NetHunt - Spider Display Sans Font Introducing NetHunt, a spider display sans font that is perfect for any design that requires a horror or scary look. The font is inspired by an old embossed nameplate with cobwebs in it, and the designer made it into a display font. NetHunt features both uppercase and lowercase versions, with the lowercase version not having the cobweb design. The font also includes a sans ligature feature that makes the cobwebs of each word even cooler. If you are looking for a font that will give your designs a spooky and eerie vibe, NetHunt is the perfect choice. Use it for logos, titles, logotypes, covers, headlines, apparel, comics, cover books, cards, posters, or anything else that requires a horror or scary look. NetHunt comes with a variety of features that make it a versatile font. The font includes uppercase and lowercase letters, opentype alternates and ligatures, and multilingual support for a wide range of languages. The font also includes number, punctuation, and symbol glyphs. The font can be used on both Windows and Mac operating systems and is compatible with most design software, including Adobe Photoshop, Illustrator, InDesign, and more. If you want to add a spooky and horror touch to your designs, NetHunt is the font for you. It is perfect for Halloween designs, horror movie posters, or any design project that requires a unique and scary font. Use it for your next project and see the difference it makes! In summary, NetHunt is a spider display sans font that is perfect for horror and scary designs. It is inspired by an old embossed nameplate with cobwebs and features both uppercase and lowercase versions. The font includes opentype alternates and ligatures, multilingual support, and number, punctuation, and symbol glyphs. Use NetHunt for your next design project and add a spooky and eerie vibe to your designs. Tags: spider, display, sans, horror, scary, Halloween, movie poster, logo, title, logotype, cover, headline, apparel, comic, books, cards, posters, opentype, ligatures, multilingual, glyphs.

Quirky and irregular FS Split is no ordinary typeface. Its irregular proportions make it unique, with round letters appearing wide, and straight letters narrow. Other quirks include its eclectic crossbars – the uppercase ‘A’ has an unusually low bar, while the bar on ‘G’ is particularly long. The uppercase has many interesting features in fact, including large counters, closed terminals on certain letters like ‘J’, and a cap-height that lines up with ascenders. The lowercase also holds surprises – the dots on ‘i’ and ‘j’ are unusually large, and some characters, such as ‘g’, feature double-storey counters. An extreme but stylish italic The italic versions of FS Split Sans and Serif are particularly striking. While similar in style to their upright, Roman versions, they take on a larger-than-usual 18-degree angle, making the forward-slant more dramatic. Although the main purpose of any italic is to help words and phrases stand out, this unique execution helps to make the italic variants of FS Split stylish fonts in their own right – they would work brilliantly on magazine covers, in titles and headlines, pull quotes, and even used commercially in logos and corporate branding. Serif and sans: a split personality FS Split Sans and Serif have their differences but also their similarities, contrasting and complementing each other perfectly. This ‘love hate’ relationship inspired the name of the typeface family, and means the two variants provide a versatile, typographic palette for use in graphics and branding. While its proportions are similar to the sans, the serif has a bigger contrast between its weights of bold, regular and light, bracketed serifs, and different styles of terminals, some being straight and others ball-shaped. FS Split Sans has more subtlety and simplicity, with a smaller weight contrast, less flamboyant terminals, and more consistent counter sizes. The two variants are distinct yet alike, so can be used successfully either in isolation or together.

Very versatile sans serif font, designed with a soft touch of elegance. Great for invitations and headlines

Rounded, tapered and bold, Bindle was designed as an alternative to overused or outdated informal sans serifs.

Sans serif typeface with calligraphic features and outstanding contrast between curve and line designed for small text.

A real heavy weight, a chunky sans serif that packs some real Punch. No fancy frills here.

Angulatte is a sans serif font made up of characters that are drawn with only straight lines.

Trilium JNL is a tri-line sans serif font that was modeled from some 1970s retail packaging.

Rational curves and spiky rhythms punctuate this all-caps sans face, for a plastic feeling, futuristic effect.

Take a little trip to the land of sun and sand with Waikiki Doodles. 30 resort drawings that can be used for Waikiki and other warm weather destinations. From generic tourist icons like palm trees and a camera to the specific like Diamond Head and hula dancer. 29 drawings and the word Aloha lettered in script.

This stylish stout script was originally issued in the 1930s under the name “Fulgor” by the spanish foundry Fundición Gans. Cursory research suggests that Saks-Fifth Avenue found it suitably snooty to use extensively in its newspaper ads of that period. Perhaps somewhat ironically, this version takes its name from one of comedian W. C. Fields' many odd aliases.

This is a modern, wonderful, and beautiful font. This font is super readable and can be used from Posters to a Hebrew Bible. The readability of this font is amazing. This font has the modern Hebrew punctuation: Shevana, Kamatz Katan, Dagesh Hazak, and Cholam Chaser. Designers: Sami Artur Mandelbaum Publisher: Samtype MyFonts debut: Jan 17, 2022

We saw a few letters of this in a catalog, and liked it so well we drew it up and made it as a film font for photolettering. Due to a surplus of interesting types in our shop this one never made it into our catalog, so we can¹t tell you anything about its popularity.

The devil does indeed find work for idle hands. This was designed by Dan X. Solo about with no excuse whatsoever. The name comes from the fact that a circus that we regularly did work for used it in one of their programs, the only time it was ever used as far as we can recall.

While browsing through a Dan Solo type reference book, Jeff Levine fell in love with the multiline stylings of one particular typeface, then sat down and re-drew from scratch his own interpretation of the design. Jeff's version is called Art Lover JNL - offering kudos to art in general, the Art Deco movement and (of course) type design.

I must admit that I am not a big fan of the Art Nouveau style. However, I found this particularly beautiful alphabet and decided to use it as the basis for this new font. Very graceful, elegant, and dare I say, organic. Includes some intertwined ligatures. Complete uppercase, numerals, basic punctuation. Supports most Western European languages.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The other weights of the Metro family, Metromedium #2™ and Metrolite #2™, were designed by Mergenthaler Linotype's design office under Dwiggins' supervision. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype Originals, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments."

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

Delm font family is one of those large and useful families that you really can’t miss if you are looking for typeface combining originality and legibility. Delm is one of these – a sans serif with geometric modern look designed very smart with soft round look and very specific inktraps that complement its uniqueness. It is developed in 9 separate weights ranging from Hairline to Black, each coming with corresponding slanted version (called ‘Oblicua’). The light weights look more elegant, gentle and with more sensible feeling for geometry while the black versions are more soft, friendly even puffy and the geometric skeleton of the family is dominated by the overall roundness. The mid-weights are strong and prominent setting right the middle point in the contrast range of the family. Delm is a font with dedication – with so many options for different character contrast combined with slanted styles, it is perfect for editorial design where it could be easily used either for text or display font. Editorial is not of course the only application – you could successfully rely on this typeface if create brand or corporate identity, typographic posters, signboards, instruction plates, etc. Very diverse and original, this font will not leave you unsatisfied – moreover – it will surely make you try it in more and different designs be it printed or designed for screen. Web sites, banners, applications and e-books are places where Delm will show its best because of its originality, finely tuned contrast and its enhanced legibility. Fully equipped with OpenType features like ligatures and multilingual support, Fontmatters highly recommends to get the whole Delm font family for maximum results and satisfaction.

A font perfect for not just one, but many projects! Introducing Oceanwide Pro, a sans that loves to be used in just about any situation! Designed with ultra clean lines and versatility in mind, Oceanwide wants to be your new favorite sans! Oceanwide’s ultra clean letters work anywhere you want to communicate orderliness and competence, and designed to build trust and rapport with your audience. Its wide proportions make it ideal for display and logo use. Oceanwide especially shines for white/bright letters on black/dark backgrounds! That’s because the inside shapes are nearly perfect circles in many weights. Here's a quick video tour of Oceanwide Pro by Dave Lawrence, including all the great things Oceanwide can be used for! We've tested Oceanwide for these industries, with stunning results!: Tech Arts Fashion & Style Business & Branding Corporations Logistics Architecture Food and many more... Oceanwide can be used for: Headers Subheadlines Logos Even body text, if tracked. Print & Screen The styles it can take are also many. It's great for: Modern/minimalist design Flat design Cut out design User Interface (UI) Technical designs In combination with text effects, even for grunge and other situations. And many others... DESIGN FEATURES Simplicity Tall x-height Hand-sloped obliques (italics) Narrow spacing Semi-wide proportions Expert kerning Well proportioned, usable lights & extra lights Large caps Great ALL CAPS MODE Uppercase punctuation Uppercase spacing with California Type Foundry’s Smart Tracking™ Advanced fraction support Proportional lining figures Thick joins Smooth curves Sturdy—great for textures and effects Variable font available Latin Pro character set for Central European languages. That's the writing for over 782 languages and transliterations worldwide! DESIGN STORY—THE FORGOTTEN SANS by Dave Lawrence, Lead Designer, California Type Foundry Adrian Frutiger was the 20th century master of sans, but I didn't realize he had made—not one—but TWO geometric sans! It wasn't until I had purchased the book “Adrian Frutiger: Typefaces”. I had hoped to someday meet Adrian Frutiger, but he passed away that very same year. Here is the story of Frutiger's forgotten sans. Back in 1968, Frutiger was approached by Pentagram to make a design for British Petroleum. They wanted a "new version of Futura". However, they wanted him to make a couple adjustments. First, they felt that Futura was "too fiddly." By this, they meant that it narrowed too much at the joins. (Joins are for example where the round and straight parts of the 'd' meet.) This is something that is necessary for small print text (to prevent ink clogging), but is not necessary at large sizes. Second, they wanted it to be entirely geometric, using the circular shape with minimal optical corrections. Unfortunately this font was not even used very consistently in the BP brand. A haphazard mix of Futura and Frutiger's BP font ensued. It was then replaced by another font design very soon after. My design is different in several ways. First, the commas and quotes are a more modern style. I tried his original commas, but these just didn’t work to 21st century eyes. Second, in his drawings, Frutiger went for a more standard u with a downstroke on the right. However, Oceanwide has a simpler u. Third, I made more optical adjustments. At the direction of his employer, Frutiger reluctantly put no font optical corrections into the letters. So I think my optical adjustments are similar to what Frutiger would have wanted. Fourth, I extended the weight into the light and extra light ranges. Fifth, the rest of the font I created according to the principles of Adrian Frutiger, but with no sources for inspiration. Here is Frutiger’s design philosophy, in his own words: “If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.” The words about the spoon were the ones I kept in my mind as I tried to make the curves ultra smooth, and the shapes ultra simple. Hopefully this font is a worthy successor to the font that inspired it. Released on the 93rd birthday of Adrian Frutiger, to celebrate the life and achievements of this amazing designer. ——————— Simplicity. Versatility. Oceanwide.

BLT Balfour : Art Deco Revival Font Balfour is a modern Art Deco typeface revival. Built from historic references in architecture during this time period, Balfour exudes class and elegance, yet still honors the style with unapologetic bold geometric forms. Pay close attention to the letterforms B and R, and how their extreme x-heights play off of the elongated strokes of C, D and G. Unique features throughout the character set make it less predictable and more unique than any Art Deco typeface before it. The geometry of this typeface plays from one letter to the next. Fill and Outline styles work well in headlines, logos and large type. The Line style is effective at all sizes and can be used in combination with other styles to achieve visual hierarchy.

Common use(s) of Comicraft's All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE. Possible Side Effects: This font should not be used if you are trapped in a world you never made or a world full of people that hate and fear you. Prolonged exposure to this font during an Age of Apocalypse may cause fatigue, muscle soreness, first degree burns and immobility. Contraindications in Homo Superior may manifest as an outbreak of large purple automatons. Interactions: Before using this font in either regular or bold doses, notify your doctor of any recent exposure to mechanoids, synthezoids or paranoid androids. Reprogrammed Sentinel has improved spacing and kerning, Western & Central European accents, alternate lettershapes, and a new Interlocking Mode with over 100 connecting letter combinations!

Woodshed - Decorative Serif Font. Woodshed have classic decorative, retro and trendy display. Woodshed font inspired by decorative serif of the vintage posters. But in Woodshed font I combine several variations such as the ligature. It makes Woodshed font even more unique and different. Woodshed is also great for any kind of display purpose from album, cover,poster, label, tshirt, apparel, signage, quote, logo, greeting card,logotype and many more. Woodshed is also support multi language. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, 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. This font is also support multi language.

Acantis is a strong script font with a vintage look inspired by the lettering designs of the 1980s but updated for today's projects. Acantis is the perfect mix of elegance and informality. Open Type features include a full complement of international characters, standard and contextual alternatives, swashes, stylistic sets, standard and discretionary ligatures. All of this makes the text lively and animated, without the monotony of obviously repeating letterforms. Also, we've included some ornaments designed to support the font, some were specially designed to be combined with the letters for a "more calligraphic" effect (access them via the glyphs palette). Acantis can be the choice to create titles, logos and posters for branding and packaging purposes, invitations, greeting cards, magazine and book covers, children's supplies, fashion, and wherever you want!

Introducing to you, Cooraline! Comes with 2 fonts style! Cooraline it's retro, psychedelic, bold, playful, and really unity together in your design to give it that retro feel. This font has an authentic groovy style that is perfect for making any project like a header, logo, quote, layout magazine, poster, packaging and label design, etc. Better which is use it on the 60s until 80s design project, this font will give some old-school touch to your design projects. Back in the psychedelia era Cooraline came with open-type features such as ligatures and extra clip art, and the other alternative Cooraline Shadow consists of underwater elements that suit with underwater atmosphere, so you can combine these two fonts to make an amazing retro, psychedelic with undersea vibes in your project designs.

Express your imagination with Wonder Night! a fancy fantasy font inspired by magical storybook and horror-fantasy movies. This font created with a very bouncy of letterforms, and carefully kerned into a readable typeface. Wonder Night is an all-caps font that easy to play with. You can combine the uppercase and small caps to get a more playful design. Also completed with alternates and doodles as the decoration to get a more beautiful design. Wonder Night is suitable for children's merchandise, books, logotype, T-shirt, poster, title, quotes, and more! Fonts featured : - Uppercase - Small-caps - Numbers - Punctuation & symbols - Accented characters - Stylistic alternates - Stylistic set 02-03 - Doodles (simply type 'underscore' and 'A-N'; eg: _A, _B, _C etc) Thank you for visiting and supports. Have a nice dream! ramz

Introduce Elegant and modern font duo in Alberobello the stylish modern and natural fonts combination with casual chic flair. These are perfect for branding, wedding invites and cards, and more option for your requirement. Alberobello include two font styles with full set of gorgeous lowercase for script and elegant uppercase letters for serif, numerals, a large range of punctuation and ligatures. All lowercase of script include begining and ending alternates, giving realistic hand-lettered style. In order to use the beautiful begining and ending alternates for script also uppercase alternate for serif, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files. Thanks and have a great day, Haksen

This font set is the second in a series from P22 Type Foundry based on the lettering styles of Frank Lloyd Wright. Created in 1931, the Exhibition lettering was intended primarily to accompany Frank Lloyd Wright's exhibition drawings and models. Many of the 72 Extras were designed to form continuous linking borders. Combinations of these geometric forms can provide endless variations of decorative elements in the style of Frank Lloyd Wright. Many of these images were based on Mr Wright's "Saguaro Forms and Cactus Flowers" illustration for an unused Liberty magazine cover of 1926. Other imagery in this set was derived from assorted geometric designs by Wright. Exhibition Regular, Light, and Bold have been remastered and now contain almost 400 characters including support for Western and Central European languages.

Noah - Elegant Ligature Font A new font that we created special for branding needs, with extra ligature in unique characters add value of your brand to look more elegant. It's so nice to leverage designer or product owner that need solutions to make their design look more stylish and modern. And specially for Noah font, We prepared any ligatures, and any alternate characters to help you create unlimited variations for your creative needs. Noah Elegant Ligature Font ready with: Any options to get creative variations (combination of Alternate and Ligatures) Preview as a inspirations that you can do with Noah font Ready with Lowercase and Uppercase characters Wish you enjoy our font and if you have a question, Please don't hesitate to drop message & I'm happy to help :)

Rumble is Logo Retro Vintage Font, a well-balanced contemporary font with a fancy, unique, and versatile vintage serif font that you can combine to get any variations and unique shapes easily just in seconds with stack it. It is a serif display font with moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility. What's Included: Rumble Regular Rumble Outline Rumble Rough Character set A-Z Uppercase & Lowercase Numerals & Punctuation Accented Characters (West Europe) Stylistic alternates Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font and if you have any questions, don't hesitate to drop message & I'm happy to help :) Show Less

Louisa is a monospaced font-family designed and optimized specifically for small font sizes. But even as headline font it looks good. It has a very good distinguishability of letter forms and legibility even in longer text paragraphs. The character of Louisa is a combination of strong elements and warm, friendly forms. The font family is not only designed for coding and tabular layout, but can be used in different fields of communication design. Therefore it provides two stylistic sets with different letter forms: one with the look of serious modern typewriter font, the second with more soft letter forms and elements of a real italic. Additionally it consists oldstyle numbers (and of course tabular numbers) and a set arrows. The font is available in four styles: regular, italic, bold and bold italic.

Majorelle is a textured script font designed by Fanny Coulez and Julien Saurin in Paris. This finely balanced font was designed to be easy to read, and because it’s just as important, easy to use. Majorelle includes alternates and OpenType ligatures that you can use to improve your designs and make them look natural and friendly. With a lot of extras like swashes, keywords, or splatters, this organic script could be used for any project that needs a warm and informal touch. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup! Note: You could perfectly combine Majorelle with other S&C Type’s fonts, such as Naïve or The Hand for example. Just click on our foundry name to check them out!

The purpose of Brutman was to create a typeface that reimagined the incise style for the 21st century. Its roots emerge from the humanistic style, adopting the structures of the roman capitals for the upright version and some features of the chancery style for the italics. On the other side, its contours are forged by the frankness of the brutalist style, which can be seen in the asymmetrical flared terminations, the sharp shoulders and the diagonal cuts that emulate the stress of the broad nib pen. The result is a typeface that combines a sleek character with a historical flair. It conveys a feeling of modernity and sophistication when it comes to shine in big sizes, but on the functional size has sharp shapes that make it perform very well on small ones.

ITC Cyberkugel is the work of British designer Timothy Donaldson, who occasionally likes to write with an extra-fine ballpoint pen. I like the spindly scrawny forms that it gives me when I follow all the usual 'italic' writing conventions", he says. And there lie the origins of ITC Cyberkugel, although the creative process was moved from pen and paper to software and a Wacom tablet. "I like the fact that people will be buying it to give them a 'human', 'organic', 'non-digital' look, and yet no ink has soiled paper. Although the movements of the hand are still the essence, the whole thing was created in cyberspace." The name comes from combining cyberspace and Kugelschreiber, the German word for ballpoint pen. ITC Cyberkugel is a fresh interpretation of traditional calligraphy."

Chelsey Bobby model original handwritten simple font, the newest you can get now! With an updated hand calligraphy model with special glyphs that have been given a combination of fantasy and handwritten ink. This font will look beautiful on all designs, Wedding designs, branding materials, blog titles, quotes and invitations, business cards. OpenType includes: Alternative Style Set styles Including fonts: . Chelsey Bobby. OTF To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Mac and Window). This font has provided PUA unicode (custom code font)

Regards is A Vintage Modern Retro Serif Regards font is a well-balanced retro modern vintage font with a fancy, playful, unique, and versatile vintage serif family with 100+ alternates that you can combine to get curves and beautiful shapes easily just in seconds. It is a display font with moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility. What's Included: Character set A-Z Uppercase & Lowercase Numerals & Punctuation Accented Characters (West Europe) Ligature & Huge Stylistic alternates Works on PC & Mac Recommended using Adobe Illustrator or Adobe Photoshop. Wish you enjoy our font and if you have any questions, don't hesitate to drop message & I'm happy to help :)

Maplylla is a script font, beautiful and unique. It is a model of modern calligraphy typefaces, in combination with a calligraphy writing style. In total, there are 378 glyphs. Features include: Contextual Alternates Standart ligatures Discretionary ligatures Stylistic Alternates Stylistic sets initial form File included: Maplylla OTF Languages supported: Breton, Catalan, Czech, Danish, Estonian,French, German, Hungarian, Icelandic, Italian, Romanian, Scottish Gaelic, Slovak, Latvian, Lithuanian, Norwegian, English, Finnish, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Welsh. Basically, all european languages that are based on latin alphabet Can be used for various purposes.such as headings, logos, wedding invitations, t-shirts, letterhead, signage, labels, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.

Bally is is a hand-written Script font ,It's a mix between a luxurious and fashionable, Combining texture and movement it creates a readable and clear message. Bally can work as a signature font but also understandable for longer texts like classic script font. The inspiration was minimalism so it could work best with any of your projects. Created for beautiful logos, Branding projects, Posters, Blog posts, Social media, Campaigns, Advertising, Web design and more! Here is what you get : bally • A hand-made script font containing upper & lowercase characters, numerals and large range of punctuation. superfast Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya . feel free to send me a message ;) Studio&Story Instagram! https://bit.ly/2Di49cv :) Thank you!