Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

TOBOGGAN | Utility Display Typeface Toboggan is a utility display typeface with classically influenced proportions, calligraphic elements, and sporting roots. With 9 weights, upright, and true italics, Toboggan comes in a total of 18 fonts. With flexibility from a crisp Thin weight to an imposing Super in both upright and italic, Toboggan thrives as a utility font spanning the columns of extended text, in artful editorial layouts, eye-catching motion graphics, or commanding headlines in a title role. First drafted around the frame of a perfect circle, Toboggan evolved by taking inspiration from the sweeping contours of the automotive world, expanding into wider proportions, and adopting an abrupt set of constructed features. Sturdy with the spirit of sport, Toboggan’s final form preserves a human connection through features of the written hand, while minimal contrast and its chopped terminals bring a decisive tone with clinical precision. Features: - Nine weights and true Italics - Multilingual support (Extended Latin - Includes Western European coverage and more) - OpenType features including small-caps, stylistic sets, contextual punctuation & more - Extensive numeral sets including stylistic sets, circled, and squared numbers

Introducing “Othuf Font” – Where Handwriting Meets Elegance. Othuf Font is the epitome of handwritten elegance. With its captivating handwriting theme, this font is your key to adding a touch of sophistication and authenticity to your creative projects. Whether you’re designing invitations, posters, or branding materials, Othuf Font effortlessly grabs attention and infuses your designs with the charm of true handwriting. Crafted with meticulous detail, Othuf Font exudes the timeless beauty and grace of handwritten script, forging an immediate connection with your audience. Its versatility knows no bounds, making it a perfect fit for various applications, from wedding stationery to logo design. Othuf Font enhances readability and style with its graceful strokes and flowing lines, providing a natural and appealing look to your text. It also offers support for multiple languages, ensuring that it resonates with a global audience. Elevate your creative projects with the classic elegance of Othuf Font. Explore this exceptional typeface today and let your designs exude the beauty of authentic handwriting. – PUA Encoded Characters – Fully accessible without additional design software.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Introducing "TE Warsh Tharwat Emara," an exquisite Naskh font designed to elevate your typography to the next level. Our font features intricate calligraphic strokes, elegant curves, and graceful flourishes that bring a touch of sophistication and elegance to your text. Designed with the utmost attention to detail, every character in "TE Warsh Tharwat Emara" is beautifully crafted and easy to read. "TE Warsh Tharwat Emara" is perfect for typesetting the Holy Quran, with its beautifully crafted curves and strokes. The Naskh script is one of the most popular calligraphic styles used in Arabic typography and is known for its clarity, making it perfect for Quranic typesetting. With "TE Warsh Tharwat Emara," you can create stunning, high-quality typography that is perfect for publishing the Quran, as well as other religious texts. In addition to its suitability for Quranic typesetting, "TE Warsh Tharwat Emara" is versatile and can be used in a variety of contexts. Its elegant and sophisticated design makes it perfect for book covers, posters, branding, and web design. "TE Warsh Tharwat Emara" supports a wide range of languages, including Arabic, Persian, Urdu, and many others, making it ideal for multi-lingual projects. "TE Warsh Tharwat Emara" includes a range of special features that take your typography to the next level. The font includes ligatures and alternate characters, which allow you to create more natural and fluid connections between characters. The alternate characters provide a variety of stylistic choices, giving you even more control over the typography. "TE Warsh Tharwat Emara" is compatible with a wide range of platforms and software, including Adobe Creative Suite, Microsoft Office, and many others. This means that you can use "TE Warsh Tharwat Emara" in your favorite design software, without worrying about compatibility issues. "TE Warsh Tharwat Emara" comes with a multi-user perpetual license, which allows you to use it for commercial and personal projects. The perpetual license means that you can use the font indefinitely, without having to worry about renewing your license. We also offer a range of licensing options, including a single-user license, to suit your needs. In conclusion, "TE Warsh Tharwat Emara" is a must-have for designers and typographers who are looking to create stunning, high-quality typography that is perfect for publishing the Holy Quran, as well as other religious texts. With its intricate calligraphic strokes, elegant curves, and graceful flourishes, "TE Warsh Tharwat Emara" will elevate your typography to the next level. It's versatile, easy to use, and comes with a range of special features that make it perfect for all kinds of projects. So, whether you're designing book covers, posters, or websites, don't miss out on "TE Warsh Tharwat Emara." Purchase now and experience the beauty of our Naskh font for yourself.

Brilliant Sambo Featuring Slab Serif totality and elegance. One of my most recent first releases, naturally drawn with pinpoint accuracy. Sambo Brilliant has the perfect amount of simplicity and subtlety for your next project. It perfectly represents the retro and vintage aesthetic. I recommend this font for your next logo, invitation, and home decor project that needs a succinct alternative combination touch! Sambo Brilliant appears with strong characters available: Get inspired by the image above and feel free to share with me what you get by using this font.

Add some sweet flavor to your next project with Toffee, the newest release from Font Kitchen. Sweet and sophisticated in 9 different weights, all with true italics. Toffee’s handcrafted glyphs and sharp serifs bring an old-fashioned flavor with a modern twist. We’ve slow-cooked Toffee with the finest ingredients, including stylistic alternates, fractions, ligatures, tabular/proportional figures, and more. Whether you need a bold, playful weight or something more light and elegant, Toffee is a great way to add a warm, inviting personality to your next project with a handmade feel.

Introducing Epic Story, the perfect typeface for your next big project. This fun, playful font is the right choice for creating bold headlines. With its unique character, Epic Story is sure to make a statement. And it's great for logotypes and branding too. So if you're looking to add some personality to your next project, look no further than Epic Story. Epic Story font includes : Standard Latin All Caps Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations Works on PC & Mac Thank You.

Crima Font Black Serif totality and elegance. One of the newest releases that can only be done now, naturally drawn with pinpoint accuracy. Crima has the perfect signature and subtlety for your next project. It perfectly represents the retro and vintage aesthetic. I recommend this font for your next logo, invitation, and home decor project that needs a succinct alternative combination touch! The Criman font comes with available strong characters: Get inspired by the image above and feel free to share with me what you get by using this font.

Stalker is one of those necessary fonts in a designer's toolbox: Grungy sans serif caps that are most useful for entertainment project chores. Originally made in the summer of 2003 for set and prop design of an Alliance film, Stalker is now available in retail form for those who are particular about their entertainment design or those who use broken letters in their design as means of social commentary or statement on style.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Novembris is narrow and serif font with art deco look. “A”, “G”, “H” and “M” have different letter form in uppercase and lowercase, and they give decorative accents on your typography. PAG Novembris is perfect font for your retrospective project.

In 1999, Jeff Levine released a freeware font called "Channel Tuning JL" scanned from drawings made with a felt tip marker and designed as if the letters were breaking up due to poor reception such as on pre-digital TV sets. Over a decade later, Jeff has totally reworked the font—giving it cleaner lines, an extended character set and renaming it Channel Surfing JNL to set it apart from the roughly-drawn original.

Lively, friendly and fun. Blackcurrant is derived from a poster campaign Rian Hughes designed for the youthful Japanese woman's outfitters, Yellow Boots. The original logo formed the basis of the Black version; the narrower Squash version was added fro the commercial release. The lower case was added two years later due to popular demand. In 2010 the font was further accessorised with extensive ligatures, made possible with the then-new Opentype technology.

HiFi is a geometric script whose genesis lies in drive-in movie theaters, vintage auto emblems and radio dials. It embraces the stylistic tenets of retro futurism and proposes that the evolution of design styles, rather than being linear, is a circular process, continually revisiting and reshaping itself. It evokes the 40s & 50s and pre-transistor electronics when you turned your radio on and waited patiently for the tubes to warm up.

This font was created in honor of my husband for our 12th wedding anniversary. 14 years ago, I met this tall, skinny guy from Indiana in the lobby of a hotel in Hong Kong. We talked. The next day, we had lunch together. And that night we had dinner together. And the next day. And the next. We met just before my 19th birthday, and on my birthday he took me to the top of Victoria Peak, where we looked out over the city of Hong Kong- such a beautiful place to begin a lifetime of love! We spent 4 months together in Hong Kong, falling in love with each other and with the beautiful city we were privileged to call home for that short time. We married the next year. We've lived in Indiana, Texas, China, Kentucky, and Florida over those 12 years of marriage and have welcomed 2 daughters into our lives. I know beyond a shadow of a doubt that he completes my life in a way I didn't know was possible. And I know that I'm blessed beyond words to have a supportive, wonderful, encouraging husband who is also a loving, involved, caring dad to our daughters. This font is for you, Keith!

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

The same procedure as every year? Again Christmas cards and greetings need to be designed... Sick of the usual Christmas imagery? Finally here is the ultimate typographical solution: 4 Christmas Pattern Fonts for display use. Playfull yet straight, Christmassy yet aesthetically pleasing. Pattern is the new sexy! Practical details: - Use in great display sizes only. The bigger – the better! - Fonts gain kind of "transparency" through the patterns – handy for use on top of images. - Characterset is caps only and supports Central, Eastern and Western European languages. - Entertaining 2 min movie explaining the basic concept and making of the Pattern Fonts. - Combine with "non-Christmassy" Pattern Fonts from the Pattern family. - Also available: a blank version in light, regular and bold.

Rosvard is our new old fashioned typeface. Inspired by vintage signages and brewery emblems. You could feel the vintage vibe on our preview images. Although you could use it to modern design as well. Since our last font just single font. We decide to make another layered font like we did in the past. This one in particular contains Stripe, Outline, Regular, Extrude and Shadow. You could combined all of them of just use two or three of them as you like. We also give you the separate ornaments we used for the preview image as an icon/dingbat font. You could mix and match each part to make your own badge / emblem. Because we believe you could do it.

Aditta simplifies elegance into one truly outstanding handwritten font. It maintains its classy calligraphic influences while feeling contemporary and fresh. This versatility will appeal to a wide range of crafty ideas, from letterheads and titles, to stationery. Use this gorgeous and unique font to bring any DIY project to life! Aditta is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste with Natural Touch. What's Included : Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support for; � � � � � � � � �

Villages is a combination of serif and sans serif that produces a sans serif font with an elegant and modern look, comes in 3 weights with an italic style for each weight, and several alternative characters that you can use to suit your design needs. Use this font for craft projects, logos, posters, books, promotions, and any of your design needs that require a clean and elegant look! Opentype features : Stylistic Alternates Contextual Alternates Standart Ligatures Contextual Ligatures Discretionary Ligatures Small Capitals Ordinals Stylistic Set 1 Fraction Oldstyle Figures Superscript Subscript Multi Language Support Win and Max OS System We hope you enjoy this font, and don’t hesitate to leave a comment or message if you have problems or questions.

The Joseph Struhl Company of Long Island, NY pioneered the use of cling vinyl in the field of reusable signs. Along with sets of die-cut letters and numbers, one of their main products for many years was a set of letters and numbers silk screened onto vinyl panels for larger window displays. Cling Vinyl JNL is Jeff Levine's tribute to this sign kit and its innovative contribution to retail marketing. The font comes in two styles: Cling Vinyl JNL has white characters on a black background and Cling Vinyl Clear JNL has black characters on an open (clear) background. For those wanting a "panel" space between words, there are two different width ones on the < and > keys. Please note: limited character set.

QATORA is a display font with a Japanese motif. Each letter in this font is distinct, resulting in harmony and beauty when composed into a word or sentence. When you use this font, your entire project will be beautiful and perfect; your audience will be fascinated; your project will be distinctive; and, of course, you will win the audience’s heart with a unique project appearance thanks to this font. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out

One look at the font Wanted brings to mind swinging saloon doors, double shots of whiskey and sheriff's badges. It belongs to the so-called Italienne typefaces which began to appear at the beginning of the 19th century. The distinguishing characteristic of such typefaces is the robustness of its serifs, which exceeds that of the base strokes. Wanted looks almost as though it were stamped on paper. Small white flecks appear in some of the strongest black strokes just as they would in a stamp which did not get quite enough ink...or are they perhaps the work of a sharp shooter? Wanted is best for short headlines and perfect for anything which should have the look and feel of the Wild West.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing, Slash Roller, it marks a new era in graffiti font. The slashing zig zag tape gives it an authentic DIY feel. The slashed tape is prominent but not overdone, adding an interesting layer to the blocky rough letters. Slash Roller is an attempt to create a lettering style that seems like it was made with a spray can and a brush, but keeps the appearance of a slightly imperfect and distorted typeface. It looks like the work of a vandal, but the slashed typography is actually intentional. A Million Thanks Colllab Studio www.colllabstudio.com

Back in the nineties I had a deck of Tarot cards. It was part interest and part curiosity, but I also liked the look of them. My readings were just for fun; I thought it was all a joke, but when people started to return for more readings (because what I had predicted actually happened), I quit. That was way out of my comfort zone! Fortune Teller is a nice brush font. I made it with one of my late father in law’s Chinese brushes and ink. It comes with all diacritics and a set of alternate glyphs. If you buy this font, you will meet with a tall and handsome stranger and you will win the lottery. Guaranteed! Haha!

The “Trixy Toy Educator” was a 1930s-era set of letters and numbers (along with a few animal shapes) for teaching children, and was manufactured by the Durrel Company of Gardner, Massachusetts. Die cut from thick cardboard, the 40 piece set also included a rack to display the characters, presumably for little ones to practice the correct order of the alphabet and basic numerals or to spell simple words like ‘dog’ or ‘cat’. Whomever came up with the idea, they used the most rudimentary and unusual ‘type design’ shapes in the A-Z and 0-9, but they were just odd enough to inspire a digital type version of them. School Age JNL is available in both regular and oblique versions.

A calligraphic script font Millettre is the last member of the trilogy of types designed by Lyudmila Mikhailova. First two fonts Milanette and Milafleur were released earlier. The font is based on author's lettering artworks which she did for many years for companies who produced greeting cards. The characters of the font have rough contours simulating lettering by a pointed pen on a rough paper. The character set covers standard Western, Central European and Cyrillic code pages. The default version of the font is presented by disconnected script, but connected variant is also included and organized as an alternative stylistic set. The font also contains some initial, finial and alternative forms of letters. Recommended for use in advertising and display typography. Released by ParaType in 2011.

This unassuming sans serif, lettered by Toronto based artist Lisa Mavian of Post Calligraphy, is loaded with robust and charming features and illustrations. OBSERVATIONS Specimen IV is a clean, hand-lettered sans with a quirky personality that does not take itself too seriously. These humble and winsome characters are sure to be a winning addition to your flock of fonts! DEFINING CHARACTERISTICS OpenType programming, formal title & preposition word art, Roman numerals, old-style numerals, realistic double-letter ligatures, complete set of swashed uppercase alternates, select swashed lowercase alternates, complete set of swashed numerals, select swooping descender alternates, 7 complete sets of alternate uppercase letters, 52 graphic iconography alternates. POTENTIAL SIGHTINGS Wedding menus, signage, logo design, chocolate packaging, children's literature, mobile apps.

Latex was initially a single multi-script all-cap font commissioned in 2012 by a company we can't name, to market a billion-dollar superhero movie we also can't name. A year later the commission grew to include a shaded variant and a set of DIY-like fonts, with different layering possibilities for dimensional manipulation. Each of the five Latex fonts come with a character set of over 600 glyphs, supporting the vast majority of Latin languages, as well as Cyrillic and Greek alphabets. Lots of stylistic alternates are also included, including some for Cyrillic and Greek. Superheroes are cool, though their costumes need more pockets, for credibility's sake. Maybe some superheroines should find something more practical than stilettos. Or maybe not. But definitely more pockets.

Award winning 2017 font from Demark (Thailand) and G-Mark (Japan) in Graphic Design, MartiniThai Neue Slab is now available with better taste. Deltatype created a better version of MartiniThai Neue Slab V2: refined for better outline, we fine-tuned all outlines for better letterforms. Proportion were adjusted for better consistent. Metrics got new values for increased readability. Kerning, fine-tuned kerning pair for better spacing between the letters. MartiniThai Neue Slab V2 comes in six weights: Thin, Light, Regular, Bold, Extra Bold, Black. Thai Language is included in this package. MartiniThai Neue Slab is a unique slab serif in Thai Script that creates a sense of timeless and contemporary feel and is used by a media provider and nationwide in Thailand.

Back in late 2019, Wahyu Wibowo designed a logotype for Wahyu and Sani Co., he decided to shorten the name to be WSCo. for the logo. Then by the end year of 2021, he got an idea to develop the typeface he did for the logo and start developing a font family which can be used for company branding. Now the typeface has come to life with the name "Warkat". The font family comes in two styles, upright and italic. It has 14 styles in total and additional two variable fonts. Each font has more than 580 glyphs including the alternates which covers Western and Eastern Europe Latin based languages and equipped with functional OpenType features like standard and discretionary ligatures, various format for numbers, ordinal, etc.

Introducing vintage classic display typeface its called Reborn Typeface. Reborn Typeface is a multi-layered type family with awesome ornament. Inspired by antique, mix victorian and art deco period with decorative shapes*. and last the beautiful set of ornament pack match pairs of letters to fit in your designs. Those all will make you work easily to create : Posters, Logos, Print, Quotes, Headers, Clothing, Labels, Packaging etc. Features : Layered font system Character Set A-Z Numerals & Punctuations (OpenType Standard) Accents (Multilingual characters) Above the description of this font, I hope you're satisfied with what I have created. if there's anyone who purchase and find some problem, don`t hesitate to using product support or email me storictype@gmail.com Thanks and enjoy designing.

Get some beach holiday vibe so needed during a crazy year in the city! BEACHCLUB fonts are inspired by tropical islands hand-painted signs. Bring the summer beach parties feeling with sunshine, music and strong cocktails. We crafted digital versions of woodcrafted letters as if it was made for a beach bar in Hawaii. Then the time, sea and sand did the rest. Use our fonts to bring this fun and relaxed energy to your graphics! Key Features: BEACHCLUB fonts will be a great help and perfect fit for various posters, banners, typography and illustrations. Fonts can be used for both personal and commercial projects. Credits: BEACHCLUB clean and BEACHCLUB grunge are designed by Royalclub. For purchasing the full kit (brushes/frames) proceed to www.royalclub.sh/royalclub-supplies

Delugional is an Atlantis theme typeface, it's character set is an imaginary alphabet inspired by Greek style scripts mixed with Classic Latin. This font is a display font family of two weights, Regular and Bold. It can be used for various creative/mythological and fantasy theme projects from book covers to games or movie titles. There are some OpenType features such as Stylistic Alternates and Discretionary Ligatures along with some extra symbols like sun, moon, snake and the stylised map of Atlantis in place of stylistic set 02 of uppercase "O". I have also created a font presentation video you can view it on youtube here: https://youtu.be/f7bKdoffWnI I hope you enjoy this one as much as I did while creating, Good luck with your project!

Bodoni Classic Deco Two, like the original Bodoni Classic Deco, breaks all rules. Giambattista Bodoni himself would probably hate me for doing it; he was a real purist. The whole idea of the Bodoni typeface is no embellishments and here I go and decorate those nice clear letters. Shame on me! But I find this is a very nice and useful typeface for all kinds of cards and certificates. So I just did it for all of you out there that are not born purists, and want a little embellishment to their lives. And to make things worse, I added a small caps cut. I even decorated the numbers. This Bodoni is the condensed version!!! Enjoy! Yours, still breaking all the rules, Gert Wiescher