Shinthink is a handwritten script font with a simple and natural style and is great for your next creative projects such as watermark on photography, quotes, album cover, logo, business card, and many other design project. Shinthink comes with uppercase letters, lowercase letters, lowercase alternative letters, numbers, punctuation, ligature and multi-lingual support. To use alternative end text is just block end letters and select alternative letters on glyphs option. It may be used in almost any program by using your Operating System’s utilities (CharacterMap for Windows and Font Book for Mac.), as well as Illustrator, Photoshop CC 2017 and several other applications. We hope you enjoy this font. If you have any questions please don't hesitate to drop me a message :) Thank you, Best regards alphArt

Futuristic, modular, blocked, squarish and modernist KayKhosrow font has got 12 versatile styles! The very first non-cursive Arabic/Persian font which also supports Latin characters as well! You're gonna love how all those different styles are gonna work with each other! For your cover designs, posters, logotypes and any typographic projects, you can count on KayKhosrow fonts! There are 12 of them! Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Quilt Patterns Four was inspired by the patchwork designs used in quiltmaking in early America. There is an assortment of 94 patterns located under the character set and shift+character set keys. Quilt Patterns Four is based on the nine patch pattern, a block that is 3 squares by 3 squares, the most basic and most common. The nine patch pattern can be subdivided into 6 squares by 6 squares, 9 squares by 9 squares, etc. Characters of Quilt Patterns Four can be typed in a vector drawing program and then converted to paths/outlines, color may then be added to various parts of a given pattern. Patterns can be stacked horizontally and vertically creating an infinite number of quilt designs.

A 1916 book entitled “Lettering” by Thomas Woods Stevens features a number of hand lettered alphabets; some plain, others unique. One of the more novel examples was designed by Harry Lawrence Gage and featured letters and numbers with a crude, wavy style described in the book as “adapted to wood block and linoleum cutting”. To keep the design as close to the original as possible, the image from the book page was auto-traced, with each character given just enough of a clean-up as to retain its own quirkiness while smoothing out any jagged lines and fixing some curves. From there, other necessary characters were created for the digital font, and the end result is Tenement JNL, which is available in both regular and oblique versions.

DOCTOR OCTOPUS! BOOM! DOCTOR DOOM! 'SHROOM! DOCTOR EVIL! BA-THROOM! DOCTOR FRANKENSTEIN! KRA-KOOM! Never let it be said that Comicraft does not possess a Varied Vocabulary of Vile Villainy or a Tremendous Thesaurus of Terrible Tinkerers! It's our belief that every Medley of Madmen, every Rogue's Gallery of Ragged Rascals and every Sinister Selection of Scoundrels, Scalliwags and Sick Scientists --even they deserve a Nefariously Notorious Name-Finagling Font to announce their Apocalyptic Arrival. That font is here, towering murderously above the city blocks of Manhattan even as we speak... It's a Despicable Doctor of Dastardly Deeds, it's a Master of Evil Scheming, an Infamous Infidel, your Arch Enemy, your NEMESIS... IT'S THE END OF THE WORLD AS WE KNOW IT! FING... FAN... FOOM!

Mangueira is a sans-serif geometric typeface that is made up of 2 sub-families: one standard more contemporary family perfectly suited for display use and one alternative version for short blocks of text and more neutral titles. Each subfamily comes in 9 weights and includes swashes, which can be easily accessed from the OpenType menu. One of its main features is the combination of geometric shapes and vertical terminals that resemble Humanist sans typefaces. A generous number of swashes along with unique details in some glyphs such as "g" and "k" make Mangueira a versatile font well-suited for editorial design, branding, packaging, web and broadcast use, etc. Mangueira contains a set of 502 characters, supporting over 200 Latin-based languages.

Quilt Patterns Two was inspired by the patchwork designs used in quiltmaking in early America. There is an assortment of 94 patterns located under the character set and shift+character set keys. Quilt Patterns Two is based on the nine patch pattern, a block that is 3 squares by 3 squares, the most basic and most common. The nine patch pattern can be subdivided into 6 squares by 6 squares, 9 squares by 9 squares, etc. Characters of Quilt Patterns Two can be typed in a vector drawing program and then converted to paths/outlines, color may then be added to various parts of a given pattern. Patterns can be stacked horizontally and vertically creating an infinite number of quilt designs.

Sansterdam is a modern condenced grotesque font family. It's great for titles, posters, logos. Condensed font allows to include more information in one line. Sansterdam has special Deco version with circle uppercase letters and oldstyle numbers for more vintage feeling. Also Sansterdam has signature script font with many ligatures and alternates for more unforgettable combinations! Font looks amazing as alone words and as full text blocks. Also it good for bright captions and logos. Language support more than 30 languages: Afrikaans, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, German, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmal, Portuguese, Romanian, Russian, Slovak, Slovenian, Spanish, Swahili, Swedish, Zulu etc. Download Sansterdam for your next project today! Thank you and have a great day!

The new version of Vallejo Serif includes rounded corners.

Two offerings from the Page specimen book, Aldine and Aldine Extended, provided the patterns for this family of Western-style standards, named for the smallest county in Texas, at least area-wise. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Texas Moliqu is a retro and western-looking display font. This bold, and vintage font can easily become your favorite. It can be used for books, magazine covers, social media posts, invitations, and so much more! So add this to your creations and take your designs to the next level!

Kolesom is bold display font that inspired from classic rusty stuff like old signage and poster. This typeface has various styles of font that includes Clean, Alt, Texture, and Western. I found it perfect for poster design, t-shirt design, and other display design needs. Works best in 100pt and above.

Igoe is a monospaced font gives the impression of being clean and modern, It's Perfect forlogos, posters, album covers, and website headers. Igoe, A monospaced font, offers you: Igoe - A monospaced font including Upper & Lowercase characters(ALL CAPS), Stylistic alternates Character Supports Multi linguage (Latin Western Europe), Numbers and Punctuation

Revel is a stylish blend of high fashion meets country western. Use all Caps for an ultra-modern, sophisticated look. Or type in all lowercase for a more youthful, rocker effect. This cool font also comes with alternates, decorative elements, ligatures and even a few swashes thrown in the mix.

Maxwell Slab is a clean condensed slab serif typeface. It comes in regular and small caps versions, includes custom italics, stylistic alternatives, letter style variations, discretionary ligatures and multiple languages; Cyrillic, Greek, Latin and other Western and Central European languages and works either as a headline font or paragraph text.

Because You Demanded It! The Collectors Item Classic BLAH BLAH BLAH makes a triumphant return as an all-uppercase comic book lettering workhorse. Complete with auto-ligatures and our groundbreaking Crossbar I Technology, to put that sneaky & enigmatic character exactly where it belongs! Includes full sets of Western & Central European accents.

Saylon is a super casual hand brushed script with detailed brush stroke texture, and a quirky, Can be used for various purposes. such as the title, signature, letterhead, signage, labels, newsletters, posters, logos, correspondence, wedding invitations, badges, etc. Saylon Font international Support for a review of most Western languages ​​included.

The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but – due to its smooth taste – a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick ‘Syndicate International’ organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. VLNL Gindicate is a rounded modern sans serif family, suitable for a multitide of applications, corporate or otherwise. It has somewhat of a warm sci-fy feel, without being overtly techno-ish. In the family are 3 regular weights (Light - Regular - Bold), but also an Inline and Multiline weight for extra design possibilities. Company logos, brand identities, music flyers or posters, you name it. VLNL Gindicate will spice up any design. Bottom’s up!

With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

Maxfield Parrish (1870-1966), whose career spanned nearly ninety years, holds a unique place in American art and culture. He was enormously accomplished and successful in both fine art and commercial endeavors. Parrish's hand-drawn letters were a significant part of his works, which bridged the familiar with a startling otherworldliness. P22 has created the Parrish font set in cooperation with the National Museum of American Illustration.

Steve Jackaman & Ashley Muir. Packard New Style is a smooth version of the lettering drawn by Oswald Cooper for the Packard Motor Company (ATF 1913). The bold weight is credited to Morris Fuller Benton (ATF 1916), but it is highly probable that Benton did the adaptation for both weights. Packard New Style Pro contains all the high-end features expected in a quality OpenType Pro font.

This delightful dervish is based on handlettering from a 1928 poster for a steamship line by renowned British artist Austin Cooper. It’s essentially a monocase font, with the exception of the letter A, which twirls in one direction in uppercase, and the opposite direction in lowercase. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Merganser is a Typeface intended for text and copy and was inspired to serve the avid community of Birders. Birders and birding material historically have a lot to say. Merganser serves that tendency because its designed legible at small scales. The Natural world also inspires the slightly humanist strokes of Merganser. Merganser was created as part of the Type@Cooper winter certificate in Type Design.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

I am thrilled to unveil my latest creation, the Elio & Oliver font family. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement. Named after the main protagonists of the beloved novel "Call Me by Your Name," Elio & Oliver is a testament to the power of passion, beauty, and the transcendent experiences that shape our lives. Just like their story, this font aims to evoke emotions and create a lasting impression. With nine meticulously crafted weights ranging from the delicate Ultra Light to the bold intensity of Black, Elio & Oliver offers a spectrum of possibilities. Each weight is thoughtfully designed to ensure versatility and harmonious visual aesthetics across various design projects. Intricate and purposeful, the font pack boasts over 30 ligatures that seamlessly combine letters, elevating the fluidity and legibility of your typography. These ligatures add an extra touch of sophistication to your designs, making them truly stand out. Recognizing the importance of language diversity, Elio & Oliver is equipped with full language support, enabling you to effortlessly communicate your message to a global audience. From English to Italian, French to Spanish, and beyond, this font embraces the richness and cultural nuances of different languages. Whether you're working on editorial layouts, branding projects, or digital interfaces, Elio & Oliver will infuse your designs with an air of refined elegance. It is the embodiment of style and grace, effortlessly capturing attention and leaving a lasting impression on viewers. Step into the world of Elio & Oliver, where every letter tells a story and every curve is a testament to the power of design. It's time to elevate your creative projects and evoke the spirit of Italian chicness with this exquisite typeface. Discover Elio & Oliver and let your designs speak the language of timeless elegance. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Elio & Oliver - Elegant Sans Serif Includes: Elio & Oliver Font Family - 9 Font Weights - From Ultra Light to Black Elio & Oliver Variable Font Over 30 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Migae is a versatile and elegant display font designed to captivate and engage audiences across a wide range of design applications. With 14 distinct weight variants spanning from delicate Light to commanding Black, and complemented by a refined set of italics, Migae offers a harmonious balance of strength and elegance to fulfill your typographic needs. Key Features: 1. 14 Weight Variants: Migae's extensive weight range, including Light, Regular, Medium, Semi-Bold, Bold, Extra Bold, and Black variants, allows you to choose the perfect weight for your design, whether it's a subtle headline or a bold statement. 2. Italics: In addition to its standard upright styles, Migae boasts a comprehensive set of italics that adds versatility to your typography, conveying an air of sophistication and style. 3. Strong to Elegant Styles: Migae's design philosophy seamlessly combines strength and elegance. Its strong weights provide a bold and impactful presence, while the lighter weights exude an effortless elegance, making it suitable for a wide array of creative projects. 4. Modern Aesthetic: Migae's clean, contemporary lines and carefully crafted details make it an ideal choice for modern graphic and web design, editorial layouts, branding, and advertising. 5. Legibility: Migae prioritizes legibility across all weights and styles, ensuring that your messages are communicated effectively, regardless of the chosen variant. 6. Versatile Applications: From branding and packaging to posters, editorial design, and web headings, Migae adapts to various design contexts, making it a versatile choice for graphic designers, typographers, and creative professionals. Design Inspiration: Migae draws inspiration from the harmony of nature, where strength and elegance coexist. Its name, derived from the Korean word "미래" (miraee), meaning "future," reflects its forward-thinking design approach that is equally rooted in tradition and innovation. Ideal Usage: Migae is an ideal choice for those seeking a display font that can effortlessly transition between bold and delicate, exuding confidence and refinement in every style. It's perfect for branding, packaging, advertising, editorial layouts, and any design project where typography plays a pivotal role. Migae is more than just a font; it's a design companion that empowers creatives to achieve a perfect balance between strength and elegance in their visual communications. Explore the world of Migae and let your design projects shine with its captivating charm and versatility.

Pekin is an unusual design with an oriental flavor. It was originally designed by Ernst Lauschke and released by The Great Western Type Foundry of Chicago as “Dormer,” which is similar to the French verb ‘to sleep,’ not exactly a marketing triumph. Barnhart Bros. And Spindler (independently-operated subsidiary of ATF since 1911) bought Great Western in 1918. According to McGrew, AMERICAN METAL TYPEFACES of the TWENTIETH CENTURY, BB&S renamed the typeface prior printing their 1925 specimen book — guess they wanted something just a tad more exciting. Quirky, distinctive and fun. Pekin ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 415 glyphs (compared to 218 glyphs in the original release). 2. 652 Kerning Pairs. Note: Ag, Aj and gj will cross unless kerned. Alternative A may also be used. 3. Added OpenType GSUB layout features: onum, salt, liga, dlig, hist, ornm and kern. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Refined various glyph outlines, based on improved scans. 6. Added set of Tabular Numbers at cap height, based on original design; added Old-Style Numbers based on default design. 7. Added a bunch of alternative characters: 18 upper case letters, 10 lower case letters, 1 ampersand and 1 bullet. The alternate c is actually the original design, but I don't like it - easily confused with e. Alt E H M h m n r t are from the original design. I added the rest. 8. 7 Ligatures, 4 Ornaments, 18 Geometric Shapes, 6 Arrows and 12 Misc. Symbols. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.