Dakon Script Font I hope this font is interesting to use in your design projects. Thank you GFRcreative

DB Fright Night is a collection of fun sketches and doodles just in time for Halloween. Happy Haunting!

Gargoyle is designed for use in headings, informal announcements or any project where a friendly look is desired,

A chunky fat font perfect for titles in both a chalkboard sketch style and a regular solid version.

ARTypes Initiales ombrées transcribed from 84-pt letters made by Gillé fils in 1828, descended to Deberny & Peignot.

The Brigida font was influenced by a very common European letter form used in Sweden between 1350-1500.

Westro is great for portraying western look and feel in a poster, banner or any kinds of headlines.

A unique semi geometric type that is inspired by natural round forms that flow in a sweet harmony.

Blarak Script Font I hope this font is interesting to use in your design projects. thank you GFRcreative

A highly decorative set of capitals suggesting nineteenth century forms, designed by Louis Minott for VGC in 1965.

Decorative Arrows JNL is a collection of twenty-six decorative arrows provided in right and left facing directions.

STAR7 Racing Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Kapelka's design was prompted by a candy wrapper and brush lettering. For use in advertising and display typography.

Based on an ancient secret writing system. NOTE: this font comes with an interpretation guide in pdf format.

Mortised Caps join the victoria font Renouveau in a classic mortised frame from golden times of american foundryes.

Asdonuts Display Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Ariesa Blackletters Font I hope this font is interesting to use in your design projects. thank you GFRcreative

This font family is based on original Roman capitals created by Ludovico Vicentino Arrighi in the 16th century.

PragmataFlash is the version of Pragmata to use in Macromedia Flash at 9, 11 and 12 point size.

Patented in 1867, this face adds peaks and shadows to the Egyptian form so popular at the time.

Anderik Script Font I hope this font is interesting to use in your design projects. thank you GFRcreative

Another variation of the many Clarendons created in the 19th century and there are probably more out there.

Dreamline is a set of elegant monoline scripts in three variations that can be mixed with each other.

Evil Type in its purest form Multiple Weights, Alternates, Ready for t-shirt production non-readable NORD weight

Fountain Service JNL was inspired by an exterior neon sign seen in an old photograph from the 1950s.

St Lorie is inspired by handmade lettering in logos, but it was drawn completely by the digital method.

Introducing the elegant new Malloy Calligraphy Font! For those of you who are needing a touch of elegance and modernity for your designs, this font was created for you! Malloy was built with OpenType features and includes beginning and ending swashes, alternate swash characters for most lowercase letters, numbers, punctuation, alternates, ligatures and it also supports all latin languages :) What's Included Malloy TTF Malloy OTF Multilingual support all Latin languages Accessing the swashes / opentype features / glyphs: If you have opentype capable software such as Illustrator or Photoshop CC, you can access the alternate letters and ligatures via the character/opentype panel and glyphs panel. Or You can use Character Map (win) / FontBook (mac) to copy-paste required symbol into your text editor. Check out my blog: www.instagram.com/youthlettering pinterest.com/dmitriychirkov7 Thanks so much for checking out my shop! All the best, Dmitrii

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

Mofid Mahdi is a distinctive, bold Arabic display face, suitable for heading and titling work in Arabic newspaper and magazine composition. In this typeface the rounded internal counters and dots contrast with the angular and more robust outlines of the letterforms to give a decorative, harlequin-like appearance. The design was originally developed for use in dry-transfer format, and was first produced as a digital font by Linotype-Hell Ltd. in the early 1980s. Initially a simplified face, with its inherent limited range of letterforms, Mofid Mahdi was enhanced during the late 1980s by the introduction of medial letterforms to improve character spacing and balance. The recent advent of OpenType has led to the release of Mofid Mahdi. This OpenType font includes Latin glyphs from Memphis Extra Bold, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Mofid Mahdi incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. NEW: the new Futura W1G versions features a Pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets Futura® font field guide including best practices, font pairings and alternatives.

This is Kimberly Gesweins own handwriting, named for a sweet California friend of hers. Kimberly has spotted the original free version of this font in use in the far outskirts of China, and now - with the expanded language support - this Pro version can also be used in more remote parts of the western world. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Audacious is a quirky, confident and adorable serif type family across five weights in both text and display styles. This attention-grabbing retro typeface has an imperfect nature that embraces its quirks and irregularities, giving each font a distinctive and somewhat oddball personality. Its defining characteristics include large open counters, awkward stresses, large exaggerated wedge serifs, and voluptuous teardrop terminals. Whatever typographic compositions you create, Audacious will demand attention, making it perfect for titling, headlines, logotype, and branding projects. Take advantage of the 182 stylistic alternates to embellish your type and add that touch of class to titles and logos. Display weights work really well with close line spacing and stunning headlines are a breeze to create. Text weights make for a pleasant reading experience while packing all the punch and versatility found in the display variants. There are 20 fonts altogether, in Text and Display styles with weights from Regular to Black in both roman and italic. Audacious has an extensive character set that covers all Latin European languages. Key features: 2 Styles in Roman and Italic 5 weights: Regular, Medium, SemiBold, Bold, & Black 182 Alternates Full European character set (Latin only) 1100+ glyphs per font.

At first glance, »Angulosa M.8« is one of those fonts that a technician or engineer would probably draw. And yet it differs fundamentally from typefaces constructed in this way. The right angle forms the basic element of the »Angulosa M.8«, but that's about it with the pure mathematics. Serif-like upstrokes and downstrokes on some letters improve readability, and carefully used slants makes the appearance a little friendlier. The proportions are not based on any mathematical principle, but are derived from freehand writing of the letterforms with a broad quill. In terms of style, »Angulosa M.8« belongs most closely to the modernist, constructivist typeface attempts, such as those undertaken at the Bauhaus in the 1930s. The styles of »Angulosa M.8« range from "Condensed" to "Expanded", from "Light" to "Black", plus the respective oblique form, which in this font is slanted to the left. All variants can be adjusted continuously in the variable font: the font width ranges from 50 to 150, font weight from 300 to 900, upright [0] and italic [1]. The »Angulosa M.8« supports all European languages including Eastern and Central European, Turkish, Greek and Cyrillic.