Hold on to your hats, there’s a new orchestra in town - the Banda Nova! Banda Nova is a crowd pleaser, feeling equally at home on the retail shelf as well as on the cover of your favorite magazine. The 7 weights included in the package offer a wide variety of styles, with delicate and elegantly thin weights morphing into cute, bulbous giants sure to bring a smile to anyone’s face. This versatility makes Banda suitable for virtually any design project, including logos, headlines, covers, packaging and more. We took the time to reimagine Banda, removing traces of our youthful naivety and expanding on everything that made it so good in the first place. Our team is proud to welcome back one of our earliest typefaces in a refreshed and much-improved rendition/adaptation, now featuring full Cyrillic support and almost twice the number of original characters. Are you ready to take center stage again? Download: PDF Specimen | Trial Fonts

Aleesya Rose is a Stylish Font Family to bring a touch of elegance to any design. The clear contrast blends into all styles - even thin styles - and the strong individuality by weight delights the designer's imagination. 14 styles including 7 weights and italics are essential for designers to complete more detailed and sophisticated typography. This style has 426 glyphs each, check the glyph window in your app. The upright standing of the vertical stems stably supports the center of gravity of the entire font. And the thin strokes used as finishing touches will convey an elegant personality to the layout. The ligatures are designed to appeal to the reader with their beautiful tenderness, and they are: Ba, Be, Ha, He, LO, Le, Lo, Re, Ro, ck, de, do, ee, ff, fi, oo, rr, th. In particular, we recommend that you choose this font family to achieve the following purposes: Editorial design, Personal branding, Branding business, logo design, portfolio, and any special design.

Vogan Typeface is a versatile font that comes in both regular and outline versions, both of which are in all capital letters. The regular version of the Vogan typeface features solid, bold characters that are perfect for making a statement. The letters are clean and well-defined, making them highly readable and suitable for a variety of design projects. Whether used for headings, logos, headlines, magazines, posters, or other creative applications, the regular version of Vogan Typeface commands attention with its bold and impactful appearance. In contrast, the outline version of Vogan Typeface provides a different aesthetic. The characters in this version are defined by their outer contours, creating a stylish and modern look. The outline font maintains the overall shape of the letters while allowing the background to show through the center, adding a touch of sophistication and creativity to any design. This version is particularly popular for design projects where a contemporary and edgy vibe is desired.

The Eixample project is inspired by modernist signage of various examples found in the Eixample neighbourhood in Barcelona. The name of each subfamily is related to its location or to specific elements of the original sign. Dip is the abbreviation for Carrer Diputació (Diputació Street), where the original sign spells Farmacia Específicos Diputación. The reference taken from the pharmacy sign is a curious model, where sans-serif lowercase letters coexist with script uppercase. This fundamentals create the system that we have introduced in Eixample Dip. The capitals are built with contained decoration to achieve maximum compatibility between letters. The script capitals are the default uppercase but we have also included alternative capitals, a slab style that can be combined with the scripts. The narrow influence of the original sign is correlated with the Narrow styles of the Dip family. But for more versatility, Eixample Dip explores normal widths and weights as well. Furthermore an Inline version was added to the suite.

Extra Old is a vintage serif typeface. With heavy strokes and miniscule serifs, this classic font family is the perfect lettering for a headline to emit genuine quality. Why not use Extra Old for a traditional logo or balanced product label. Created with pride and care, this type has the optimal appearance of a classic vintage logo but for a modern setting. The font family consists of Regular and Italic, as well as Bold and Bold Italic. Also included are the font styles Coaster and Floria Corner, two typefaces for beautiful decorative elements, combining with the lettering. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Manicuore is a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni (a.k.a. Sandro Simeoni). Being a talented and skilled painter, portraitist and illustrator, Symeoni enjoyed a long and fruitful career and was remarkably productive during the sixties and seventies. He counts over 3,000 works to his credit, which truly fed the imagination of several generations. This all-caps font brings different lettershapes on upper and lower case slots, which work as alternates, providing handy options to spice up your compositions. When using it in OpenType savvy applications just turn on contextual alternates feature to instantly cycle lettershapes – a one click way for adding spontaneity while also preventing neighbor double letters from using the same glyph. To put the icing on the cake, Manicuore brings a cool set of graphic elements that match the typeface look and feel. An inspiring toolbox for creative lettering designs. Now... Lights! Camera! Action!

Sequel Sans is a new chapter in the book of neogrotesque typefaces. Its core idea and its name were conceived in collaboration with the max bill georges vantongerloo foundation. The main inspiration for its design were the sans-serif typefaces used by Max Bill, the larger-than-life Swiss architect, artist, and designer. Honoring these roots, I designed Sequel Sans to be a clean and adaptable font family that is built upon a comprehensive system of styles. 8 weights, each with a corresponding italic, and a matching set of Variable Fonts are available in 4 optical sizes. These range from standard (for text sizes) to Subhead to Headline to Display—larger optical sizes come with tighter spacing and a number of gently adjusted glyph shapes. Like the great neogrotesques found in mid-century Swiss Style designs, Sequel Sans is a vessel that you can fill with any kind of content. It will amplify your message while retaining its own modernist character.

World Madly - Display Font is a delightful and quirky typeface designed with an environmental theme in mind. This font exudes a sense of fun and playfulness with its rounded and condensed letterforms, making it a perfect choice for projects related to nature and the Earth. Featuring a remarkable array of ten alternative font versions, each inspired by elements of the Earth and plant life such as tree trunks, leaves, globes, roots, and trees, World Madly is purposefully created for Earth Day-themed designs. It seamlessly integrates into projects with themes centered around nature, green initiatives, and the Earth. This font is an ideal choice for creating designs like Earth Day-themed invitations, birthday invites, party decorations, logos, stickers, clothing, packaging, children's books, magazines, and more. With its crafty and playful style, World Madly lets you express your love for the planet and the environment in your creative projects, adding a touch of eco-consciousness.

When we think of a child's font, random scribbles often come to mind, but I thought, why not make a child's font fun, spontaneous, and at the same time simple and readable. This is how the Arbus font was born. This font is perfect for anyone looking for a light, free-style font that will last a long time. In addition, the font has a number of undeniable advantages: The Arbus font is perfectly balanced, which allows you to use it both in headings and for large amounts of text. Thus, you can completely design your products with one font family. The Arbus font family has nine font weights. The font supports all European languages ​​and of course the Latin alphabet. Works on PC & Mac This beautiful Arbus font can be installed on any operating system, it can also be used in professional programs like Figma or Addobe Crative Cloud, as well as in other simpler software like Canva.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

Stamen is the answer to a big question: What would happen if one tried to create a typeface that was ‘out of time’? If a type designer was to turn off the internet and put away the type specimens and just try to explore limbic, phantom history, what might that look like? No slavish explorations of the past. No gropings toward the future. No exhaustive core sample of the contemporary. Instead, using what one remembers of history and our collective vision of the future (usually a future imagined from the past) and channeling that into something that is, hopefully, new… The Bentons meet Frutiger for a Manhattan on a space station while Matthew Carter sways to the sweet sounds of the chorale that occasionally played through the halls of Stephenson Blake. This smear of implicit history expressed without explicit reference—this is Stamen: a family of 12 typefaces with a ton of alternate characters. The bold weight was designed for the LP “I Thought the Future Would Be Cooler” ( http://ittfwbc.com/ ) by the band YACHT in response to their request for a typeface that was ‘lost in time’, and refers to neither strict historical models nor purely futuristic forms. I built a small family out from there. It works well in text, but just as well for display setting. I think you’ll enjoy using it.

Introducing Hiyida Script! Hiyida Script is modern script font, every single letters has been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project, example: weddings, invitations, greeting cards, posters, name card, quotes, blog header, branding, logo, fashion, apparel, letter, stationery, etc. Hiyida Script allows you to create custom dynamic text. you can access by turning on; Stylistic Alternates, Stylistic Set, Initial Forms, Terminal Forms as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's swirl from the reguler character into character alternative to get the text with the layout of your dreams. Hiyida Script features 801 glyphs and has given “Private Use Areas” PUA Encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software, Compatible With Silhouette Studio & Cricut Design Space. Files Include: - Hiyida Script Features: - Basic Latin A-Z and a-z - Numbers & Symbols - Stylistic Set & Ligatures - PUA Encode (specially coded fonts) - Latin Pro Support Character In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Thanks for your visit :-)

There are a few professions in which being left-handed confers an advantage-think of the great southpaw pitchers in major league baseball, like Sandy Koufax. Now, think of all the great left-handed calligraphers. Not so easy, right? Here's a hint: Luis Siquot. Far from being an advantage, Siquot's lefty orientation proved a hurdle to overcome. When I was young, I had serious problems writing," he recalls. "If there was a lot of text, I almost always soiled the paper with wet ink as my hand followed the pen." Then, a friend told Siquot about a special store in London that catered to left-handed people. It was there that he found an Osmiroid pen specially designed for left-handed calligraphers. ITC Cali is based on Siquot's use of this pen. "Electronic scans of my calligraphy were the foundation of the design," he says. "I was careful to leave in some imperfections to avoid an excessively mechanical look, and added the little notches in the strokes to imitate the texture of writing on a rough cotton paper." ITC Cali works equally well in text and display sizes, but it is a calligraphic script, Siquot warns, "and shouldn't be set in all capitals." That said, ITC Cali is a remarkably versatile design, well-suited to a variety of communication projects."

We cannot imagine anyone not liking beer. Especially on a warm summer night there is simply little that can top an ice cold brewski. And with the current wave of home-brewed ales and lagers, Vette Letters decided to not stay behind and brew its own brand. Just so we can design our own beer bottle label using our own font. VLNL Thueringer comes from the drawing board of Jacques Le Bailly (a.k.a. Baron von Fonthausen), the German-French specialist in the fields of both beer and type design. One day Jacques got inspired by Albrecht Dürers 15th century Fraktur (blackletter) alphabet, and decided to design a contemporary rounded version of it. Although the historic context is clearly visible, Thueringer definitely stands its own ground. It's a modern techno-style blackletter with a (beer)truckload of interesting design details. Thueringer contains a number of ligatures and an alternate set of numbers. Apart from the regular uses like logos, posters, flyers and headlines we definitely would like to see our Thueringer used on beer bottle labels and crates, but also cafés and hipster bars would do well with this modern-day blackletter. Hell, even wine or liquor labels, football team jerseys, Oktoberfest flyers, it's just too much to mention. As long as it is accompanied by a cold beer.

Get ready to unwrap a typographic delight with Frosty Xmas, the holiday-themed serif font designed to infuse your projects with festive charm and timeless elegance. With its soft round corners, delicate serifs, and all-uppercase characters, Frosty Xmas exudes a timeless charm that complements a wide range of holiday designs. Its classic serif letters, adorned with swirls, swashes, and star elements, add a touch of whimsy and magic to your creations. Whether you're crafting holiday cards, designing festive branding, or creating typographic posters that echo the joy of the season, Frosty Xmas is your go-to companion. Its versatility knows no bounds, making it equally suited for standard branding, logo design, and a wide array of creative ventures. But that's not all – Frosty Xmas comes bundled with 40 hand-drawn holiday doodles, adding an extra layer of whimsy to your projects. From snowflakes to stockings, candy canes to Christmas trees, these doodles are the perfect embellishments for all your holiday-themed endeavors. Crafted with over 450 carefully designed glyphs, Frosty Xmas supports over 90 languages, making it a versatile tool for designers and crafters worldwide. Whether you're creating holiday greeting cards, packaging labels, or typography posters, Frosty Xmas will infuse your designs with festive cheer. Elevate your designs, captivate your audience, and make this holiday season truly memorable with Frosty Xmas. The magic begins with each letter – are you ready to unwrap the joy? Happy designing and Merry Frosty Xmas! 🎄✨

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

Akira Kobayashi’s Between™ typeface comes in three main states. While different from each other, they all offer human-centered design to ensure that copy set in them is affable and approachable. An added benefit is the ability to transition “between” font designs, choosing different styles – or even individual characters – to create hierarchy, contrast or emphasis. Kobayashi designed the Between typeface in response to the current popularity of rounded, humanist sans serif designs over the cool grotesques of the 20th century. Between 1 melds industrial and humanist sans ethics. Between 2 represents a sans version of Kobayashi’s Cosmiqua® typeface, striking a balance between crisp and legible, organic and friendly. Between 3 is a freestyle sans with an uplifting sprightly mien. Between has 48 styles; each has eight weights of roman with its own italic counterpart. The family offers a large set of alternative glyphs and OpenType® features. A full interactive type specimen can be viewed here: http://www.monotype.com/fonts/between/ Featured in: Best Fonts for Logos

Discover the effective simplicity of SP Honey Bunny, a masterfully crafted display font created in 2023 by Studio Pulp. Inspired by the character Honey Bunny, the partner of Pumpkin in the cinematic classic "Pulp Fiction" (1996), this font, while not taking center stage, exudes a striking presence. This remarkable typeface, designed with meticulous attention to detail and craftsmanship, showcases versatility that seamlessly complements various design projects, particularly excelling in titles. The three well-balanced weights provide the freedom to unleash your creativity, while the clear, open forms optimize readability. SP Honey Bunny, anchored in a clean grid design, embodies modern minimalism and accessible elegance. Whether you're working on web design, graphic design, or print materials, this font adds a touch of timeless class to your creations. Be inspired by the seamless blend of functionality and aesthetics in SP Honey Bunny. Specifically crafted to meet the demands of 2023, this font brings a contemporary flair to your projects while remaining true to Studio Pulp's legacy of dedication to quality and innovation. Transform your typographic landscape with SP Jody and leave a lasting impression.

Introducing “QERUNG Font” – Where Handwriting Takes Center Stage. QERUNG Font is the embodiment of handwritten artistry. With its captivating handwriting theme, this font adds an authentic touch to your creative projects, making it the perfect choice for those seeking the genuine charm of handwritten script. Whether you’re designing invitations, posters, or branding materials, QERUNG Font effortlessly captures attention and infuses your designs with the character of real handwriting. Crafted with meticulous care, QERUNG Font exudes the warmth and uniqueness of handwritten script, forging an instant connection with your audience. Its versatility knows no bounds, making it suitable for a wide range of applications, from heartfelt notes to personalized branding. QERUNG Font elevates both readability and style with its graceful strokes and fluid lines, providing a natural and appealing look to your text. It also offers support for multiple languages, ensuring it resonates with a global audience. Elevate your creative projects with the authenticity of QERUNG Font. Explore this exceptional typeface today and bring the genuine beauty of handwriting to your designs. – PUA Encoded Characters – Fully accessible without additional design software.

Galvantur Grand is an uppercase-only display font, intended to be used for attention demanding titles and headers, or generally any form of text that needs to take center stage. An offshoot of the Galvantur font, Galvantur Grand takes things one step further towards the extreme, to really give your design projects that special flair. Characterized by the double lines and negative space between them, this powerful font can make any form of text stand out strongly. The multiple styles included can further help customize your designs and projects, to get the perfect feeling you're going for. Comes in 7 different styles - Regular, Oblique, Light, Light Oblique, Outlines, Light Outlines and Oblique Outlines. To get an idea of the various styles, please check out the images or use the preview field to type in text. Galvantur Grand supports Latin and Cyrillic based languages. IMPORTANT: This is an uppercase-only font. Typing out lowercase characters will look exactly like typing out uppercase ones. Furthermore, it is recommended that this font is used with bigger sized text.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

Poeta is an ornamental font for making patterns and text decoration. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or festive holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a simple straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. Poeta will add visual poetry to any design project. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns.

The year 1914 marked the appearance of Washington Ludlow's first typograph machine. This remarkable invention permitted typesetters to quickly cast a full line of lead type in one operation using supplied brass matrices, a procedure which was for the time a major technological improvement over the usual hand-set foundry type methods. Casting type the Ludlow way necessitated the creation of an entire range of new Ludlow typefaces, a development which made Ludlow not only a major manufacturer of printing machinery, but also one of the world's leading sources of professional type design. Renowned typographers such as Douglas C. McMurtrie and Ernest F. Detterer created original faces at Ludlow's request. Robert Hunter Middleton was Ludlow's design director for over fifty years, and during his distinguished career produced an entire library of typefaces representing virtually every known typographic style. He is recognized as one of the most prolific type designers of all time. Today, new Ludlow computer fonts are in preparation, including optically-correct versions of many classic Ludlow typefaces, drawn directly from the originals in the Ludlow company library.

Zapfino Arabic is designed by Nadine Chahine as the Arabic companion to Hermann Zapf’s iconic Zapfino typeface, with the approval of Prof. Zapf. The design is an evolution of Arabic calligraphic traditions that combines Naskh and Nastaaliq to form a backward slanted calligraphic style. The character proportions refer to Naskh traditions but the isolated and final forms bring with them an exaggerated swash-like movement that references the extravagant ascenders and descenders of Zapfino. The font contains a large number of contextual variants that work to create a smooth flow of pen movement, as well as 10 stylistic sets. The character set supports the Arabic language as well as basic Latin. Zapfino Arabic is meant to be used as a display typeface, for logos, greeting cards and short headlines. It could also work for short pieces of text, for poetry or chapter introductions, when used in a generous type size and with ample space around it. Its design is soft and elegant, and leaves a lot of room for typographic playfulness.

Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

Here is a wonderfully charming typeface similar in style to the folklore lettering created by Walter Crane, the prolific children’s book illustrator. This English artist created many beautiful, flower-decorated works during the Arts and Crafts movement that flourished between 1860 and 1910. English Garden SG Regular contains many of Crane’s original whimsical and quirky characters. Note the inclusion of a spurred capital G, a squat lowercase g, a bending floral lowercase d, and the quaint old style figures. All of which are a delight to use when casting a medieval storybook tone to your project. You might also take advantage of the enchanting small capitals when setting logos, headlines, and decks. English Garden SG Regular is now available in the OpenType format. Some new characters have been added to this OpenType version including stylistic alternates, discretionary ligatures, historical forms, and petite figures. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 8. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Escuela typeface is born in an attempt to reflect so many current influences of modern grotesque fonts that are trying to better reflect the values of today's world. Its compact proportions and high x-height, but at the same time with sort kind of modulation and open inktraps, propose a visual game that is worth enough to use it many places; Escuela can be striking and ideal for headlines in large text and heavy weights, but at the same time serious and readable in smaller bodies or regular and fine weights. Its wide range of characters, which includes a set of emoticons ideal for signage, work and evaluation documents, as well as inclusive, is ideal for educational centers, whether they are more playful (schools) or more pragmatic (universities). In fact, "Escuela" means “School” in English. For this reason, Escuela is your best ally when it comes to preparing texts that transcend students through a contemporary and different, but functional, character. Designed by Carlos Campos www.cuchiquetipo.com Dummy text from wikisource.org (1911 Encyclopædia Britannica/Universities).

The Dickens's Fairytale – it's a new chapter of VVDS products - The collections of fancy display fonts which will include many typefaces that will be perfectly combined not only with each other, but also with other collections of this series. As a result, you will get a large collection of beautiful fonts and graphics that will help you create beautiful designs without having to look for anything else. All these collections are inspired by classic books design of XIX and XX centuries like Franklin's Library Classic Collection and modern publishing houses like Barnes & Nobel Collectible Editions. This collection is the first one and including 12 font files. The Serif presented in two styles - cutted and normal. The cutted style has two weights - Regular and Bold. Also, there are two types of shadows - block and offset. Plus decor for cutted serif. The cherry on top - curly calligraphic Script with Swirl calligraphy elements for decoration. The both of types has many Open Type Features as Oldstyle Figures, Fractions, Stylistic Alternates and ending lowercase letters for script. • OTF & WEB • Multilingual

Gainsborough - a clean-cut display pack. Gainsborough is a display combo pack of three styles and extra swooshes. Gainsborough fonts are straightforward with characteristic clarity. All the three fonts are designed to play together. Gainsborough is very easy to use. Gainsborough Pen is a clear script inspired by handwriting with pigment pen but polished clean to be legible and inviting. It’s equipped with Contextual Alternates and Standard Ligatures for smooth flow and connections between letters. In addition there’s Stylistic and Swash Alternates for standard characters. Gainsborough Sans is a sturdy street-sans ready for action. It’s has zero contrast and angular geometric shapes. It’s great for bold headlines. Gainsborough Serif follows pretty much the same proportions but with the serifs and a little bit of contrast and round shapes. Try combining Gainsborough Swooshes with Gainsborough Pen - type one character with Swooshes in the end of a word typed with Pen and you’ll have an ending swash reaching below the word. There’s different shapes and length swooshes + a couple of center balanced ornaments.

In the early 1980s, at the start of my career, I had the opportunity to work in a print shop with classic lead setting. In those days I would study issues of U&lc magazine from ITC. What really caught my attention were scripts in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since. A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font Mommie when I started my own foundry. Although I usually design text typefaces, working on Mommie taught me how complex it can be to create a script headline font. The biggest challenge in this process has been to keep it alive and fresh. The Regular weight is only made for very big headlines. The thin lines with the bold drops are very elegant. For smaller sizes use the Medium and Small weight. It won the TDC 2008 award and was Judges Choice of Christian Schwartz.

BACUTE Display Sans Typeface offers a captivating blend of contemporary design and readability, ensuring your projects stand out with finesse and clarity. Features: Three Unique Styles: Enjoy the versatility of BACUTE's three styles - Light, Regular, and Bold. Each style adds its distinctive visual appeal to complement various design aesthetics. Special Alternates: Unleash your creativity with alternative characters and glyphs that infuse uniqueness into your designs, allowing for personalized expressions. Complete Character Set: BACUTE includes uppercase and lowercase letters, numerals, punctuation, and a range of essential glyphs for comprehensive design flexibility. Cross-Platform Compatibility: Seamlessly use BACUTE across both PC and Mac platforms, effortlessly integrating with leading design software like Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and Microsoft Word. Effortless Installation: Experience hassle-free installation, granting instant access to the font's capabilities without the necessity of additional design software. Multilingual Support: BACUTE ensures inclusivity by supporting a variety of special characters, catering to multiple languages, including ä, ö, ü, Ä, Ö, Ü, ß, ¿, and ¡. BACUTE adapts flawlessly to an extensive range of design projects, including Logos, Posters, Product Labels, Cartoons, Comics, Editorial Designs, Website/Blog Elements, Social Media Posts, Packaging Designs, Social Media Subtitle And more! Dive into the boundless potential that BACUTE Display Sans Typeface offers. Its modern aesthetic, coupled with a multitude of features, positions it as an invaluable asset for designers seeking to make an impactful impression without compromising readability. Embrace BACUTE to elevate your projects and captivate your audience with its distinctive charm!

Delagio Script is a calligraphic font that combines cursive elegance with a funky, innovative edge. This retro-inspired font is both creative and heavy, making it perfect for designs that require a unique and playful touch. Delagio Script is ideal for projects that seek to convey a sense of fun, humor, and originality. The creation of Delagio Script traces back to a lucky discovery of a vintage magicians' promotional posters. The unique blend of whimsy and elegance in Delagio's lettering were captivating enough to form the base of a typeface that embodied the distinctive charm of entertaining calligraphy strokes. Thus, Delagio Script was born, encapsulating the spirit of serendipity and the magic of a forgotten world. Use underscores _ to make swashes under words. Example: Magician_ The Delagio Script font family features four styles that cater to a wide range of design needs: Thin, Regular, Bold, and their respective Italics. These distinct options allow you to create eye-catching compositions that capture the essence of innovation while remaining rooted in vintage aesthetics. Equipped with advanced OpenType functionality, Delagio Script ensures top-notch quality and provides you with full control and customizability. The font includes stylistic alternates, ligatures, and other features to make your designs truly unique and engaging. Offering extensive lingual support, Delagio Script covers all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia, and includes all the characters and symbols required for your creative projects, such as punctuation and numbers.

‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

Tuscan wood types cover a fairly wide range of styles, and there is sometimes confusion over what is classified as a Gothic Tuscan and what is considered an Antique Tuscan. HWT American Chromatic and P22 Tuscan Expanded are more precisely faces of the Antique Tuscan variety. Gothic Tuscans are generally absent of the heavy serifs typically associated with their Antique Tuscan brethren (although decorative bifurcation of terminals can imply serifs). Additional internal decoration with spikes along the stems gives some Tuscans their distinctive look, these faces are often described as “Circus Types.” Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right. This typeface is best used very large in short headline work. The style defies falling clearly into either the Antique Tuscan or Gothic Tuscan category. The new HWT version of Tuscan Extended has been meticulously redrawn by Frank Grießhammer. During production, he also incorporated a number of new letterforms, bringing the font to over 300 characters (including a full ASCII character set and Central European accented characters).

FM Bolyar Ornate Pro is the latest member of our renowned Bolyar mega family and the perfect companion for our very successful FM Bolyar Pro . Developed to a new level of excellence this new improved ornate design is quite able to satisfy every typographic taste and meet the ever growing design requirements for high quality typefaces. If you are addicted to classic vintage style, then you could easily use Bolyar Pro Ornate for almost any project of desire - from letterheads, logos and catchy headlines to elegant packaging, book covers and wine labels. Alternates, Swashes and Ligatures will help you customize almost every single letter and fit perfectly to your artwork. Bolyar Ornate Pro provides a broad range of advanced typographical features such as: Five weights ranging from thin (100) to black (900) with full multilingual support of all Latin based languages as well as Cyrillic; 1000 glyphs per weight including three multilingual stylistic sets, swash designs and useful discretionary ligatures; Sub- and superscript basic Latin and Cyrillic glyphs as well as figures. Two positional models for lowercase accessed as OpenType case sensitive forms ñ base to base (default) and spur to spur (vertical center).

Hiragino Serif (Mincho) is a font adapted for the digital age. It was designed to permit finely detailed tuning that allows the sizes of both kanji and kana to be adjusted for greatest visibility. It also broadly satisfies the needs of modern graphic design in advertising, posters, pamphlets, magazines, and other such uses. The font makes the counters comfortably wide while gracefully raising the text's center of balance, ensuring that the typeset characters will be smooth and well-defined. It gives each line a modern impression thanks to a judicious balance of light and shade and draws out a vivid readability that makes it possible to comfortable push forward with one’s reading. Latin alphabet and numbers have all been originally designed so that the weights of typeface and the flow of the baseline between Japanese and Latin characters are extremely consistent. Of particular note, vertically formatted text that mixes both Japanese and Latin characters can be beautifully rendered using only this typeface. Thanks to the use of authentic and sophisticated basic design , it creates a different atmosphere by combination of optional unique kana typefaces.