Stretto (Italian for narrow) is a revival, correction and expansive update of an Aldo Novarese reverse-stress font called Sintex, which he did for VGC in 1973. Openly idiosyncratic and playfully rebellious in its design, this alphabet fuses the straights and rounds in an unusual manner, riffing on the idea of hand-made sign and wood type forms while adhering to its odd grid’s parameters. In spite of its counter-stress, its legibility is high and even, helped by its unicase forms and very distinct counters. First released in 2007, it became quite popular with film studios and nostalgia designers (Sintex was the font used for David Bowie’s Hunky Dory album and Life on Mars? single). A dozen years later we revisited it for an update. Stretto now comes with over 660 characters and includes Pan European language support.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! F2F Monako Stoned was inspired by the Apple system font Monaco, and is one of 41 Face2Face fonts included in the Take Type 5 collection from Linotype. Branczyk designed 16 of these himself."

Alex Kaczun, originally designed BottleKaps for Linotype-Hell, in 1992, as a QuickDraw GX multi-master font series. A few new GX applications, like 'Unicorn', where able to utilize these unique fonts. The GX application allowed the user to adjust weight and proportions, on the fly, including glyph substitution for small capitals, old style figures, swash and alternate endings. The technology was never successfully deployed by Apple, so the individual fonts, 21 styles and variations in all, where sold in the Linotype Font Library as separate Truetype fonts up until 1998. Unfortunately, the fonts collected dust for many years thereafter, but now have been reworked and rejuvenated by Alex in OpenType format for both Mac and PC. 'BottleKaps' is a 'unique', 'playful' and 'decorative' font series. Use it for those bold headlines to stimulate interest and show off your 'unique' individual style.

Several years ago I was asked to do a sign for a rummage sale. To print the words RUMMAGE SALE, I took letters from some of the ornate fonts I was working on at the time. I liked the results, so made them into a font. Fonts from which the letters come include HippityDippity, Tuskcandy, Letunical, OakPark, WyomingStrudel, NeuAltisch, WyomingMacroni, WyomingPastad, and Rundigsburg. The original typeface had two variants of each letter, one on the upper-case keys and the other on the lower-case keys. The name of the original font, RummageSaleOne, acknowledged that a greater selection of letters was desirable but it was only with the upgrade of 2020 that the greater selection was added. The additional variants were added in two ways: as a separate typeface (RummageSale-Two) and also as OpenType stylistic alternatives.

Aldo Pro is a contemporary sans serif OpenType font family designed by Sacha Rein. With 8 weights from hairline to black and an extended latin character set of 690 glyphs it is suitable for all typesetting needs, from advertising and branding to web and screen. Aldo Pro is the evolution of the free Aldo semi-bold font published on dafont.com in 2007, and which has been downloaded over 700.000 times. « I have gotten quite a lot of feedback on the original Aldo over the years and tried to integrate most of it into Aldo Pro. The x-height has been reduced to make for a less condensed, more legible font, which makes it more useful for body text than before. By popular demand the X glyphs have been changed to a more ‘classic’ shape. The font also contains some useful ligatures now. »

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Rafskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Zulu-Ndebele Pattern is the first ever font to be based solely on the traditional decorative patterns of the Zulu and Ndebele tribes of Southern Africa. The designer has lived in KwaZulu (Place of the Zulu), for over 50 years and has made a life-long study of traditional Zulu beadwork and carving, and of Ndebele wall decoration. There are 52 pattern units that may be combined in many ways to create borders, backgrounds and an unlimited number of designs. The pattern units correspond to the upper and lower case letters. The reason that the Zulu and Ndebele patterns have been grouped together is that the true tribal areas are contiguous and the there has been much artistic cross-fertilization between the two cultures. Many of the patterns that are used by the two tribes are identical.

Introducing Softly Bright, a dynamic font duo that effortlessly combines the contrasting styles of sans-serif and brush fonts. The sans-serif component of this font is a testament to clean lines and modern minimalism. Its characters are created with precision and defined strokes, offering a sharp and sleek appearance that exudes professionalism and readability. On the other hand, the brush font in Softly Bright adds an expressive touch to your designs. It embodies the authenticity of hand-lettered strokes, with each character bearing the organic irregularities of brushwork. This brush font retains the proportions of the sans-serif, ensuring that the two styles harmoniously coexist. Softly Bright fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Jetlab is a typographic time machine that drops you squarely into the techno-futuristic optimism of the 1960s, 1970s and 1980s! While certain weights may conjure familiar space race-era logos from the sci-fi movies, board games, sports teams, new wave bands and sneaker brands of the late 20th century, the complete 45-weight Jetlab font family is loaded with modern features to power your retro-futuristic designs with near-infinite versatility. Features: 45 weights provide widths from squeezed to stretched and weights from light to heavy, plus reverse-stress (that's thick horizontal strokes with thin verticals) high, medium and low crossbar options upper and lowercase letters provide two distinct styles a four-axis variable font provides precise control of width, vertical & horizontal weight, and crossbar height 500 glyphs support 223 languages, including Western & Central Europe and Vietnamese

Since the 1800s, many patents were issued for methods to hold papers together. The two most popular and enduring tools still in use today are the stapler and the paper clip. In recent times a number of clips in novelty shapes have been available in just about every size, shape and color imaginable. Back in the beginning there were many variations as well, but the purpose of these design variants was to try and command the majority of sales in the fledgling market of bent wire clips by offering a unique and hopefully better product. Fastenating JNL contains twenty-five images based on those early clip designs as well as one classic paper fastener (on the Z and z keys). The standard gem clip has been the most enduring design and is well over one hundred years old.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

I present Hatran as the last font of 2023. The Hatran script was used in what is now northern Iraq to write Hatran Aramaic, a Middle Aramaic dialect that was spoken in the region of Hatra and Assur in northeastern Mesopotamia from about the 3rd Century BC to the 3rd Century AD. Hatran Aramaic is also known as Aramaic of Hatra or Ashurian (Leššānā Assūrāyā \ ܠܫܢܐ ܐܣܘܪܝܐ), and first appeared in writing in 98 BC. The script is also known as the Hatran Aramaic script or Ashurian script. It appears mainly in texts found in the ruins of Hatra. There are also some texts in Hatran Aramaic from Assur and other places. It was discovered in 1912 by archaeologtists working in Hatra, which is near to the villages of Al-Hadar (الحضر) in the Nineveh Governorate (محافظة نينوى) of Iraq.

Like a bright star shimmering on a still and quiet summer night, Arched Gothic Condensed is a glowing example of Victorian type. Thin in the middle with clumpy wedges on top and bottom, it truly bears the spirit of a bygone era. Originally known as Concave Extra Condensed, this typeface has shed its waist-high spur notches and gained new figures and lowercase letters. Developed around 1885 by the James Conners & Son Foundry (New York), Arched Gothic Condensed is a marvel of sparkle and glitter in nineteenth century typeface design. Arched Gothic Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Hollywood Revue JNL gets its design inspiration and name from a vintage movie poster for "The Hollywood Revue of 1929". The letter style shows early Art Deco influences, yet the hand lettering was done in the late 1920s toward the end of the Art Nouveau period. MGM produced this early "talkie" all-star musical with a cast that included Jack Benny, John Gilbert, Conrad Nagel, Laurel and Hardy, Buster Keaton, Joan Crawford, Norma Shearer, Polly Moran and many others. This is the motion picture where Cliff ("Ukelele Ike") Edwards introduced "Singin' in the Rain" (composed by Arthur Freed and Nacio Herb Brown). Years later, Freed was a producer at MGM and gathered up many of the songs he and Brown wrote during the 1920s to form the musical core of the 1952 Gene Kelly-Debbie Reynolds-Donald O'Conner musical "Singin' in the Rain".

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

Initially released in 2013 Corbert was a big hit and was named one of the most popular fonts of the year by MyFonts. Following on from its success the design is updated and remastered to meet the latest standards of The Northern Block and to satisfy critical issues put forward by the most demanding of users. A geometric sans serif typeface influenced by Bauhaus and the early modernist era. Precise shapes are optically adjusted to create a clear, natural typeface with excellent legibility. Corbert is a regular, self-evident design that works well across a wide range of applications. Details include nine weights with matching italics and over 540 characters per style. Opentype features consist of five variations of numerals, including inferiors, superiors, fractions, alternative lowercase a, e and g, and language support covering Western, South, and Central Europe.

PODIUM Sharp is Extended version of DUDU typeface designed in 2012. After many years I’ve decided to rebuild and develop this typeface by adding new masters and weights. Finally PODIUM Sharp consist of 234 styles: from ultra compressed hairline to extra expanded heavy. Main purpose of this project was idea to make hybrid between different modular and geometric woodtypes that I found in old polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be perfect choice for visual identities, posters and display usage. For better comfort of using PODIUM I’ve prepared new idea of styles naming based on Frutigres’s Universe and Climbing evaluation. First digit means width and the second weights of style. (So for example style 1.1 is ultra compressed hairline, 6.5 is something like regular and 9.13 is ultra expanded heavy.

Hesse Antiqua is the very first typeface designed by Gudrun Zapf von Hesse. It was a pioneering project originally created by her over 70 years ago as a set of brass punches to stamp into leather book covers and spines at the Bauer Type Foundry in Germany. In celebration of her 100th birthday on 2 January 2018, Ferdinand Ulrich and the Monotype Studio team collaborated with her to bring her brass punches to live as a digital font. Hesse Antiqua was developed with careful considerations and decisions to capture the nuance of the beautiful letterforms as they originally appeared in gold and blind stampings. We are pleased to introduce this modern OpenType typeface featuring a proper set of capitals and small capitals, figures, punctuation and some ornaments as well. Hesse Antiqua is best used at 36 points and above, as the designer intended.

Ten years ago, I introduced a package of Ruqah fonts, with the most prominent being Ruqah Light, Ruqah Regular, and Ruqah Bold. Today, I am thrilled to announce the renewal of these 3 fonts, with improved design and more beautiful lettering. My goal is to eventually create a computerized Ruqah font that closely mimics handwriting. I encourage creators and designers to give this package of Ruqah fonts a try, as they offer great artistic potential and versatility in various creative projects. من عشر سنوات مضت، قدمت حزمة من خطوط الرقعة، من بينها الخط الرقعة الثقيل والخط الرقعة الخفيف. اليوم، أعيد تجديد هذه ٣ خطوط وجعل حروفها أجمل للمساعدة في الوصول تدريجيا إلى خط الرقعة الرقمي القريب من الكتابة اليدوية. فليجرب المبدعون هذه الحزمة من خطوط الرقعة، لأن هذا الخط قادر على التكيف الفني في مختلف المشاريع الإبداعية.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Mediterra is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Sutixo is the font for speed enthusiasts. Designed with the sports racing theme in mind, this font is perfect for creating bold and attention-grabbing designs. It comes with four variations, each with its own distinct style, and various alternate characters and ligatures to take your plans to the next level. Whether you’re creating graphics for a motorsport event or simply want to add a touch of excitement to your branding, Sutixo is the font you need. So gear up and get ready to race with Sutixo! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Here is another classic design by Robert Hunter Middleton for the Ludow Foundry in 1940. Samson Classic is a very heavy display face with a wonderful medley of thick-and-thins. Developed just before World War II, this sturdy, chunky style gained popularity in newspaper advertising work. It appears as though it was created using a broad pen and retains the angled stroke endings. Goes great on certificates and diplomas where just a hint of calligraphy is appropriate. Samson Classic is also available in the OpenType Std format. Some new characters including decorative ornaments for creating certificates have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Paradox Runa is based on the futhark, norse elder runes. “Missing” characters has been replaced with either other “real” runes, or “new” ones have been “invented” so that the font hold all characters for the latin alphabet (A-Z + swedish Å Ä & Ö) + “Numbers” 0-9. I do not claim that this rune alphabet is totally authentic nor correct! All upper and lower-case letters are the same except for the letter S. “Ligatures” have been created for the th, ng and eo sounds. These are accessed by writing TH, NG and EO (in upper case letters). Space is automatically replaced by a ‘colon’ (':') - if you want a “real” space, write an underscore! (open type version of the font and open type compatible layout application required). Paradox Runa goes perfect with the font Paradox X (regular yet enigmatic hand drawn latin letters)!

Gutter Pigeon is not your every-day Ransom-kind-of-font! The prices of making it was really simple: I only used my phone and computer. I took pictures of letter from newspapers, magazines, bookcovers, candybars, movieposters, roadsigns, etc. In the beginning, It was easy to find new letters. But as I had the initial letters, it became quite a search for the missing letters. Not a hard job, you may think - but this font has 8 different versions of each letter! That's 26 lowercase glyphs and 26 uppercase glyphs...8 times! That's more than 400 glyphs! And on top of that comes numbers and punctuation! Go crazy with Gutter Pigeon! Actually, that is not very hard, because the font automatically cycles through the 8 different versions of each letter while you type! Upper- and lowercase in a wild mix!

Introducing Smiling Holiday, a delightful and playful sans serif font that brings a sense of fun and joy to your designs. With its cute and unique style, Smiling Holiday is the perfect choice for projects that require a touch of whimsy and lightheartedness. Whether you're creating greeting cards, children's books, or party invitations, this font will add a cheerful and playful vibe. Smiling Holiday features both uppercase and lowercase letters, allowing you to mix and match for added creativity. The inclusion of numbers and punctuations ensures versatility and seamless integration into your designs. Express yourself in various languages with the font's multilingual support, making it accessible to a global audience. With PUA encoding, accessing all the glyphs and decorative swashes of Smiling Holiday is a breeze. Add extra flair to your designs with the included ligatures, enhancing the overall visual appeal.

The typefaces Largo Mager (Light) and Largo Halbfett (Medium) were cast for the first time in 1937 by Ludwig & Mayer based on the designs by Hans Wagner. One weight Largo Licht (Outline) was added in 1956. All fonts were only configured with capitals. The digital version of Largo has pointed serifs and not the slightly rounded ones seen in the hot metal versions which gives the typeface a more elegant note. Largo is often used for fine printing jobs as business cards or formal invitations, or in the fashion and cosmetics fields. Hans Wagner was born in Munich in 1894 and died in 1977 in Altenburg where he had worked as a painter, graphic designer and book designer. In addition to the Largo typeface, he developed, among others, the Altenburger Gotisch (1928), the Welt-Antiqua (1931-1934) and the Wolfram (1930).

Introducing Pomidorko 2.0, the highly anticipated sequel to the beloved font Pomidorko that has captured the hearts of countless users. This enhanced version has now evolved into a commercial release, offering even more versatility and charm. Designed with a delightful and effortless aesthetic, Pomidorko 2.0 is a perfect choice for children's products, culinary ventures, and book illustrations. Its playful and endearing character adds a touch of whimsy to any design. With both Cyrillic and Latin variations included, this font ensures seamless communication across diverse languages and markets. Multilingual support is included for Western European languages. Don’t forget to test your characters in the font previewer below before purchasing. The Pomidorko 2.0 font also includes Open-type features to make it even more versatile. Unlock the enchanting possibilities of Pomidorko 2.0 and infuse your projects with a dash of sweetness and joy.

Nosta is a modern text typeface. It was designed to be easily legible and therefore expressly suitable for setting sizeable lengths of continuous text such as magazine articles, books and essays. It achieves this through, amongst other things, finely balanced proportions, optimal character spacing and an adherence to predictable letter forms. Despite this, however, Nosta manages to retain a contemporary look and feel by using a variety of modern type design devices such as the efficacious wedge serif. The italic avoids using too many of the cursive elements that are often found in traditional italics and has only a modest slant, giving it a modern look that does not overly disrupt the text while still providing emphasis. While designed for continuous text, Nosta can also be used as a display face, making it a good all round typeface, suitable for many applications.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

The Mutamathil type family is the mid-size member of the Mutamathil type style. It has only one glyph for every basic Arabic Unicode character or letter. With each glyph being semi-symmetrical around its vertical axis, this family is mainly suitable for right to left ordering. The Mutamathil family includes all required Lam-Alif ligatures and uses ligature substitutions, and marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand alone isolated glyphs. The Mutamathil Taqlidi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

Acton is a deceptively simple, grid-based design. Though derived from a 2 by 3 arrangement of blocks, it uses white spaces to allow for more complex shapes – for example as the R – where the underlying 3 by 5 arrangement is apparent. It also departs from this strict grid-based logic for characters such as the the T, L, f and r, whose cross-bars are shorter than they would otherwise be in order to promote optical evenness. No elegant solution could be found for the V, which in geometric fonts can appear very similar to the U, lacking as it does the cross-bar that can differentiate a square A from the capital form of the n. However, the resultant diagonal retroactively proved useful on the lower-case e and a, characters that otherwise would have more uninteresting design solutions.

Clytone is Script fonts Vintage looks and feel inspired by the 1980s lettering design made stronger and bolder for today's projects that look more vintage. The goal was to take the simple but effective designs from this era. Clytone are fonts are great for product logo, poster, headline, card logo, clothing brand logo, lettering artwork, t-shirt designs, Vintage design, magazine, packaging, stationery and much more. Easily creates your own logo type with fonts. Clytone has an Open Type feature to access a large selection of unique alternative letters and many ligatures to make it easier for you to create. Clytone can be accessed perfectly on design applications such as Adobe Illustrator, Adobe Photoshop, Corel Draw, Affinity Designer but does not rule out the possibility that it can also be accessed using web-based applications such as kittl, canva, artboard studio and others.

Patzcuaro is a summer resort by a lake of the same name. It is situated 370 km west of Ciudad de Mexico and a visitor from Europe, on seeing it, will be reminded of the Austrian Rust or the South Bohemian Trebon. The town's colonial architecture is protected as a historical monument, the reddish-brown tint of the footings of the buildings, their white facades and even the type of lettering with red initials is prescribed - and these regulations are also complied with as far as cars are concerned. This colour scheme is splendid in combination with the rich gamut of greys of the stone window jambs, vaults, lintels and pillars. Joking apart, even the local petrol station is 16th-century in appearance. Patzcuaro Regular is a cosy, welcoming type face which is good for use on labels.

The initial idea for the Oops font, was to create graphemes, and by using them it could imitate a mark of a spilled liquid-stain. In an attempt to make the most convincing effect, those graphemes were written on glass. The final appearance of the graphemes, mostly remain in their basic form, and have the characteristic of a liquid, like fluidity in motion. This manuscript is expressive, but that does not affect the readability of the letters. The generated font was created by using Photoshop, Illustrator and a little bit of interventions in Font Lab. Font Oops is updated and edited version of an old version of the Art decor font, which had just basic letters. Today, Oops font contains Latin and Cyrillic letters, and it can be ideal for use in subjects like a paintball, art, expression, ink, water...

A Fashionable Modern Sans Serif with special alternative letters and multilingual support for elegant, upscale, chic, and classy branding designs Look at that curve shape as a sexy hip and legs walk out! This character set makes your designs more brave, eccentric, and fascinating Comes out with 6 weight as your wish for any needs. y es tan perfecto! Superfit with your design moods as beauty care, boutique, fashion sale promotion, villas, restaurants, and much more where your design style goes by Of course, the ligatures will make it all double perfects, be ready! this is the time to have all that ELEGANTO style nos vemos, mi amor A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Briliond has an aesthetic style, and the serif-type tagline is modern and elegant. This font is equipped with ten levels of thickness, from thin to black suits your needs. Briliond is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs, and scripts depicted or stand firm as a title and brand representative for an elegant look. Briliond also comes with multiple languages, making it easy for any country and language use. It also comes with alternative Ligatures and styles to make your designs more attractive. Briliond is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc.