In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Aquabay is a natural handwritten font that has cute spirit. This font comes with upper and lowercase Basic Characters, Numbers, Marks and Punctuation. As a feature you have also the standard Ligatures and Swashes. Aquabay has an authentic shape like typical handwritten so this font is perfect to apply to the casual and cute design. This font will be perfect for posters, branding, name cards, website, books, comics, presentations, or packaging designs. What are you waiting for? Download now Aquabay font and make your design artwork more wonderful! Thank you for checking and visiting our store, and feel free to drop me a message if you had any questions! Visit our Instagram :) www.instagram.com/scratchdesignbali

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. These decorative Fairy dingbats would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

NorB TypeWriter Roughen is the roughen version of my NorB TypeWriter typeface witch's my emulation of the IBM Selectric 'Light Italic' ball witch was used by my grand-brother for his correspondance during the 70’s and 80’s. It's however a slanted mono-spaced looking typewriter font. You may want to use this font with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB TypeWriter Roughen features 677 glyphs, OpenType features and comes in 6 weights each with their matching italics and in a Light, Normal and Bold version.

Roswale - Vintage Bold Font. Roswale inspired by vintage poster design, Roswale is a family script font designed with carefully handcrafted, Roswale is a bold font perfect for your home decor and craft designs Roswale is a vintage font that is perfect for story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting and all for display purposes. 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. Retro Couture is also support multi language.

RILLE is a family Sans Serif font designed with carefully handcrafted, this font is a tall and skinny font perfect for your home decor and craft designs RILLE inspired by vintage poster design, RILLE is a vintage font that is perfect for story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting and all for display purposes. 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.

Answer Songs have been around for [probably] just as long as there have been songs. 1917's "If I Catch the Guy Who Wrote Poor Butterfly" was the answer to the 1916 hit "Poor Butterfly" [by Raymond Hubbell and John Golden], which in turn was inspired by the Puccini opera "Madame Butterfly". "Poor Butterfly" was so popular that this "answer" tune had as part of its lyrics "That melody haunts me in my sleep; it seems to creep." Nonetheless, the sheet music for William Jerome and Arthur Green's comic lament had the title hand lettered with an oval nib lettering pen and is now availably as a digital type face called Dip Pen JNL.

Melting Dessert - Display Font. Melting Dessert is a playful and quirky display font. Melting Dessert will easily add a fun touch to any craft Melting Dessert perfect for any fun quirky design work! Melting Dessert can be used for anything such as story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting and all for display purposes. 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.

Camica font with simple models of natural and comic, with a font, you can take advantage of the opportunity at any time one wonderful way to highlight the celebration of the feast of your best, because these fonts will be a driving force for purposes such as cover design, wedding invitations, party , graduation, birthday, gathering, etc. Use the format below. Font Camica if you want to use for your work this font can be used to easily and simply because there are a lot of features in it contains a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. if you have a problem? Contact me: genesislabstudio@gmail.com

A casual and fun-loving font based on the work of showcard artist Albanis Ashmun Kelly, from his 1911 book “Expert Sign Painter,” and named for a long-running comic strip. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Ririen's Notes have a 100% level of cuteness & natural handwritten font. This font is complete with families such as regular, bold, outline style, ligatures, all punctuation, and multi-language support. Ririen's Notes has an authentic shape and looks like a natural teenage girl handwritten so this font is perfect to apply to the casual and cute design. This font will be perfect when you using for posters, name cards, books, comics, presentations, or packaging designs. What are you waiting for? Download now Ririen's Notes font and make your cute design artwork! Thank you for checking and visiting our store, and feel free to drop me a message if you had any questions! Visit our Instagram :) www.instagram.com/scratchdesignbali

Freewill - Handmade Rough Brush Font with ligature and Multilanguage support.inspired by the famous minimalist logo, perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more. Perfect for adding a unique twist to word-mark logos, as well as numbers and punctuation making it super fantastic. Like all of my fonts it is inspired by lettering from the good old past, but it still has a strong modern appearance. Its wide range of stylistic alternates allows versatile design options and works perfectly for headlines, logos, posters, packaging,,coffee shops, restaurants, magazine's headers, signs or gift/post cards,cafe's and weddings.Best for halloween poster, horror poster, childrenbook, cartoon, comic etc

Actually there is nothing furious about this font. There are no sharp edges and absolutely nothing harmful at all. The name plays tricks on you, because it's a cool laid back font with ounces of possibilities. I'd say you can use the Fake Fury font for posters, flyers, comics, invitations, commercials, toys, candy, clothing, packaging ... ahhh, the list goes on and on! Each letter was carefully handdrawn and soften a bit with rounded edges. And each letter has a total of 6 different versions: upper- and lowercase, and then 4 alternate versions. And the magic happens AS you type, because the font is programmed to automatically cycle through all the different letter variations!

The Good Panther - Bold Quirky Display Font. The Good Panther a bold, quirky display font with a fun and trendy cute characters. With a childish style, it will be very suitable for your project, which is related to children. Such as story books, illustrations, comic books, t-shirts, posters, greeting cards, logos, branding, stickers, svg, crafting. 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.

CONCEPT/CHARACTERISTICS
 Experimental analog handwritten style. Handwritten in ink in a conventional roll-on deodorant. The dirty, grimmy Grunge-Look and the sloppy, rough Handwritten-Look script cha­rac­ter, gives the type­face a high reco­gni­tion value and uniqueness. The motto is handmade, rough & experimental. APPLICATION AREA
 The rough, ink-like, handwritten look of the handmade font „dirty deo hand ink“ would look good at logos, dis­play size for poster, flyer, comics and gra­phic novel let­te­ring, head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS 
Head­line Font | Dis­play Font | Raw Trash Script Font „dirty deo hand ink“ OpenType Font with & 282 gly­phs & 1 style (regu­lar). Symbols and liga­tures (with accents & €)

Please welcome our new Groovy Retro Typeface, Kelpo! Kelpo - Created from our explorations which were inspired by 70's retro style and pop culture visual design like old comics, cartoons, and posters. The strong bold character with groovy style makes us feel retro vibes and takes us to the 70's era Kelpo - Comes with 59 beautiful alternates which consist of 4 stylistic sets. Contains 2 styles regular and italic, this font is best used for headings, logotype, quotes, apparel design, posters, flyers, packaging, book cover, and many more. What you get : Letters, numbers, punctuation, multilingual support Has 59 beautiful alternates Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

You've searched for "Egyptian" but, thanks to a quirk of type jargon history, much of what you found is not what you had in mind for the voice of Thoth in your comic book, or the hints in your Mummy's Tomb game. And you don't want to fall back on You-Know-What. Fear not; now there's Walklike! Pyramids, reeds, the Eye of Horus, and other recognizable symbols inspire the letterforms of Walklike to create the feel of Ancient Egyptian hieroglyphs while remaining fully legible. The strokes are casual but careful, at home in ink or stone alike, and kept interesting and natural-looking automatically with ligatures and some contextual alternates. The air of ancient mystery is unmistakable!

It introduces a cute display font "Kazuwa". This font is complete with all punctuation and multi-languages support. Kazuwa also has a unique casual shape and looks like a natural kid handwritten, so this font will be perfect when applied to the fun concept design. This font will be useful for posters, name cards, books, comics, presentations, or packaging designs. Enjoy this font, it also supports multi-languages. In some features like stylistic alternates, we put some cute illustrations to make your design more cheerful. Features: Stylistic Alternates & Ligatures Numerals & Punctuation Accented characters Multiple Languages Supported HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs