Introduced by Timurtype Studio! Radiant Kingdom is a Quotable Handwritten Font This font enhances your words with a font that is not just handwritten but also a charming masterpiece. Each stroke weaves a story of intrigue, making each quote a journey through the art of expression. Quotable and irresistible – let your writing leave an indelible mark. Radiant Kingdom Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Bagea Display Typeface is a single font with a sleek, yet simplistic design; it stands out boldly against anything you can throw at it. Perfect for use in movie titles, album art, fashion designs, and more! Bagea Display Typeface is legible from much larger distances than typical fonts Elegant letterforms give the feeling of luxury Smooth curves for elegant typography Tips for using fonts in projects. Use this font with a simple background, not too busy so that you can highlight your branding

Hey Guys! My new Font Kidplay is a funny and playful sans serif, perfect for child magazine cover, comic creations, branding projects, headlines, posters and packaging! Kidplay font has three styles allow unique and versatile design options! Furthermore it is a unicase font, so you can also play with uppercase and lowercase initials. But that's not all! it is equipped with multilingual accents, so it can be used in several Latin languages. I hope you enjoy my creation. Thank you!

WOLFSZN Anniversary! WOLFSZN is the tenth Font of André Toet. The inspiration for this capital alphabet came from the trails of an agricultural machine (think tractor) leaves in the soil after working the land. But it’s not meant to be ‘like a heavy workload’, in fact to us it seems like a very useful Font for headings, logotypes, advertising or films. We hope WOLFSZN will be happily and wisely used by my dear colleagues. Concept/Art Direction/Design: André Toet © 2017

I am not really sure if goldfish in general are lucky. They tend to swim in circles in a bowl, but maybe, years from now, scientists discover that these goldfish count themselves lucky to be in a bowl, rather than in a stream in Asia. Personally, I think they’d be better off in a stream. Lucky Goldfish font is a cute and happy font, ideally suited for book covers, posters and toy packaging. Comes with a school of diacritics too.

BeneCryptine is not based on any particular calligraphic type style. It has exaggerated upper-case letters and hyperactive lower-case letters that give it a wild and undisciplined look. It comes in four styles: the base style, a decayed variant, a shadowed style, and a final style that looks much like the base style but which has the spacing of the shadowed style. This last style can be layered with the shadowed style to easily create lettering with two colors.

Ligotra font comes in a victorian style, looks simple and not too complicated, but still has character. What can be used in this font? Of course, there are so many and can be explored as needed because it contains many alternative characters. You can use it on digital or print media such as food and beverage products or labels, music festivals, labels, vinyl records, clothing & accessories, automotive and many more. For reference, see preview. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate

Toward the end of the 1920s, Art Deco influences were starting to creep into modern design. The hand lettered title on the cover of the1928 sheet music for “Fascinatin’ Vamp” not only embraced the new Deco movement, but sent it on a wild typographic ride. Letters of mixed thicknesses and stylings made up the two word title, and this unusual group of letter shapes became the inspiration for Free Form Deco JNL, which is available in both regular and oblique versions.

This typeface was created in 1972 and reworked by SoftMaker in 2010. Elegant Script Pro is perfect for invitations to weddings, celebrations, and dinner parties. Elegant Script Pro comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

Hello! Introducing a creative all caps font named Wave Burn. The letters of this typeface are distorted in a wave shape that flows through whole words. To create this effect, each letter has 6 variations that automatically replaces using OpenType Contextual Alternates feature (Please make sure that OpenType features in your app are supported & enabled). This font also includes multilingual characters, but only with two variations, so the wave effect will be quite limited (check out a screenshot with available letters and signs).

Blizka is a legible sans-serif with much characteristics! Inspired by calligraphic strokes, it features straight cuts in unexpected details. Great care is taken to make sure all letters flow harmoniously with each other for a superb reading experience for small texts. Blizka is subtle and functional in small sizes but perverse and full of personality when large! • Support over 200 languages with full coverage of western & central European Latin. • Beautiful Italics • SmallCaps • Proportional, tabular, oldstyle figures, fractions, you name it.

Check out other members of the Pocket family: Pocket and Pocket Serif This hand drawn font has a subtle rough texture, and lots of alternate swash characters to start and end words. It is perfect to give an extravagant but whimsical look to your projects. It has support for most western and central European languages, and has alternates for most letterforms accessible through Opentype features, allowing for variations that make it look authentically hand-drawn. It also has extra ligatures, swashes, and catchwords.

Faston is a Modern Display Sans Serif Font. Unleash the power of contemporary design with Faston, a dynamic and versatile display sans serif font that elevates your projects to the cutting edge. There's some connected letters and some alternates that suitable for any graphic designs. This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Brushzilla is a handmade brush font with a bite: it feeds off the creative energy from the depths of your mind and transforms it into something outstanding. Work with it, not against it. Ride the wave and let it take you by the hand. You may fear it at first sight, but once you get to know it, you’ll find that this beast will refresh your creative senses. Comes with some gorgeous alternate glyphs, double letter ligatures and a whole lotta diacritics.

Fady Lingers is a mispronunciation of that famous Italian cookie - nevertheless, there is nothing awkward or wrong with the font! It is handmade using a thin marker, leaving an uneven edge. I did spend some time cleaning up each letter, but was carefully observant to keep the original handmade and organic look. I've added 4 slightly different versions of each lowercase letter. and they automatically changes as you type - a really great way to make your design stand out as organic and lively!

Are you a game developer, retro enthusiast or lover of pixel art? Ever had trouble tracking down an 8-bit display font that's classy, coherent and truly complete? This type enthusiast and veteran pixel artist once had the same problem, and cut no corners to solve it. Lost Arcade features four styles, a myriad of special characters, broad language support and an accompanying symbol font with 64 pixel art symbols. For the purists out there, each square is proportional to its neighbor.

Bernhard Modern was designed by Lucian Bernhard and was first cut by American Type Founders. Bernhard Modern is an unusual face with small lowercase but very tall ascenders and short descenders. Bernhard Modern was intended to hold its color and contrast without depending on the spread of ink of the letterpress method. It has an attractive pen drawn quality which has made it a popular choice for invitations and greetings cards. The Bernhard Modern font is useful for advertising and display work.

STRANO Like the name indicates it’s a strange typeface. Just capitals (including punctuation marks and numbers), composed from early sketches for a corporate identity in 2005 by André Toet. The complete font was restyled and translated to a Monospaced version. It’s a quite versatile font: it can be used in a lot of different cases, not only in print but also in architecture and street furniture. Think about lettering on benches, bridges, buildings. Concept/Art Direction/Design: André Toet © 2017

Inspired by the classical “Fell Types”, especially the charmingly quirky weights designed by Peter De Walpergen. WT Solaire is a liberal interpretation of those cuts, meant for the digital age. Its design reflects an elegant tension between tradition and modernity. Its elegance and sharpness make it a perfect fit for any project that requires impact and subtlety at the same time. It is especially meant for editorial design, be it magazines or books, but it also works well with images.

Pelle Piano is the stage name for Per Ellstrom, a musician in Stockholm with an interest in irregular and informal lettering. ITC Coolman was inspired by lettering styles of the 1950s. “I have a passion for old '50s type lettering,” says Piano, “as seen on posters from B-movies and pocketbooks and cartoons.” Although ITC Coolman is not a script face, its caps work best with the lowercase, rather than together. The funky, bouncy look of Coolman cries out for beach movies.

Jostern is the first font designed by EMME Grafica. It's a simple bold, all caps, grunge, eye-catcher font, particularly suitable for titling, branding and typographic amusements. The unevenness of Jostern does not affect the heavy and cubital aspect of the font, but gives it the right roughness to be able to convey a slightly rough and harsh impression, like that of Jos Stern, the bitter character who will be the protagonist of a multimedia project currently under development at EMME Grafica.

Zuume is a high-impact, condensed, display font family. Its weight range gives a sharp, technical feel in the lighter weights, while the bolder weights are meant to be tightly spaced and stacked for visual punch. The strong and sturdy design makes it ideal for eye-catching headlines, branding, packaging, sports, logos, and more. The Cut family takes the dynamic nature of this design further by adding sliced out elements to flat, horizontal strokes, giving it more movement, aggression, and speed.

Baseball Dynasty™ is an all-caps Art Nouveau font with authentic, classy, turn-of-the-century styling that recalls the early days of baseball. It can be used for historical purposes such as documentaries, but it also lends itself to nostalgic marketing & packaging with its down home, good-old-days kind of vibe. Let Baseball Dynasty™ help you knock your project out of the park! Digitized by John Bomparte. **Breauhare’s Elephant Party™ font also appears in the “Granny’s” poster

Rasteroids Monospace is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Because of its fixed character width, Rasteroids Monospace is intended for use in accents or small areas of copy rather than long documents.

No, I am not leaving and none of my friends or relatives have packed up and left. I needed a more ‘letter-like’ name for this font and I found Adieu Mon Ami (farewell, my friend in French). Adieu Mon Ami is a handmade pencil font that will add that extra ‘je ne sais quoi’ to your designs. It comes with joie de vivre, un petit peu de vilain, but can be doux comme de la soie as well. Bonne chance!

Launched Chinta, new serif type modern fonts wrapped in a soft classic touch combined with crooked and crooked alternative fonts, will make it one of the conveniences to explore various types of designs. With a soft touch but does not leave an elegant impression, this font is suitable for using logos, food design, weddings, branding needs, posters, emblems, advertising and much more. so what are you waiting for? FEATURES CHINTA ONE CHINTA TWO So what are you waiting for? immediately purchase this font.

Gin is a futuristic decorative font that combines calligraphy, graffiti and typography. This font is inspired by the street art called calligraffiti where it is abstract and elegant. This font is suitable for those who are anti mainstream and out of the zone, this is a new face in the world of fonts, for those who are against this font it will be considered broken but for those who are from the future, this font is an answer to futuristic design needs

I was listening to an Opeth album called Blackwater Park. By the time I had decided that this font needed some swirls, the band was playing a song called The Drapery Falls - which has the word ‘spiraling’ in it (see poster 2) - and the name was born. Spiraling down is a surprisingly elegant font (given its roughness). I probably wouldn’t set a whole text in it, but it will really stand out as a titling font for packaging or book covers.

Greenwood is a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904. This uncommon style of typeface is suitable for many tasks as it not only has the functionality of a monospaced font but it has a quirky distinctiveness that lends itself especially well to any setting that requires a decorative font that reads surprisingly well in extended text.

This typeface was inspired by the popular typeface Machine but is not intended to be a copy of that font. It uses straight lines with circles converted to octagons. The Masheen family offers a variety of overlay possibilities to produced multicolored lettering. MasheenConvicted and MasheenFlag can be layered over MasheenBold to produce letters with two colors. The two overlay styles can be placed over MasheenCollege to produce bi or tricolored lettering. Examples are given in one of the font posters.

Brim is inspired by antique woodtype and chromatic type from the 1800s. Its various styles stack together creating a variety of decorative combinations. Each style can be assigned its own colour, resulting in a rich assortment of eye-catching combinations. The font began as a handful of letters created for a logotype. It became clear that it would make an excellent display typeface, so it was expanded to include all uppercase letters, numbers, European accents and more. Warm and tactile, Brim produces punchy headlines and decorative titles. Perfect for posters, packaging and logotypes. The name Brim accurately describes the expanded outer edge designed to produce its distinctive outlines. This overlapping structure couldn’t function correctly in wood or metal type; however for digital typography this system produces a more efficient solution for colour type, both in design and smaller file size, important for web typography. Many thanks to Dave Foster, Toshi Omagari, & Terrance Weinzierl, who generously gave their time to guide the design of this typeface. For a flattened version, see Brim Combined

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Riposte is a powerful and carefully-integrated handwriting font. You should use it where you want to create a strong impact but want to avoid heavy, boxy, formal fonts. The characters were designed for excellent letter-spacing without kerning, but you can switch kerning on to add some subtle enhancements to the letter-spacing. Riposte is readable, even at quite small sizes. It was designed to be used as a mix of upper and lower-case letters. Do not make text using only uppercase letters since the spacing of the uppercase letters was optimized for use together with lowercase letters. So remember, when you want your text to have the powerful impact of the master swordsman with his balanced stance and vigorous movement -- try Riposte. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages. Riposte works well in professional layout application packages as well as in word-processing packages such as Microsoft Word® that do not support professional kerning.

Stray might be the lonesome cowboy in this big odd world, but it's his just public façade. Stray is handsome player that works well with any team or in any environment. He doesn't have a horse, but he can be the one, he can carry any weight. OK, let's talk serious now: Stray is distinctive geometric sans serif family in 9 weights and matching Italics. By it's design, Stray flirts with humanistic typefaces in some elements, while on the other side, we can see vintage letter forms as well. It is well balanced typeface, fully legible in any (reasonable) size, with power to present versatile tasks and situations. Specific joining of letter stem and bowl is one of design characteristics of Stray, so it is not just another geometric sans family, it really differs in it's own details. Contains extended Latin character map support and Cyrillic (no localizations, sorry). As any serious working horse family, it is equipped with decent OpenType features like Small Caps (for basic Latin only), Fractions, Tabular Figures, Denominator, Numerator, Ordinals and Ligatures. It also comes with small interesting set of dingbats. This Stray is not homeless, he just looks for the proper job :-)

Roughmarker font consists of two handwritten scripts, a slant (regular) version and upright. This Script fonts are manually handwritten with quick and rough strokes. We write them on paper until we find a very proportioned form. Then we scanned and took the selected glyphs to be processed into a font. The biggest challenge in making textures fonts are the very many node points, many node points make the font processing performance a bit slow. At first we tried raising the node parameters to 2000-4000 points in one glyph. This is a big number, but if this number is lowered it will eliminate the impression of brush and natural look. We repeatedly look for gaps to minimize points so that the font capacity is not too large and comfortable when typed. This script font is equipped with ligature as well as several alternate according to handwriting habits, very effective in the sense of not too much but often used. This font is the great choice for contemporary brands, especially for businesses in fashion, urban style, websites, trends in architecture, cosmetics, and energetic lifestyle themes. An attractive typographic layout makes it also looks more premium in writing quotes.

For best results, use of OpenType features is strongly recommend. This font is inspired by Johannes Janssonius, well know as Jan Janszoon o Jan Janssonius (Arnhem, 1588 – Amsterdam, 1664), was a Dutch cartographer, publisher and engraver. Married to Hondius's daughter. He was the author of many masterpieces of cartography of the 1700s like Willem Blaeu and Hondius, famous maps with heavy use of decorations in the letterig to fill the spaces of oceans, seas, lakes and scrolls. Now you can easily recreate not just ancient maps without effort, but you can use this font creatively, to make unique, modern logos, product names, fresh packaging, hip fashion outfits, refined labels, signs, coordinated images ... Hundreds of alternatives to choose from and maybe to combine with other fonts in an original way. One extra font with 27 castles in Janszoon style are also usefull for map, of course, but also for many different creative artworks. Warning: Jannson Map having oversized swashes compared to the normal standards cannot be used with Windows Word because Word does not give the possibility to manage the line spacing professionally. Jannson Map works great with applications like Illustrator, In Design, quark Xpress, mac Text etc ...

ITC Werkstatt is a result of the combined talents of Alphabet Soup's Paul Crome and Satwinder Sehmi, along with Ilene Strizver and Colin Brignall. It is inspired by the work of Rudolph Koch, the renowned German calligrapher, punchcutter, and type designer of the first third of this century, without being based directly on any of Koch's typefaces. Werkstatt has obvious affinities with the heavy, woodcut look of Koch's popular Neuland, but also with display faces like Wallau and even the light, delicate Koch Antiqua. Brignall began by drawing formal letters with a 55mm cap height, which Sehmi reinterpreted using a pen with a broad-edge nib. “Not an easy process,” says Brignall, “since one of the features of Koch's style is that while it was calligraphic in spirit, most of the time his counter shapes did not bear any resemblance to the external shapes, as they would in normal calligraphy. This meant that Sehmi could not complete a whole character in one go, but had to create the outside and inside shapes separately and then ink in the center of the letters.” The process was repeated, only without entirely filling in the outlines, for the Engraved version. Crome handled the scanning and digitization, maintaining the hand-made feel while creating usable digital outlines. “The collaboration of artisans with particular skills,” says Brignall, “in a modern-day, computer-aided studio environment, seems very much in step with the 'workshop' ethos that Rudolph Koch encouraged and promoted so much.”