Quiroh is a functional typeface that expresses both artistic life and emotion. Taking its inspiration from the industrial revolution of the 19th Century where romance and science coincided. With a cushioned finish and designed according to traditional conventions, the sentiment is equally as important as the reason, resulting in a very pleasurable read. Quiroh includes both heavy display weights and lighter weights for small copy, it's a perfect tool for communicating to the masses. Tall ascenders and descenders give the typeface a distinctive look with an elegant feel, and while these expressive forms invite the reader to observe its visible shape and appearance, its rhythm and function invites the reader to peruse at their leisure. Full details include 7 weights from thin to heavy with over 470 characters, manually edited kerning and OpenType features.

Discover Meishu, a captivating Japanese brush font that combines the beauty of traditional calligraphy with modern design elements. With its strong and natural stroke style, Meishu brings an authentic and artistic touch to your projects. This versatile font is perfect for various applications, including logos, labels, magazines, books, greeting cards, packaging, novels, and advertising materials. Meishu captures the essence of Japanese brushwork, evoking elegance and grace in every character. Its blend of uppercase and lowercase letters adds visual interest and flexibility to your typography. The font also includes numbers and punctuation marks, enabling seamless integration into your designs. In addition to its aesthetic appeal, Meishu ensures multilingual support, allowing you to communicate your message effectively across different languages. Whether you're creating a design for a local or international audience, this font has you covered.

Gramatika is a typeface family of sans serif from the neo-Grotesque styles. There are four different weights available, ranging from light to bold. Each weight is equipped with an italic style that is a bit like an oblique style and lifted by some unique characters, with an alternative to the single story ‘a’ for example. Inspired by the famous grotesk typefaces such as Akzidenz Grotesk and Bauersche Giesserei’s Venus Grotesk, Gramatika shapes and styles are consistently adjusted for each character to meet the classic contemporary style, treated with some ciruclar-based characters in descender g, y. By balancing balance and flexibility, Gramatika was established to create alternative communication for current trends. The latest version of this fonts comes with Latin plus script coverage, and supported by the basic characters of Cyrillic and Greek.

Botanique is a hand-drawn typeface based on Schmalfette Bernhard Antiqua by Lucien Bernhard. The original face was released in 1912 by Flinsch Type Foundry, which was later acquired by Bauer. Schmalfette means ‘bold condensed’ in German and Botanique adds a charming roughness to these attributes, evoking an organic and somewhat retro mood. Its uppercase glyphs shine with adorned stylistic alternates and cool blooming swash versions for both initial and final forms, all cleverly programmed into OpenType font features. Botanique is a ​great pick for display purposes, branding, packaging, editorial design, poster work and many more. The original face counts more than one hundred years, but yet communicates quite well, you bet. Specially if loaded with some contemporary flair and smart features such as this one. Let it bloom.

"Welcome to the typographic world of creativity! A display font with a genuinely distinctive handwritten look is called Jazek. Jazek is the ideal option if you want a powerful and distinctive look for your various visual design tasks. What sets Jazek apart? Unrestricted imagination. Jazek allows you the freedom to produce character-rich and distinctive letter designs thanks to the various ligatures and alternates. You have the opportunity to use originality in each assignment. We value effective communication with a global audience, which is why Jazek supports a variety of tongues. Your message will be able to resonate with a variety of global audiences thanks to Jazek. Prepare yourself to produce memorable and inspirational designs. Purchase Jazek right away to see how it can convert any of your projects into captivating works of typographic art.

About this font family Midmoon Gothik was designed for typesetting magazines and information-heavy publications; using simple, clean letterforms for clear communication but with enough character to make it enjoyful. The new lighter weights are a nice addition to the set allowing for finer control over the texture of the page. Features 4 weights; Hairline, Thin, Light and Regular. Multi language Ligatures: fi fl ij ffi ffl fb fj ff fk fh Numerals: tabbed lining, proportional lining, proportional oldstyle Fractions: ½, ¼, ¾, ⅛, ⅜, ⅝, ⅞ Symbols: ¶ § © ® ℗ ™ ° † ‡ ℮ ¢ ¤ $ € ₣ ₤ ₧ £ ₽ ¥ Maths: ⁼+−×÷=≠> Arrows: ↑↗→↘↓↙←↖↔↕ Capital spacing To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. Designed and published by Andy Peat. www.andypeat.com Released October 2022

The first thought that crosses a type designer’s mind upon seeing a slab serif is: I wonder what it would look if it was serifless. And so, after building Henderson Slab , I followed my instincts and gave it a sans serif companion. Henderson Sans comes in seven weights plus italics, each of which casting an eye on the crafty lettering origins of what is now the ubiquitous mode of corporate communication. This sans serif is a glyph-for-glyph match for Henderson Slab , inheriting pretty much all of its features and quirks, like the wealth of alternates and swashed variants — simple, endearing or otherwise. Henderson Sans is a family of seven weights plus italics, all full of open features and extended Latin language support. (Basic version do not include alternates, swashes, etc).

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.

Symbojet is the first professionally designed font equally covering alphabetic and pictographic characters on a large-scale scheme. It’s typographically based on Andreas Stötzner’s recent “Lapidaria” design and uses brandnew standard Unicode-6.0 codepoints for about 340 symbol characters. Use Symbojet for combined text/signage composing to design wayfinding, tourism and leisure, sports and transport matters, for media and communication, for birthday invitations or bistro menu cards … With Symbojet the combined usage of text and signage becomes as easy and elegant as it has never been before. Symbojet is available in a Regular and a Bold version. Both fonts contain about 340 alphabetic (full Latin and Greek) and 400 pictographic characters; in total they count about 1000 glyphs each. The pictographic content is the same in both fonts.

Hello! Inspiration for this beautiful script font I found in “A Source of Solace in Illness” (Trost Bronn der Kranchhen) book, published in the middle of 17th century. There was an entire on the back of the top cover: Joannes Auanger Parochus Sinchingae 1808”. That's why I named my font family Parochus. In the Catholic Church, a parish is a community of the faithful within a particular church, whose pastoral care has been entrusted to a parish priest (Latin: parochus). There are original and regular style fonts. Also, I’ve added some modern symbols. With this set, you can precisely imitate medieval style text. I designed a full uppercase and lowercase set with Multilingual support and ligatures. You'll found ß, &, Š, ę and many other beautiful glyphs. Best, Roman.

The coffee made typography. CoffeeBreak is a typefamily designed by Carlos Fabian Camargo G. Its purpose is to communicate similar feelings to the ones you get when you first try the best roasted Colombian coffee early in the morning. That is the reason of the waiting, accompanied, or when you only want to be, nuances your design with its fonts full of flavor, texture and passion. For each time, every time, it gives you hints of flavor to design your day. It unleashes your artistic streak mixing possibilities as you wish, to your taste or the taste of your friends or that special someone. From handwriting to every warm drop of your first mug of the morning, we've always got something for you. Eye catching, modern, beautiful, cool and adventurous styles in the CoffeeBrwak shop ready for you to purchase. - CoffeeBreak A & B: 2 typographic tools with countless swashes and ligatures ideal for use at the beginning, in the middle or end of words that need italics, flavored dancers and rhythm masterfully expressed in gestural strokes for his calligraphic experimental logic. - Coffee Break Script 1 & 2: write them you can easily with decorative letters advocating a return to the artisan product ingenuity of the primacy of man over machine so your upper and lower case letters travel in a single line. - CoffeeBreak Words & WordsBold: It contains words specially designed to attract attention. - CoffeeBreak Dingbats: They are figurative silhouettes with textures that add warmth and a highly communicative environment. All are easily activated glyphs using the Glyphs panel in Illustrator, InDesign and Photoshop. Special thanks: Ilustrations: Eduardo Gomes. Photos: Karen Salvatierra. Texts: Javier Lineares- Description: Ernesto Googolplex. French translation: Marta Cano

Step into the beauty of Belda’s elegant form and discover the richness flowing from both its historic influence and its strong elements. At its heart, Belda's graceful style embodies the classical calligraphy of the Roman capital, best known from such Roman monuments as Trajan's Column. To lessen the possibility for error, the builders of these defining structures brushed their templates onto the marble before taking their first cuts from the expensive stone. These simple strokes now mark a simple but wonderful path full of life and mystery. Beyond a copy of the past, Belda has grown from its roots to offer a brave, new world of potential through its still-simple structure. The new design strongly contrasts thickness and stroke. Its delicate shape, curves and sharp serifs provide a unique style of harmony and beauty. The resulting balance? The lighter weight design remains subtle and elegant, while the combination in its bolder counterparts provides an intense luster and sparkle, pulling the reader’s eye to the font’s captivating features. A quick look beyond its surface of standard forms also reveals Belda has more layers to discover with OpenType small capitals, titling capitals and more. With a wealth of weights and many widths beside, the font is capable of serving as both text and titling. While especially strong as a movie title or poster font, it’s also great for book jackets, advertising, and packaging. So start your journey with Belda. The possibilities to explore on this path are practically endless. Production assistance from Lucas Azevedo and ikern.

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

Introducing our new product "Drillos" Inspired by the shape of a balloon which has rounded curves so that the font looks elastic and feels soft. Which has a thick volume in each character of the letter. There are lots of script fonts that have character, but this time the font that I created this time is no less interesting and unique. The function of this font is very suitable for use as branding, posters, logos, packaging, labels and other design needs. So this font is one solution that is quite capable for the needs of designers to complete a project. Uppercase & Lowercase, Numeral, Punctuation, Miltilingual, Swash Thanks so much Happy creating! Cheers! Hanief - Hanzel Space

We think of Cherritt as a 'bullnosed' serif face, because of its rounded off serifs. What that phrase may not convey is the friendly, approachable nature of this large family of faces. The design was originally inspired by traditional draftsmens' hand-drawn serif lettering, but has been given a precise geometric flavor that suits it for work owing its inspiration to any era, from Victorian times through to the purely modern. They are ideal for headings and poster work, but also for setting small volumes of text. Four weights are included in the family, as well as wide, expanded and condensed forms, true small capitals and openface forms. All family members embody extensive OpenType features.

Designed for the printing of a magazine, the Fontana Sistema was based fundamentally on the Spanish language as its natural and cultural context. Due to the spanish colonization of America, the spanish language has been influenced by native american terms that enriched it and caused significant changes in both the sound and form of words. These sounds and forms had a strong influence on the identity of text, substantially modifying the nature and the characteristics of the composition. The Fontana Sistema we present is the fruit of our desire to design a font that, based on the spanish language, would endow the publication with identity and at the same time offer a framework for typographic research.

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.

This typeface follows the principles of the numerous and diverse architecture and graphic design works from the most famous Slovene architect Jože Plečnik, and so unfolds a piece of Slovene’s rich, yet still undiscovered typographic legacy. Typeface Plecnik is defined by classical elements and shapes. With classic proportion, humanist stroke endings and low contast, Plecnik comunicates a modern, elegant and sophisticated message. Due to Plecnik's recognisable shapes the typeface remaines memorable and irreplaceable. When used for book and editorial designs, branding, packaging or display, Plecnik will perform in its purpose. Designed in four weights and accompanied with italics, Plecnik also offers a Display style, which is even more distinctive and perhaps even more attributable to Plečnik.

Introducing Pomidorko 2.0, the highly anticipated sequel to the beloved font Pomidorko that has captured the hearts of countless users. This enhanced version has now evolved into a commercial release, offering even more versatility and charm. Designed with a delightful and effortless aesthetic, Pomidorko 2.0 is a perfect choice for children's products, culinary ventures, and book illustrations. Its playful and endearing character adds a touch of whimsy to any design. With both Cyrillic and Latin variations included, this font ensures seamless communication across diverse languages and markets. Multilingual support is included for Western European languages. Don’t forget to test your characters in the font previewer below before purchasing. The Pomidorko 2.0 font also includes Open-type features to make it even more versatile. Unlock the enchanting possibilities of Pomidorko 2.0 and infuse your projects with a dash of sweetness and joy.

Do you want to enhance your branding? Do you dream of getting playfu;, stylish, modern, and adventure font? What if we told you, you only need to change one element to engage and convert your clients? Cold Daylight-A Display Font Cold Daylight is a display font designed to bring your branding to life and add a touch of playfulness, cheerful, and style. We are hoping that through this font, you can maximize your designs! In turn, you’ll communicate the perfect idea to your audiences or clients. The best choice for branding projects, book/magazine cover, fashion designs, quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual Support to make your branding reach a global audience. Features: - Ligatures - Stylistic Sets - Swashes - PUA Encoded - Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

Vertebrata is a serif type family of six fonts, designed by Fulvio Bisca between 2011 and 2014. It embodies features from different ages of writing and history of typography: the solemnity of Capitalis Monumentalis in uppercase and small caps, rhythm of Textura in lowercase, sturdiness of 1800 Slab Serifs in the overall look and feel, and a contemporary modular approach to the construction process. In spite of the geometric genesis of the letterforms, special attention has been paid to optical corrections, in order to obtain a natural and legible design. With more than 500 glyphs per font and carefully designed small capitals, Vertebrata is a complete OpenType family, including multilingual and advanced typographic features. Regular, Italic, Bold and Bold Italic styles are intended for both text and display applications, whereas Black and Black Italic are more suitable for display size settings.

Lupulus is a typeface inspired by the works of german expressionist artist and type designer Rudolf Koch. Drawing inspiration from types such as Neuland and Kabel for some of its features, it possesses a gothic and contemporary essence. Its constant rhythm; strict, solemn, yet boldly exuberant keeps it clean and functional. Its expressiveness allows for a wide range of uses: short texts, headlines, posters and branding, for which it is exceptionally well-suited. Lupulus consists of 17 fonts: 8 weights, 8 italic variables and one free ornamental variable. Featuring alternate characters, it is a comprehensive and versatile set built to suit your design needs. It comes fully equipped with Opentype for any and all technical requirements. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Type Foundry On facebook W Type Foundry wtypefoundry.com

Bubble Gum is a juicy multi-dimensional gob of goodness that’s bursting at the seams with loads of alphabetic appeal. Its well-padded figure transforms the ample letterforms found in classic comic strip word balloons into a warm and casual display font with a little extra kick. Cooked up by Dave West for Photo-Lettering, Inc. between the late 1960s and early 70s, Bubble Gum was finally digitized by Jess Collins in 2011. Please note that the shaded version of the typeface is composed by layering the Regular font and a separate Drop Shadow font. Some assembly required. 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. Featured in: Best Fonts for Logos

The details that work for ITC Bradley Hand™ at smaller sizes, might be a little too distracting for some at larger, display sizes. Bradley Type™, is a little softer, more refined, and a touch more condensed - especially useful if space is an issue. It can be used as a compliment or counterpart to Bradley Hand, or on its own for short bursts of text or headlines. Richard Bradley explains, I designed the family for casual home computer users as well as professional graphic communicators. For anyone who's looking for a handwriting typeface, Bradley Type can be used at a variety of sizes for diverse projects." For added versatility, it's available in three weights, from the lean Regular, through Bold, and Heavy; and a number of ligatures and alternates for variety, and that little added flair."

“Holiday Thin Line” is a mesmerizing typeface with elegant and minimalist thin lines. It is specifically designed to add a touch of beauty and lightness to your designs. With its gentle and simplistic nature, this font is perfect for projects that require a modern touch, such as wedding invitations, logo designs, greeting cards, and more. Available in various character variations and symbols, it allows you to express limitless creativity. Get “Holiday Thin Line” now and enjoy the enchanting beauty of typography. Unlock a world of creative possibilities with an extensive collection of 369 meticulously crafted glyphs, offering limitless expression for your designs. Our font proudly supports an impressive range of 92 languages, ensuring seamless communication across cultures and borders. May it inspire you to create remarkable designs that leave a lasting impression. Thank you for joining us on this typographic journey!

Sgraffio is a classic script font with an elegant contemporary style. Inspired by the CopperPlate script, it is an updated viewpoint. The special characteristics of this typeface is that its strokes are agile and dynamic, with slight and smooth variations in thickness, giving to the final art a sophisticated atmosphere. It is attractive and readable. It can be used in decorative titles, as well as in large readable text. Contain a useful set of OpenType features that can help you in many typographic fine adjustments, you can choose from different alternates, swashes, discretionary and standard ligatures. This fonts is completed with Old Style figures and Central European languages. It is ideal for fashion magazines, advertising, business web, logotypes, lettering - logotypes, e-commerce brands, books, greeting / wedding cards, packaging, labels or any type of effective visual communication purpose.

Elevate your designs with Mandan, a bold sans serif display font that exudes power and impact. With its strong and commanding presence, Mandan is perfect for headlines, logos, posters, and any design that requires a bold statement. Featuring both uppercase and lowercase letters, Mandan offers versatility in crafting captivating compositions. The inclusion of numbers and punctuations ensures seamless integration into your design projects, whether it's for digital or print media. Additionally, the font's multilingual support allows you to reach a diverse global audience and communicate your message effectively. Mandan is designed with precision and attention to detail, providing a clean and modern aesthetic. Its PUA encoding enables easy access to special characters and symbols, expanding your creative possibilities. The font's bold strokes and distinct letterforms make it stand out in any design, capturing attention and leaving a lasting impression.

Snatch is a dynamic and expressive type system designed for impassioned and unprejudiced creative directors who look to combine the rough with the sexy. The font is well-suited for publishing projects, branding and packaging. Snatch is composed of three sections: a group of sharp-shaped uppercase fonts (small caps and all caps) in 5 weights, a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Snatch—a collaborative project between Bercz and Latinotype Team—is the wild, condensed sister of BOWIE and it was developed by Valentina Vega, Rodrigo Fuenzalida and César Araya, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara. The family consists of 5 weights, ranging from Thin to Black, and comes with a 679-character set that supports 206 languages.

Start from my love to vintage motorcycle culture, i am really glad living in this era when vintage motorcycle is now being such a lifestyle. People can express their self through the motorcycle, completed with the fashion and style itself to make their characters and personal branding appear stronger. It can open the new social circle, the community, to those who have the same passion to it. Based on that situation, i try to contribute to the scene with making a typeface that brings the personality of it. So please welcome, Sparkplugs. A vintage biker style font with the strong serif style and bold body. Comes up with the sans-serif too, just in case you need a pair. Handcrafted carefully for your vintage branding, rebel fashion stuff, clothing brand, as long as they're on it, get ready to rockin' all the way!

Dear Dolores has had its name from the latin word dolorem, meaning sorrow or grief. When I started working on this display font I found myself trying it out using the latin requiem texts. The capitals somehow sat well with the monumental and solemn words of mourning. The broken hairlines suggested stone cuttings where the fine details had been worn down and obliterated over time and it felt at home in a churchyard or in a monument park. Adding lowercase gave the font a more personal and friendly appearance and opened up new possibilities for use. The name itself is a fictional message to someone long missed or perhaps lost too soon. Dear Dolores comes in a cut and an uncut version where the fine details are left intact. Both are excellent for headlines or memorable quotes.

Tuna is simply a contemporary body text font. It is contemporary, meaning the merge of charming broad-nibbed calligraphic style with optimized readability on screen – showing that the roots of writing and typesetting are still in charge when reading “Anna Karenina” on your Kindle till 4 o’clock in the morning. Tuna has a natural fit for cross-media use because the design is based on forms characterized by different conditions of constancy, stability and good readability. Well-defined shapes and distinctive details only become apparent when used in larger sizes, making Tuna a true all-rounder. With more than 700 glyphs in 10 styles created with a maximum of consideration, it has all the qualities of a modern OpenType font serving the needs of today's communication. If you would like to read more about the Typeface please visit our promo site.

The Seol Sans design offers a fresh palette for designers working with the Korean alphabet, particularly those looking to pair Latin and Korean alphabet (or Hangul) forms without creating typographic friction. The choices for Hangul fonts that work well with humanist Latin typefaces are limited. As Monotype’s first original Korean design, the Seol Sans typeface is a humanist take on the traditional rigid and hard designs of Hangul characters. The Seol Sans design more closely resembles the natural curve of hand-written characters. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and M XiangHe Hei (Chinese). Seol Sans is a great choice for global brands using a Sans Serif design looking to maintain their visual identity, and communicate with a consistent tone of voice in the Korean market.¶

Introducing "Sevenfold," a modern sans serif font that effortlessly blends bold with a touch of uniqueness. With its distinctive serifs and clean lines, this font achieves a perfect balance between contemporary style and classic aesthetics. It is a versatile choice for any design project that requires a hint of sophistication, be it editorial design, branding, or advertising. Sevenfold shines equally in both digital and print media, adapting seamlessly to various platforms and applications. With its PUA encoding, accessing a wide range of glyphs and swashes is a breeze, allowing for easy customization and adding a personal touch to your designs. Experience the legibility and international appeal of Sevenfold, ensuring that your messages resonate with audiences across the globe. Elevate your designs with the modern charm of Sevenfold and unlock its potential to enhance your visual communication.

Stevia is a font family designed by Carlos Fabian Camargo Guerrero. Stevia is a sweet font family created to design logos, cards, posters, book covers, blogs, packaging, walls, etc. Stevia is useful to differentiate your designs and stimulate your imagination through 5 fonts drawn with an apparent handmade lettering look. Stevia dingbats has more than 250 special monolineal icons to accompany Stevia Script Black (600 glyphs), Stevia Script Light (470 glyphs), Stevia Subtitles Bold (300 glyphs) and Stevia Subtitles Light (300 glyphs) in quotes, legends and short writings. That’s why you'll get a lot of alternative letters in uppercase, lowercase and opentype numbers as well as ligatures and flourishes ideal for beginning, middle and end of word. In summary Stevia is great for communicating naturalness and freshness in designs that need to be outside conventional typographic norms.

by MaGo in Fonts Display Niceto Typeface is a sans serif display font family designed for logotype design. Using its different variations (included in 4 fonts) you may archieve unique headlines and phrases to emphasise your brand. It's cool and clean yet warm, and it may communicate many personalities, according to its different uses. This font family includes: Niceto Regular (286 glyphs) Niceto Smallcaps (381 glyphs, including alternates!) Niceto Shadow (286 glyphs) Niceto Shadowline (286 glyphs) This font is PUA encoded, so you may access ALL characters included, to be used on your design software. Please search for "PUA encoded fonts" if you are not sure how to access them! Under Type1 encoding, supports 64 languages. With all its possibilities, Niceto may be as flexible as your needs require, giving you all the freedom to design!

Plenty of swashes, ligatures, beginning and ending shapes, Wishes is a wit option for invitations, cards, stationery, fashion and apparel, among a wide range of uses. The curves of the cursive style are neither too solemn or pompous, its grace and playfulness are more 1950s than 1750s. This family offers the designer an additional decorative toolkit full of frames, ribbons, hearts, flowers and ornaments, plus a collection of caps and small caps. Wishes Script Pro includes the complete set of Script characters plus Ornaments and Caps. The family offers optically optimized Display and Text styles for each of the weights: Light, Regular and Bold. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide Use Wishes to express your greetings!

Trinidad Neue™️ is a geohumanistic typeface developed by the Chilean Type Design Studio Sudaca. The origin of this work lies in an exercise of comparing classic Roman proportions (Trajan Columns) with the capital letter set of Futura by Paul Renner. I wanted to create my own Sans Serif interpretation of classic proportions. I started working with letters A, H, N, O, R and S. When I finished the uppercase set, this exercise transformed itself into a project. I started to develop a set of lowercase letters choosing as direct references Futura and Kabel by Rudolph Koch; always having in mind that the objective was to find a balance between the humanist and the rational or geometric. Here is when this group is formed, giving its name and identity to this family: Paul, Rudolph & Alexis. The result is a typeface with an elegant, modern and versatile aspect. Its seven stylistic sets make Trinidad Neue™️ into a Swiss army knife to compose short and medium texts for editorial design, branding, exhibitions, motion graphics, etc. The family consists of nine weight variants and its corresponding oblique versions. It counts with many OpenType characteristics in each variant, including small caps, seven stylistic sets that can be combined, standard ligatures and discretionals ligatures, proportional numerals, tabular numbers, fractions, superscript, subscript, normal punctuation and also aligned to small caps and capital letters, arrows, emojis and more. With more than 1000 glyphs, this typeface has a wide idiomatic range that includes more than 190 Latin languages. Trinidad Neue™ is the new and alternative version of LC Trinidad™.

Maged, a traditional-style Arabic text face, enjoyed widespread popularity as a dry-transfer typeface prior to being licensed by Letera Arabica to Linotype-Hell for font production. In consultation with the Linotype Design Studio (U.K.), the artwork was redrawn by Adrian Williams to render the typeface into a complete, unitized Arabic font with a full complement of traditional-style ligatures suitable for digitization. Maged, which has two weights, first appeared as a 202 font in 1987 before its eventual conversion to OpenType in 2005. Thus Linotype’s Maged font can be described as a trend-setting modern Naskh design that retains a sense of the fluidity of Naskh calligraphy: the letters, when composed, appear as freshly-written text characterized by rich, inky horizontals, tapering swash strokes and contrasting delicate ascenders. The Bold exploits these features of the Regular without excess, tempered by the need for clarity at smaller sizes. Maged Regular and Bold are eminently suited to text and titling in broader column work (brochures, magazines, advertising, coffee-table books etc.) and are thus able to extend the range of the Linotype Arabic library in areas of work where the more compact text and titling fonts would create a too concentrated effect. Both of the Maged fonts include Latin glyphs (from Palatino Medium and Palatino Black) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Maged incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.