An industrial-weight typeface inspired by graphics laser-cut from sheet metal.

EdwardEdwin a is simple but elegant rendition of a formal, calligraphic script.

An exciting new contemporary serif face; very powerful but yet very elegant.

An ultra heavy redesigned Bodoni look, extremely powerful but yet very elegant.

This chunky serif handwriting is fun but still completely legible for children.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel’s letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters — stained and scarred with censor marks — were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé’s original handwriting. The result of years of research and design work, P22 Marcel Script features more than 1300 glyphs. The font is a highly readable running script that includes textural details that capture the look of ink on paper. The font Marcel Caps is a hand-lettered titling face intended as a companion to the Script. Marcel EuroPost One and Two each feature more than 200 postmarks, cancellation and censor marks, and other embellishments found on historical letters and documents.

Brithany Script is Hand Lettered Calligraphy Font with beautiful waves and natural flow. has a unique letter style, with natural handdrawn, and has a softer and smoother character subtly connect all the characters. They have a simple elegant swashes in separate letters, you can use graphic design software to access the alternate letter. Brithany Script 427+ glyphs . including initial and terminal letters, alternates, swashes, ligatures and multiple language support. o enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters: http://youtu.be/iptSFA7feQ0nn http://cuttingforbusiness.com/2016/01/28/how-to-use-opentype-fonts-in-silhouette-studio-or-cricut- design-space/ https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your purchase! and please let me know if you have any questions. via email: joelpopon@gmail.com

Not to be confused with the prolific, 1980s British super-star graphic and type designer Neville Brody, this brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Body is a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brody is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brody. If you need the original version with more lettered characters then Brophy Script is a good alternate,

Introducing "Lafonsa," a new serif font that combines stylistic typography with unique alphabet lettering and serif typography style. With a wide range of options, you can create stunning letter combinations for lettering. Lafonsa comes with open type features that offer a vast selection of alternates and end swashes to enhance your lettering. It is ideal for various purposes, including Logotype, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards, and many more. Additionally, Lafonsa supports multi-language use. To access Lafonsa's alternate glyphs, you will need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. In the zip package, you will receive Lafonsa in otf, ttf, and woff formats, with features that include uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, symbols, and multilanguage support. Overall, Lafonsa is an excellent choice for anyone who wants to create stunning and unique designs, and it is perfect for all your design needs. Its versatility and high-quality design make it a valuable addition to any designer's toolkit.

A completely isolated letters typeface design with an overall Hebrew look and feel. Glyphs were designed with an emphasis on isolation and vertical feel with a visual connectivity measure to help easy reading. The Ibrani (Arabic for Hebraic) font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Ibrani employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Ibrani includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

If you create a lot of designs for display, then you know how invaluable a good, solid, geometric face is. Wodehouse is here to deliver. It has both a vintage, between-the-wars look and feel and a geometry with superelliptical rounds that embrace later, more modular designs. It's a little Deco, a little Moderne, a little Industrial and a lotta personality. Wodehouse has style. Wodehouse stands out. Right ho, Woodhouse!

Arto is a unique super-condensed typeface, ideal for branding projects and editorials headlines. The super tight kerning give this family a distinctive retro feel. The full family is a go to font for making projects distinctive, allowing projects to stand out. Arto Condensed has an extended character set to support Central and Eastern European as well as Western European language. Also available a variable version of the font.

With a gentle, modulating effect and very neat from a formal point of view, Botija is ideal for medium sized texts: it is a font family with a unique style. Created initially as a reinterpretation of Bodoni, it maintains a sharp vertical axis and a medium level of contrast, suitable to function in smaller bodies and featuring subtle details which stand out in medium-sized bodies of text.

Titanium is a geek-ed out, über-technoid specimen of plasma-type. Designed by Steve Matteson, this typeface is the perfect display font for your star cruiser or the weekend interplanetary lander. Like its namesake, Titanium is the strongest design for its weight capable of withstanding the jump to lightspeed without paradoxical distortions. Titanium is now available for use on home world computing devices to capture the essence of galactic travels.

Rochaline a fashion chic display font. This font was inspired by and for fashion brands in the world. In general, it creates a luxurious and elegant look in design. Add this font to your favorite creative ideas and notice how it makes them stand out! Use this font for your fashion brand, resort, cosmetics, invitations, wedding, branding, packaging, magazines, boutique, social media, restaurant, spa, greeting cards, headers, headline, and many more...

Inspired by the magic in the clouds, this part paintbrush, part san serif, Nimba is a hybrid display typeface that brings swiftness and joy to any project. Ideal for projects that require a sans type without sacrificing personality. This family contains true italic members, providing a stronger sense of motion and speed. Elegant, yet Vivid, this typeface will make your project stand out from the sans dominated design world.

Cupid Hearts is a hand written script, first drawn on paper and then remastered on the computer to give a smooth free flowing script,that looks perfect over the top of photos or as a logo. With 20 alternate style sets this lovely and friendly typeface take the stress out of finding fonts that match together so you can focus on what you want to do which is designing beauty work.

Rum Sans is designed inside out based on modular counters. Rum Sans is a text & display family suitable for any purpose, any media, any size. A humanistic modular sans serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2001-2014 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

An ever so slightly off kilter sans-serif, Good Grief started as a digitization of a film typeface called Carmel by LetterGraphics. From there, this fun and friendly typeface was taken from its limited character set and fleshed out to a fully functional typeface. With the legibility of a text typeface, yet the personality of a display type, Good Grief - why haven't you gotten this fantastic font yet?

Asian Scroll contains many kanji symbols laid out in the regular English keyboard layout for easy access to these special characters. In your capitals, you'll see each symbol here is subtitled with a small English translation indicating the meaning of the symbol. Asian Scroll brings these symbols to you in dry brush and wet. Please see the gallery picture to see which keys are used to access the kanji symbols.

Black Emerald, a Sparkles Like Emerald Display Font Coming to you with stunning regular and outline style, sparkles like emerald to create a perfectly fashionable, beautiful, fancy, and elegant design. Features: Multilingual support (15 languages) PUA Encoded Thanks for checking out my font. I really hope you enjoy using it! If you have any questions I'd be more than happy to answer them, just send me a message!

Lindau is a new take on the Jensonian Roman typeface genre. The idea was to combine the Venetian proportions with a conical shaping of the vertical parts. Lindau may be considered an alternative to fonts like Jenson, Centaur, Trump Medieval or Deepdene. Suitable for ads, stationary, branding and label design, headlines and short to medium-length text bodies. Lindau is layed out with comprehensive character support for every Euro-Latin language.

Chilli Peppers is a stylish, quirky, and incredibly distinct script font. Its stand-out feel makes this font incredibly versatile, fitting a wide range of contexts. Whether you’re using it for crafting, digital designing, presentations, poster, logos, events, or greeting card making, it’s perfect! This font is PUA encoded which means you can access all of the awesome glyphs with ease! It also features a wealth of special features including ligatures.

Surimi is a condensed display typeface available in six styles. Designed to stand out with its low crossbars and its unicase alternates, this cool little family will be great for titling and logotypes. The fonts include diacritics for western European langages, tabular and proportional figures, and 4 stylistic sets : ss01 : unicase alternates (A,E,W,Y) ss02 : alternate lowercase g ss03 : alternate lowercase l ss04 : alternate W and w

Thick horizontals reminiscent of certain Egyptian or western-themed display faces warp into stretched-out glyphs and strange elliptical forms in this haphazard, page-filling font. Sure to evoke images of saturday morning cartoons, zany retro advertisements, and various other expressions of mid-20th century whimsy . Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

Quick Remarks is a reverse and modern serif that comes with stylish and noticeable contrast. With unique uppercase and lowercase, this fonts will make your presentation, poster, or logo even more stunning and stand out! You can mix and match the uppercase and lowercase for unlimited form. This font also include many beautiful ligatures. This fonts support Multi Language. Features Uppercase with unique lowercase Ligatures Number & Symbol Multi language

Introducing Northas the vintage stencil font inspired by the old-school signage and military design. This font has a bit condensed letterform that gives a strong look and dignified. Perfect for many themes such as sports, military, urban, wildlife, vintage, and more! Fonts featured : Uppercase Small caps Numbers Symbols & punctuation Accented characters Alternates Catchwords: in, out, the, with, de, of, at, and, etc. Thank you for your support and happy designing!

Retro Bawl is a display font, inspired by retro vibes. Back in 90's themes with round line and bold concept. Will make your design projects stand out! Add this font to your most creative ideas for Retro projects, and can be used various purposes such as magazine, logos, packaging, headings, bottles drinks and so much more. If you have any question, don’t hesitate to contact me. Happy Designing !!! Thank You.

"Blaze Vortex" is an edgy graffiti monoline font that adds a raw and urban touch to your designs. With its captivating swash decorations, this font takes your designs to the next level of awesomeness. Perfect for streetwear brands, music posters, and urban-themed projects, "Blaze Vortex" exudes boldness and excitement. Unleash your creativity and make your designs stand out with this electrifying font. note : key for swash use : ABCDEFGHIJKLMNOP

Coffee Beans font is curly ended type font, great for strong headings and titles. Comes from all caps. You can use like Instgram posts, in logos for example CoffeeShop logos and designs design projects be it logos, art quotes or art headlines vs. If you want to stand out your design and need personality your projects. You must try Coffee Beans Font and see difference with other fonts.

Rum Serif is designed inside out based on modular counters. Rum Serif is a text & display family suitable for any purpose, any media, any size. A humanistic modular Serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2011-2014 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Aschere is not just yet another retro font. It was designed carefully to give harmony ambient when you use it in your project. You can play with plenty ligature option. Or use unique stylistic to make your project stand out. Nevertheless you can find some prebuilt ornament, it would help to create instant logo or quotes. Be it as body text, or header/title, Aschere is the right choice.

Scratch was designed by Andrew Smith in 1995. It looks as thought many fine lines were drawn next to and over each other with a felt-tipped pen. Small bits of white peek out among the strokes and give the font its dynamic character. Flexible and sketchy, the forms are based on those of a classic sans serif cursive typeface. Scratch is meant exclusively as a headline or display font.

Fox Cupid is a cute and fun color display font. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Explore a diverse range of 23 different handwriting styles with the new Go Font Yourself! Volume 2 Fontpak. This is a collection of 23 new, genuine handwriting fonts in OpenType format for Mac or PC. Fancy cursive or extrabold marker, stylish script or sassy scribbles; this fontpack is loaded a lot of personality. And if that's not enough handwriting styles for you, check out the original: GFY Handwriting Fontpak (Volume 1).