, including packaging, shop fronts, bar signs, advertising and clothing. Snag features a large glyph set, suitable for Latin-based languages worldwide.

ITC Verkehr was designed by Mott Jordan, who based its forms on those of narrow sans serif typefaces but also chose a departure from the tradition to set the font apart from the rest. The upper half of each character is heavier than the lower half, although this is usually the other way around. Diagonal strokes, like the horizontal of the lower case e, relax the otherwise regular, bar-like look of the font. ITC Verkehr is suited exclusively for use in headlines and display in larger point sizes.

Spritz And Delicious is a modern typeface with a traditional heritage. Captivating and blending the ruggedness of a saloon's wooden sign and the elegance of a Victorian tea room's menu, Spritz And Delicious is a typeface where the subtle hint of serifs adds a unique flavor, a nod to its vintage inspirations. At its core it remains a robust sans-serif, maintaining a fresh, modern twist. Provided in Regular, Bold, Italic and Bold italic, this font family is as diverse as it is refined. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this creation is type designer Mans Greback.

Spy Royal is a junctionless script typeface and comes in 6 styles. It’s a hybrid between script and so called streamline fonts. The origins are based on an advertising by Japan Airlines, dated around 1954, offering flights to San Francisco, Honolulu and Okinawa in the new DC-6B “Pacific Courier” airplane. Only the letters for the words “JAPAN AIR LINES” were used, so that the creative part was to reimagine a full font out of just a handful of uppercase letters. Originally released in 2004, Spy Royal was now undergoing a major rework and is now republished with additional styles like shadow-lines and 3D-shadow. Its charm is manifold, we think everything related to cars, racing, hot rod, vintage, cocktails, retro, restaurants, gasoline and of course airlines will look great in Spy Royal. Spy Royal includes alternate characters, ligatures and West European diacritics.

Sellyna Brush is a handwritten script font, based on free-flowing, friendly, and organic signature style expressions. hand painted with love. Sellyna Brush is available with alternative ligatures and characters in the Open Type Feature. Perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm. How to access all alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Sellyna Brush is coded with Unicode PUA, which allows full access to all additional characters without special design software. Mac users can use Font Book , and Windows users can use the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Thanks a lot for viewing and let me know if you have any questions.

Structorator is a grid-based, experimental display font. This typeface emerged from experiments with generative type design. It evolved from a piece of code into a fully usable opentype font. The two main features are its rigid but playful design and a multitude of alternate glyphs. These features make it possible to create interesting lettering when using the default spacing. The glyphs are constructed from a limited set of patterns which are arranged within a predefined grid. The line thickness corresponds to the different cuts. Due to the rather complex shape this font will look best in larger sizes and resolutions. Its best suited for headline, display or illustrative work. - 3 weights: light, medium and heavy - 5 character sets - 3 number sets - Basic punctuation - Seperate diacrits - Ornamental glyphs - Access via stylistic sets *OT feature - Random access from the whole range of chars *OT feature - Total of 1062 Glyps

Introducing Hayate, a resilient small-cap typeface that draws inspiration from the strength and texture of sliced bamboo. This typeface features a rugged design that is perfect for creating a bold and impactful message. With its Japanese influence and subtle nod to the American pseudo-Asian restaurant aesthetic of the twentieth century, Hayate evokes a sense of nostalgia and intrigue. However, it’s important to note that this font should be used with care. In certain contexts, it could be seen as culturally insensitive and contribute to casual racism. Before using Hayate, take a moment to consider the message you are trying to convey and ensure that it aligns with your values and beliefs. By using this font thoughtfully, you can create impactful designs while also being mindful of cultural stereotypes. Choose Hayate for a typeface that’s as strong and sturdy as the message you want to convey. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Picture this: the smell of freshly-grilled shiitake mushroom burgers wafting through the air, the sound of sizzling plant-based steaks on the grill, and a cold drink in your hand. It’s barbecue season, and you want your message to sizzle just as much as your food. Enter Charbroiled, the scorched and antiqued typeface that will take your design to the next level. Inspired by the classic American Italic from 1902, Charbroiled has a rustic and natural design that will add panache to any message. But Charbroiled isn’t just any old font. Custom letter pairings are automatically swapped to achieve a more genuine look, giving your design that extra edge. With its bold and distinctive style, Charbroiled will make your message stand out in any setting. So fire up the grill, crack open a cold one, and let Charbroiled do the talking. Whether it’s for a barbecue invitation, a restaurant menu, or a summer sale flyer, Charbroiled will give your message the perfect touch of authenticity and style. Get your message across with Charbroiled, and make your design sizzle! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

This font is great for CD covers and posters.

The character set is short but make no mistakes, it is complete. Illegible, unreadable, unusable, this overly-geometric sans adheres to a set of rules just barely allowing an alphabet. But, hey it's free.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Gulim™ features plain strokes similar to sans serif designs, and works well for on-screen display such as user interfaces. This Gulim font file is 5.2 MB in size. Gulim is a trademark of Microsoft Corporation. Gulim Character Set: Latin 1, Korean code page 949

Minangrasa is a blackletter inspired by traditional houses in West Sumatra, Indonesia which are shaped like cow horns. It's bold and fun with a retro twist. Using all caps results in very stylish text, while combining capital letters produces text that is very easy to read.

Ardegan is a vintage and elegant serif font. Looks cool on various designs that require style such as wedding invitations, greeting cards, logos, fashion, photography, and so on. Ardegan The scenes are PUA coded which means you can access all the glyphs and sweeps with ease!

Kora Vibes is an elegant and modern serif font with a luxurious feel. Perfect for any title or large font, emails, magazines, book titles, movies, notes, brands, logos and more. This font is PUA coded, which means you can easily access all the glyphs and swashes!

Batang™ Korean font features a mincho (serif) stroke style. This Batang font file is 6.9 MB in size. Batang is a registered trademark of the Microsoft Corporation. Batang font Character Set: Latin 1, Korean code page 949. Batang is available in TrueType and OpenType font formats.

Feisty (2020) is a straight script bold using magic OpenType automatically at mimic real hand lettering. Use it for magazine, fashion, invitations, greeting cards, bussines card, logo, t-shirt, web banner, book cover, campaign and watermark photography. Feature Presents an advanced OpenType to automatically choose the appropriate letter shape as you type based on whether the letter appears at the beginning, middle or end of a word. The width of the bar in the lowercase "t" can be changed as desired. Has two different styles of caps: Normal caps, which are the same style as the lowercase; and a type of Comic font, plain caps for setting acronyms, roman numerals or any other case that calls for all caps. With extended language support for most Latin-based Western and Central European languages. Automatic all fractions. *Requires an application with support for OpenType advanced typography, such as Adobe Creative Suite and QuarkXPress.

This handy font allows designers of commercial products to add basic circled letters that are uniform in appearance. For example, on music CDs, the Copyright and Publish (AKA Phonogram) symbols often do not match. While most fonts include a circled 'c' for Copyright, they seldom contain a circle 'p' for Publish (note that all P22 fonts include the circle 'p' and 'c'). The circle 'U' and 'K' for Kosher foods are rarely included in fonts and have to be made as needed. This single font contains both a serif and sans serif style caps A-Z as well as figures assigned to regular keys and also mapped to standard Unicode for "Enclosed Alphanumerics".

Linotype Sicula, from German designer Roberto Manella, 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. It is available in two weights, regular and oblique. Linotype Sicula will quickly win over any nostalgic spirits. Ornamental and sweeping, the figures line up on the paper, their contrasting strokes and playfully irregular forms giving them an exuberant, decorative character. The careful details of each figure come to light best when used in larger point sizes. Linotype Sicula is therefore best for headlines and can easily inspire typographic experiments and its capitals can serve as initials combined with other typefaces, especially sans serif.

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

Bougainville was inspired by many of my favorites and has been on the drawing board in excess of ten years. Only this year I decided to expand the original 1994 design to include other weight variants. The quirky Binner Gothic-inspired high axis and its funky g, rounded e, angled stroke endings together with the influence of contemporary designs such as Officina Sans, Din Mittelschrift and MetaPlus, Bougainville exhibits a similar flavor and compactness to Bodega Sans. This typeface family has been named in honor of the renowned eighteen-century French mathematician and explorer Louis-Antoine de Bougainville to whom we owe the naming of South Sea Islands and colorful tropical flora he discovered along his journey. Bougainville makes for effective headings at any size and is equally readable at semi-display sizes.

Poster artist A.M. Cassandre designed one of the most evocative typefaces of the Art Deco era, Bifur. This type was unusual in many ways, but one of the most distinct features was that besides a regular one-color font, it was also available as a two-part font for a chromatic treatment which was highly unusual for metal typefaces. This "bifurcated" type is almost impossible to find in print shops or even in specimen form. It has however become recognizable as a true icon of the Art Deco genre. The IHOF version of P22 Bifur features the addition of a lower case alphabet as well as multiple options for the shading layer, allowing for a wide range of design applications from straight-forward Deco headlines, to abstracted and de-constructed experimental design.

Arnold Therhoernen. (Arnoldus ther Hornen, Drucker des Dictys , Arnold ter Hoernen, Arnold ther Hoernen, Arnoldus TherHornen.) Who was this guy? He was a printer active in the city of Cologne, having graduating from the university there. He learned his craft under Ulrich Zell. He printed books from 1470 to 1482 when the plague carried him off. Was he just another printer of the era? No, he brought out the first edition of the "Fasciculus temporum'' (The most popular work by a living author at that time.) And he was the first to use both a title page and page numbers. His page numbers, an idea probably suggested to him by Werner Rolevinck, were interesting in that they were centered half way down the page on the outer margin and were set in Roman Numerals.

TWT Pavane is based on the calligraphy of Art Nouveau designer Rudolph Koch. Chelsea Studio is based on hand lettering from architectural sketches by Charles Rennie Mackintosh.