Discover Monarqy - The Funky Retro Font with Dynamic Flair Get ready to transport your projects back to the rad era of the 1980s with Monarqy, a font that encapsulates the funky, retro style of the era while adding a contemporary twist. This font will infuse your designs with a vibrant, nostalgic energy that captures the essence of the 80s like no other. Why Monarqy Stands Out: Cool Dynamic Characteristics: Monarqy oozes character with its funky, dynamic design. Each letter exudes a sense of movement and excitement, making it the perfect choice for projects that demand a playful and energetic vibe. Ligatures for That Perfect Flow: Monarqy offers an extensive range of ligatures, ensuring that your text flows seamlessly, delivering a polished and professional appearance. This feature is a game-changer for designers who demand precision in their typography. Rich Character Set: With an impressive repertoire of 610 characters, Monarqy accommodates a wide array of design applications. Whether you're crafting headlines, branding, or body text, you'll find all the characters you need to bring your vision to life. Alternatives for Creative Freedom: Monarqy doesn't hold back when it comes to creative freedom. The font provides alternative characters that let you experiment and find the perfect fit for your design. Customize your text to match your unique style and vision effortlessly. Multilingual Support: Monarqy is your passport to the global design landscape. With comprehensive multilingual support, it effortlessly adapts to various languages and ensures your message resonates across borders. PUA Unicode: Monarqy is PUA (Private Use Area) encoded, allowing you to unlock even more creative potential. Access special characters and ornaments that will set your designs apart from the rest. Monarqy is Perfect for: Retro-themed designs 80s-inspired branding Party invitations and posters Apparel design Album covers Packaging and labels Editorial layouts And so much more! Reignite the spirit of the 80s with Monarqy and let your creativity shine. Whether you're working on a fun project or a professional design, this font will add that extra touch of style and nostalgia. Get your copy of Monarqy today and embark on a typographic journey back to the funky, retro world of the 80s!

There is plenty of lyric and literature about looking over one's shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It's a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It's never easy to answer. Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant. Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele's work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele's work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it's difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways. Bowling Script is what people who like my work would expect from me. It's yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists. The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact. The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes. Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format. We also want to present “Mute”, a visual essay narated by Tomás García and Valentín Muro, about digital life created specially to introduce Bowling Script.

Geometric typefaces can harken back and visually tie themselves to so many genres, from constructivist posters, to techno club flyers, to raw industrial era power. The Offroad family finds its origin of inspiration in the O’Neal MX logo for their motocross division, represented in its truest form in the MX styles of this family, and expanded to a type megafamily. Offroad grabs hold of that unique pseudo-unicase style and runs with it to create a range of widths and weights that are perfect for historical through modern use. It embodies the hardcore motocross rigidity from the limited inspiration of the original logotype and expands to include a full and expansive glyphset, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Offroad Collection bundle: 382 glyphs per style - including Capitals, Lowercase (Unicase Style), Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) 45 fonts in 6 width subfamilies: Extra Condensed, Condensed, Standard, Expanded, & Wide. 5 weights per subfamily with obliques: Light, Book, Regular, Bold, & Black. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Offroad Collection is for you: You're in need of a geometric pseudo-unicase family with a big range of weights and widths You're a die-hard motocross fan, and want to design anything within that genre You're a club flyer designer, and need a kick-ass techno style font family You're totally into constructivist design, and want to create designs within that genre You just like to collect quality fonts to add to your design arsenal

I've always been in love with fat didones. That’s the reason of Posh. In search of something unique, I started this family back in 2013 with the aim of creating the fattest yet readable bodonian typeface in the market: It was a challenge, because roman fonts need generous counters (or what some call white spaces) and taking them to the extreme of inexistence attempted against the construction of many glyphs. Ears, dots, terminals and serifs always need some extra space so I had to find the exact point of boldness to make characters which have those attributes work well in the middle of those which haven't. (1) After a while, I felt I was again ‘in my element’: Big contrasted letters, sexy and elegant curves, and that Lubalinesque feeling that characterise my fonts. (2) Words written with Posh are a explosion of elegance and sensuality due to the fact that its didone attributes were exaggerated. Since it’s full of alternate glyphs, one can change and choose them until a nice block of ‘‘black’’ is achieved. (3) To accompany the regular style, I designed Posh Inline, a font with the same quantity of glyphs than the regular one; an all caps style called Posh Capitals, and also a really playful Italic version. I hope you find this one delicious like I do! This font is dedicated to all who understand letters are not just meant to be read, but also to be appreciated in group and individually. Enjoy it. NOTES (1) In example, it can be easy to design a fat letter ‘n’ with almost no counter, but really tough to make a satisfactory letter ‘s’ with serifs to match that ‘n’. (2) Also, it wasn't my first attempt in fat didones. Take a look at my font Reina, made in 2012. (3) Posters above show many words with ball terminals that seem to dance above and below the words in order to fill those “undesired” blank spaces.

Bettrisia Script is a modern and elegant calligraphy script font that comes with very beautiful character changes, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance. Bettrisia Script Interesting scripts as smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy and simple letter connections. I also offer a number of alternative styles that are appropriate for many letters. This font style is perfect for various designs of your work, such as invitations, labels, restaurant menus, logos, fashion, makeup, stationery, novels, magazines, books, greeting cards / wedding, packaging, labels and others. Bettrisia Script has 680+ glyphs and 487 alternative characters, including various language support. With the OpenType feature with alternative styles and elegant ties. The OpenType feature does not function automatically, but you can access it manually and for the best results needed for your creativity in combining this Glyph variation. The OpenType features can be accessed using OpenType savvy programs such as Adobe Illustrator, Adobe In Design, Adobe Photoshop versions of Corel Draw X, and Microsoft Word. And this font has given PUA unicode (special code font) so that all alternative characters can be easily accessed in full by craftsmen or designers. Need help? If you need help or advice, please contact me by e-mail at greatstudio92@gmail.com Thank you for your purchase!

Seconda XtraSoft is the extra soft companion of Seconda and Seconda Soft. Friendlier, easier on the eye, more informal, more fashionable — but still the refined and reliable Seconda. Seconda XtraSoft’s extra softness comes from the moderate rounding of both the edges and the inner corners of its characters. Seconda XtraSoft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. When using Seconda XtraSoft in small text sizes, it will be a reliable and legible text face. When using it in big display sizes, it will show its interesting details. For more information about Seconda XtraSoft, download the PDF Specimen Manual.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Goodwater is an original collection of a Brush, three weights of a monoline Script and four weights of condensed Sans typeface. Goodwater also has a “Print” version with rugged outline and worn-out texture of each font. Goodwater is a great pack for any display use from online to logo and from headline to packaging. All the styles are designed using the same proportions and soft corners so that they’ll place nice together. All Print versions have the same texture style and size too so that they’ll fit smooth together. Goodwater Script and Brush fonts are equipped with automatic Standard Ligatures and Contextual Alternates to keep the flow smooth and it’s best to keep those features on.

Choplin is a modern and clear geometric slab serif with a sturdy heart. It was designed based on the Campton Family, with the same principles in mind: geometry, simplicity and neutrality. As a consequence, Choplin could be seen as an immediate companion to the Campton Family. However, during the process lots of details were changed in order to sharpen the slab serif character which resulted in a slightly different interpretation. Similar to Campton, it is perfectly suited for graphic design applications ranging from editorial, corporate, web, interaction to product design. In addition, it has an extended range of alternative glyphs, ligatures and opentype features which provide flexibility and uniqueness wherever it is placed.

A typographic conundrum presented itself with the hand lettered title on the cover of the 1919 song "I Am Always Building Castles in the Air". The capitalized portion ["Castles in the Air"] was a hybrid mix of a few Art Nouveau-influenced rounded letters, yet along with this were squared letters with rounded corners (reflecting the upcoming Art Deco movement to take place in about another decade). As a complete alphabet, it didnít mix as well as in those few short words. What to do? It was decided to go with the squared look and save the rounder characters for a future project. The end result became Last Date JNL; available in both regular and oblique versions.

Margon is a serif font family with a temperate design -- small serifs, moderate contrast, tiny roundings on the corners make it calm and serene. The Margon font family consists of 18 members divided into 4 groups of different proportions marked by indexes 360, 380, 400, 430. These values correspond to densities of sets -- 360 is the widest style, 430 is the most narrow one. The peculiarity of Margon family is a rather small difference in proportions of characters between neighbor groups, it’s less than 10%. Such tiny step gives possibility to select the font that gives the best result in combination of capacity and readability. Margon can be used in book, magazine and newspaper design.

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.

M Finance is a design inspired by the popular M Elle. M Finance incorporates features of M Yuen or other rounded Gothic-style typefaces. Crossbars (橫) and stems (豎) have squarish entry and finial points with slight round corners, parallel without flare. Thick-thin contrast of strokes is low and the text is visible. Its extra bold stems (豎) make it suitable for eye-catching display. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Its features and construction create a feel of subtle sharpness and stiffness with wholesome elegance. It is best suited for casual display text, illustrations, set upright (non-slanted), non-condensed.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

The successful Gill Sans® was designed by the English artist and type designer Eric Gill and issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill's teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography.

Equines Display is a versatile font family designed specifically for display purposes. Its modern, thick and strong appearance is perfect for branding, logos, banners and any lettering that requires bold and clear letters. To add an artistic image rather than just the thickness of the shape, Equines Display adds a rounding feature to the corners of the letters with a cross system, which makes the word display dynamic, strong and elegant. Until this description was published, Equines Display had 14 styles including condesed, expanded, outline and shaded in hopes of meeting the display font needs of designers and everyone at large. Enjoy working with the Equines Display font family. Best regards, Saefulloh - Attractype Foundry.

Chevin is a contemporary rounded type family in 6 weights which was designed with functionality and legibility in mind. With its open counters and slightly condensed style, Chevin can be used for text and is particularly suited to signage. Erik Spiekermann is a fan, noting that Chevin “is charming without being cute, and very legible even in small sizes because of its restrained shapes and simple construction.” Chevin is named after a hill on the outskirts of Otley in West Yorkshire. Since 2007, the type family has been highly prominent in the UK as Royal Mail’s corporate font and the typeface that adorns every Post Office in the country. The Chevin Pro set includes additional Greek and Cyrillic layouts.

Bartdeng is a luxury Handwritten Font with a new stylish, a perfection style of the letters you want to use, modern handwriting with many alternatives. Now this is an OpenType! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Bartdeng Features 535 glyphs and alternative characters. Includes the initial letter to terminal, alternative, ligature and multiple language support. Programs that support OpenType features such as Adobe Photoshop CC, Adobe Illustrator CS, Adobe Indesign, Corel Draw, and Microsoft Office.

Modeled on the writings chiseled in stone in the second century B.C., Syntax™ Lapidar is an energetic, spirited typeface designed by Hans Eduard Meier in 2000. Linotype Syntax Lapidar Text and Linotype Syntax Lapidar Serif Text have five weights each, with both cap and lowercase letterforms. Lapidar Display and Lapidar Serif Display also have five weights each, with mostly all cap letterforms and many alternates. It's a terrifically fun and inventive family, and if you look closely, you can see the resemblance to the more modern and restrained Syntax™ relatives. Great for menus, artist books, travelogues, or advertising - and if used very sparingly, it could add just the right element of lapidary significance to corporate documents.

Looking for a sans serif that is ready to work hard for you? Meet Onward; simple and elegant in all sizes as well as legible in small sizes. Explore and write some sample texts here on the website and see all the fine distinctions between weights and styles regular, italic, bold and bold italic. Onward also offers many ligatures, arrows, alternatives, small caps, special numerals for capital letters/small caps/regular respectively ... and more! Onward is a natural choice for a corporate font, for logos, for brochures and a whole range of other purposes in relation to creating a strong visual and modern identity. Keep the family together and get a discount: $55.

Say hello to Decrypt—a geometric typeface that features highly stylized capitals with sharp corners, circular forms and generous proportions. Specifically created for visual impact—use Decrypt when you want your words to stand out from the rest of the crowd. The concept is modern, futuristic and non-traditional. Perfect for display text, logos and headings. The development of Decrypt started in 1997, inspired by Alex Kaczun’s best selling grotesque font family called Contax Pro. Decrypt is specifically introduced here as a bold weight, but Alex plans to expand the design to include many weights, styles and alternative design treatments. Stay tuned! If you like Decrypt—check out all of Type Innovations fonts here.

Cynosure Soft is a rounded, friendly version of Cynosur, a humanist sans with a subtle thick/thin stress. This gives it a clean, sharp elegance and precision that can be missing in some more familiar monoline sans faces. The wide range of weights and the matching reweighed italics make it a versatile solution where a consistent appearance across a broad range of applications is required. Its clear and inarguable design make it suitable for a wide variety of uses, from corporate to entertainment, text to headline, signage, logotypes, magazines and reports. The italics retain the design of the upright across all characters, again ensuring consistency. Includes tabular, lining and old-style numerals.

What can be more lovely than a wedding, an invitation or a gift from the heart? One whose presentation uses the warm and welcoming family of typefaces, Adorn. With a modern and sometimes quirky twist on the staid, almost corporate look of formal invitations, this family of hand lettered typefaces arms designers with a breathtakingly large number of fonts that work harmoniously, despite the distinctiveness of each. Adorn offers seven display fonts, four script designs, monograms, ornaments, illustrations, banners, frames, and catchwords. See what’s included! http://bit.ly/2jcakXO These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Songs of the early 1900s were anything but the status quo in topic or style. Excessively long titles, novelty tunes and "foreign themes" permeated the piles of sheet music in the local music shops. 1916's "Oh How She Could Yacki Hacki Wicki Wacki Woo (That's Love in Honolu)" covered a number of these quirks within one publication. This Hawaiian-tinged song evoked the mysterious ways of the South Seas islands, despite the abridging of Honolulu to "Honolu". Nonetheless, the hand lettered title of this particular piece of sheet music featured an Art Nouveau-influenced bold block letter with rounded corners. It's now available digitally as Smooth Sailing JNL, in both regular and oblique versions.

Joy Redick designed Blackoak, a big and heavy Egyptienne-sytle titling slab serif face, in 1990. The extremely robust style of the characters in this typeface was consciously distorted; creating letterforms that appear flattened and stretched, like a rubber band. Blackoak is drawn in the style of old wood tpes, just like those that one envisions when one thinks of the large, decorative posters that once filled Wild West America. The wood type collection of the Smithsonian Institute in Washington, DC acted as a primary source of inspiration for this design. True to its rooks, Blackoak is meant for use exclusively in headlines in very large point sizes, or for logos and other corporate advertising purposes.

Glora is a modern sans serif with a soft touch made at Warkop for fun. Glora has strong upper and lowercase letters that are subtle and effective in a variety of designs for your project. This font is very good in my opinion, you must think I praise my own work, you are not mistaken I also think the same as you. It is perfect for graphic design and any display use. It can easily work for web, signage, corporate as well as for editorial design. Have fun designing with the Glora font, because I have the quotes "don't forget to be happy while you're alive" Thanks for use this font ~ Khaiuns

M Finance is a design inspired by the popular M Elle. M Finance incorporates features of M Yuen or other rounded Gothic-style typefaces. Crossbars (橫) and stems (豎) have squarish entry and finial points with slight round corners, parallel without flare. Thick-thin contrast of strokes is low and the text is visible. Its extra bold stems (豎) make it suitable for eye-catching display. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Its features and construction create a feel of subtle sharpness and stiffness with wholesome elegance. It is best suited for casual display text, illustrations, set upright (non-slanted), non-condensed.

Patron is a modern, mono-linear, sans-serif font family with large x-height and softened edges containing 12 fonts. This typeface was born as a corporate font design for non-profit sector and today it is available for public. At the moment Patron is offered as a PostScript-flavored OTF, but its construction is tuned to display well on screen as well. Works on a TrueType version with individual glyph hinting are being carried out. In addition, Patron has alternative family (Patron Alt) with enhanced personality, suitable mainly for headlines. Patron is graduation work of Matěj Hlaváček at AAAD in Prague, Studio Of Typography. Supervised by František Štorm, Tomáš Brousil and Karel Haloun.

Tangential is a distinctive modern sans in 3 weights which was born out of a simple idea: Beginning the project with a perfect circle to form the letter ‘o’, then squaring off one corner, ending up with a letterform I hadn't seen before for that character; this for me was enough motivation to attempt a full alphabet incorporating the angled styling wherever possible. The Tangential style I envisaged for the family is complemented by the prominent use of negative space throughout, most apparent on the drop shaped ‘o’ which is a key feature of the typeface and a letterform I'm particularly pleased with. The core Tangential design is also accompanied by two further variations, Rounded & SemiSerif.

Animo stands out from the crowd. Animo is surprisingly legible for its outspoken personality. Many of Animo’s small details were crafted to enhance its legibility, while preserving its personality. Animo is suitable for both text and display use — for graphic design, corporate identity design, magazines, reports, editorials, web, advertising, signage, etc. Animo includes 32 fonts, 8 weights, 16 uprights, and matching italics. Animo provides nine numerical styles: lining and oldstyle figures (proportional and tabular), small cap figures, superiors, inferiors, numerators, and denominators. Animo provides small caps, arbitrary fractions, and extensive language support. Animo Alt provides a more usual shape for the ‘A’, ‘M’, ‘W’, and ‘w’. For more information about Animo, download the PDF Specimen Manual.

Dvarlin Staves is a collection of 512 rune glyph's divided into six font family's. The three main font's are Root, Caber and Bole, while Remnant, Branch and Blossom are taller versions of the main set. They all come in four weights: Light, Regular, Semibold and Bold. As well as a Italic and a Slant style for the purpose of adjusting letters on a curved line. It also features codex:437 glyph set and an extended array of letters and corner alternatives, including the default runic glyph's. The collection stands at 72 styles that contains a total of 36 864 glyph's. For extra supporters consider gifting some Staves away to a crafty friend.

Via sans is a font inspired by classics like Steile Futura and Din 1451, with neo-humanist characteristics. It was designed as a font for fast reading from a distance, which saves horizontal space in the text composition, making it a very good alternative when composing long phrases in reduced spaces, with high readability in various sizes due to its ample counters. With round corners that reduce the irradiation that reflective materials in signs produce. This family is composed by 8 fonts, 4 weight variations and 4 inclination variations, which include European accents marks, ligatures, fractions, ordinals and tabular numbers, in addition to a pictogram set that complement applications for wayfinding and maps.

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Jagerlay was brought to life to cope with diverse and complex data gathered in presentations, corporate identity and other office documents. Its geometric shape and characteristic endings are reminiscent of classic typography from Sci-Fi Movies from the 80's. The simple design makes Jagerlay outstandingly easy to use for every user. Jagerlay pairs with other typefaces in the blink of an eye – it goes well with display, serif or script fonts. The whole family consists of 9 weights and matching italics. Every style has almost 900 glyphs. Jagerlay has many opentype features such as tabular figures, fractions, superscript and subscript, small caps and arrows. Low contrast makes it easy to read. The rest makes it easy to use.

Hello All.... Introducing!! Anatomia is a beautiful script with a new lovely stylish, a perfection style of the letters you want to use, modern handwriting with many alternatives. Now this is an opentype! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Anatomia Features 567 glyphs and alternative characters. Includes the initial letter to terminal, alternative, ligature and multiple language support. Programs that support OpenType features such as Adobe Photoshop CC, Adobe Illustrator CS, Adobe Indesign, Corel Draw, and Microsoft Office.

Chevin is a contemporary rounded type family in 6 weights which was designed with functionality and legibility in mind. With its open counters and slightly condensed style Chevin can be used for text and is particularly suited to signage. Erik Spiekermann is a fan, noting that Chevin “is charming without being cute, and very legible even in small sizes because of its restrained shapes and simple construction.” Chevin is named after a hill on the outskirts of Otley in West Yorkshire. Since 2007 the type family has been highly prominent in the UK as Royal Mail’s corporate font and the typeface that adorns every Post Office in the country. The Chevin Pro set includes additional Greek and Cyrillic layouts.

Lightside is a brush script font, dapper handwritten font with a personal charm. With quick dry strokes and a signature style, Lightside is perfect for branding projects, homeware designs, product packaging - or simply as a stylish text overlay to any background image. Fonts include multilingual support. Please message me if you're unsure of any language support. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with OpenType capability or a glyphs panel, e.g. Photoshop/Illustrator. Note: in the preview there is a swash. I do not provide swash, I made the swash from the characters "Parenleft or right" and "backslash" I edited it in Corel Draw.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."