Grotica is a versatile geometric sans serif contains 7 weights from Thin to Bold. IIt's inspired by the beautiful logotype on old labels and by exploring the Retroica font we've created in 2020. This font is suitable for movies, TV, advertising, packaging, logos, posters, music, branding, posters and so on with a modern design style. With over 600 glyphs per style, Grotica supports around 150 languages in Latin and Cyrillic script. Grotica OpenType Features including alternate glyphs, fractions, contextual alternates, oldstyle and lining (proportional and tabular) numerals, numerators/denominators, superiors/inferiors, and a variety of symbols.

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

Hello Introducing, Voguella - Luxurious Serif Display is elegant, inspired by the famous Elegant logo, perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, and more. Perfect for adding a unique twist to word-mark logos, monograms, or pull quotes. What's Included: Standard glyphs Web Font International Accent Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only.

Princess Berlianty is a new modern calligraphy monoline script font. It has a classic and elegant touch and can be used for various purposes such as headings, logos, invitations, t-shirt designs, greeting cards, posters, labels, book covers, brochures ,quotes, headlines, titles, thumbnails, and any other creative design. Features : - Uppercase & Lowercase - Numerals - Punctuations (OpenType Standard) - Accents (Multilingual characters) - Ligatures - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word. don't wait anymore, put it in your shopping basket :) and follow me, because there will be many promos!

Merosa is an experimental display serif font that I crafted for fashion design. You can also use this font for other purposes such as logos, labels, invitations, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels, any type of advertising and etc. Feature : - Alternates and Ligatures - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, and Adobe InDesign, and even works on Microsoft Word. We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. Thank You!

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

Moonspace is a unique display sans-serif font with a captivating wave-like character on each letter. Despite its slightly taller height, this font remains highly legible and suitable for a wide range of designs. With its distinctive design that sets it apart from other sans-serif fonts, Moonspace adds an artistic touch to your designs. It's perfect for use on posters, magazines, brochures, and other creative projects. Crafted with precision and balanced letter proportions, Moonspace delivers a professional and eye-catching look. It's suitable for use in a variety of designs, from modern to classic.

Introducing Dauntea - Modern Serif Typeface, created by ikiiko. Dauntea is a bold serif typeface with a unique decorative shape. The form is inspired by the shape of leaf with the unique tail character on uppercase. Dauntea is a simple font with calm impression. This typeface is perfect for an elegant logo, branding, layout magazine, home & decor layout, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Mexiland is a display script and serif font duo with a unique vintage aesthetic. it has charming retro characteristics, but still maintains a timeless and universal appeal. Mexiland is perfect use for a logotype, typography design, product packaging, quotes, t-shirt design, label poster, headings, letterhead, cutting sticker, hot stamping, signage, and anything that need vintage vibe. Combine them to give your designs an extraordinary look! Feature : - A lot of Alternates ( With a Total of 700+ Glyphs ) - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Introducing Kagnue Serif Font - A Brand New Serif Font with Classy and Modern style, Kagnue Serif font made with combination from classic italic font and modern shape. Kagnue Serif font come with More Opentype Feature, more neat curves. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! Fully accessible without additional design software. I really hope you'll get pleasure using Kagnue font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

The GateKeeper typeface was inspired by old horror movies, and the various poster typography that went with some of them. A loose and pointy typestyle, GateKeeper embodies the dark side of typography and life, with a creepy and on edge feeling. With large and small capitals, it is easy to exchange cases in events of double characters, which can lend for a very interesting offbeat quality. Usable for any ocassion, but most suitable for dark matter. Learn about the GateKeeper, study his methods, and pass his test. Get the GateKeeper typeface today, and you are on your way!

KINDERS is a Thin Linear typeface with elegant in every single letter. This font looks modern, readable, stylish, catchy and easy to use. KINDERS Font is the best choice for your professional design projects, including : logo, poster design, t-shirt, headline, flyer, cd cover album, quotes, business card, branding, magazines, social media, advertisements, product designs. Highlight: - Easy instalation - Work on PC or Mac - PUA Encoded Support - Basic Latin A-Z and a-z - Numbers - Symbols - No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word.

Halisah is monoline script font which natural movement and elegant for valentine style. Halisah 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. ________________________________________ What’s Included : • (OTF / TTF/WOFF) • 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; ä ö ü Ä Ö Ü ß ¿ ¡ ________________________________________ Thank you for your purchase! Hope you enjoy with our font!

Walktimes – Elegant Typeface is a modern stylish font made for designers, a strong and elegant font can enhance project quality. Walktimes is perfect for design, logos, social media, branding, advertising, product design,film, quotes, product packaging, headers, posters, merchandise, and other designs. What’s Included : + Walktimes + Standard glyphs + Multilingual Accent + Works on PC & Mac, Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support + Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Thanks

Aladdin Black is the 3rd member of our Aladdin Bold Font Family. This new style is extra bold and slightly rounded on the outsides of the glyphs. It is fat, fancy, fearless, forward, devilish, heavy, and stylized. Aladdin Bold was my first font introduced in 2012. I've always felt there were possibilities of adding styles to this family and something triggered the decision, so...here it is. I took much time deliberating over many of the finer details in this version of Aladdin and I hope the 'devil is in the details' for whoever decides to try on Aladdin Black.

The font Eckmann is named after its designer, Otto Eckmann, and appeared with the Klingspor font foundry in 1900. The influence of the Jugendstil is clear to see in the flowing floral contours of the letters. This font was made for larger point sizes, like on posters, and while relatively legible, it is not meant for smaller print. The font was often used in book titles and advertisements of the 19th century and today Eckmann is often used to suggest a feeling of nostalgia and is often found on the Jugendstil facades in Germany, Austria and Switzerland.

Say hi to our newest product called ‘Herlianty‘ which is a natural handwritten font, with an original handwritten look, highlighting the uniqueness of each character and having several ligatures that will add an elegant impression to the design. This font is very perfect for wedding designs, wedding invitations, stationery, logotype, branding, display, fashion design, poster and more. Herlianty includes full set of uppercase and lowercase letters, numeral, punctuations and ligatures. Included in this set: Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software

Introducing Boiller Typeface 💖💖Boiller💖💖is a sans serif font that has an elegant romantic concept, supported by 736 glyphs. The Boiller font has a lot of alternative characters, from swash, ligature and of course it is also supported by multilingualism. In addition, Boiller also has 14 families from Thin to Heavy. So it can be used for body text and header text. Boiller is very suitable for design concepts that are elegant, simple, minimalist and romantic. Can be used for wedding card designs, shop signs, logotypes, promotions on Instagram and so on.

Cottonwood is a group effort of the typeface artists K.B. Chansler, B. Lind and J. Redick and displays the unmistakable look of the Wild West. It is stylistically modelled on the typefaces used in advertisements and signage toward the end of the 19th century. Typical for these capital alphabets are the split serifs which emphasize the markedly decorative character. Cottonwood is a kind of homage to the Western typefaces (woodtypes) which became popular through their use on Wanted signs in Western films. Cottonwood is best used sparingly in headlines to best emphasize its decorative, 'wild' character.

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.

Step right up, folks! Introducing Budmo, the font that’s always ready to party! This jubilant display typeface is inspired by classic light bulb marquee sign lettering and is perfect for all your festive needs. Whether you’re sending out dance invitations, announcing a gala, planning a parade, or just looking to add some pizzazz to your party, Budmo has got you covered. But that’s not all, folks! With Budmo Jiggler and Jigglish, you can really ramp up the carnival atmosphere. Layer the Bulbs, Honk, and Solid styles to create a truly carnivalesque effect. And don’t forget to try adding a glow effect to the Bulbs style for even more razzle-dazzle. But here’s the thing, friends. Even on its own, the Bulbs style is nothing short of snappy. Add your own special effects and watch it light up the night! So come on down and see Budmo for yourself. You won’t be disappointed! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

Combine, designed by Carlos Fabian Camargo G, is powerful and attractive, multi-layered chromatic type family that consists of 12 fonts, typographically grouped in two logics: “Script and Caps”, so that they could be colored separately or in group. Both designed with contrasting optical techniques and combinable at the same time. The unforgettable central idea of Combine was inspired by unique types of speedball letters designed by ancient artists in Canadian posters of shows and fairs in 1930. This is why its Typographical tools work independently or in group, resulting in highly polished designs that need fonts with coupled effusiveness. Their combined resources offer guaranteed distinguishing letters with shadow effects and worn, in order to help enhance their expressiveness. Combine is excellent in any project on paper or screen as it has more than 2100 glyphs and features of OpenType distributed strategically in fonts easy to use. SEE BELOW THE MAIN ADVANTAGES: • Combine Script & Shadow: It offers incredible case sensitive fluency and eloquence drawn with vertical cursive letters with ornamental non-stop excitement and complementation. It also has a variety of significant upward and downward, alternative strokes combined with its vintage ties that also give authenticity to their designs. • Combine Caps 1,2,3 & Shadow1,2: Guarantees you a colorful horizontal area of narrow case with 2 types of shadows, sound and other shade with diagonal stripes. Its geometric uniformity gives a friendly, open and subtle character by Typographic and special resources and visual properties coloring layers separately or in groups. In addition, its 2 layers of skeletal illuminations, adding internal lines and simultaneously contributing to play perfect confrontation and contrast with their geometric ideas and aesthetics for special attention. • Combine Words & Shadow: It can be used to design a perfect tone in each one of the 50 slogans written diagonally, making a brilliant feeling suggestive seductive style. Compatibility and flexibility works by monoline thin cursive strokes ideal for featured items with and without shade. Combine was selected at the Bienal Tipos Latinos 2016

This is the 100th font released by CheapProFonts, and I wanted to make something special - so I have chosen to upgrade one of the most popular free fonts ever: the one and only Scriptina by the infamous Fredrick “Apostrophe” Nader! After first cleaning up the outlines, spacing and kerning, Scriptina Pro has been expanded with a set of alternate letters without the loops and swashes, using the OpenType contextual alternates feature to switch them around automatically to avoid too many overlapping and repeating elements. You can also manually turn off the loops and swashes with the OpenType titling and swash features respectively. The originals alternate letters have been incorporated as stylistic alternates (and stylistic set 02) and the ligatures as discretionary ligatures if you should want them. The alternate non-script lowercase z is programmed as stylistic set 01. In addition Scriptina Pro has been given the usual CheapProFonts large multilingual character set, of course. I hope many will enjoy the improvements and additional language support. And, naturally: it is still free! 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.

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

I am so happy to introduce my brand new handwritten font that exudes chic elegance like no other - meet In Love With Rome Script. Every single letter has been lovingly crafted by hand, resulting in a stunningly unique typeface that's perfect for anyone looking to add a touch of sophistication to their designs. With 274 alternate letters and ligatures, you'll have all the tools you need to create truly one-of-a-kind pieces. But what sets this font apart isn't just its beauty - it's also incredibly versatile. Whether you're working on a wedding invitation, a branding project, or simply adding some flair to your social media posts, this font is the perfect choice. It's feminine, cool, and it strikes the perfect balance between modern and classic. So if you're looking for a font that's as beautiful as it is functional, look no further! In Love With Rome Script Font Includes: Over 274 Ligatures and Alternates Full Language Support Lowercase and Uppercase letters Numerals & Punctuation Web Font Kit is Included as Well NOTE: Ligatures are supported in most desktop programs including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Most of them will have this option automatically switched on. If you're using Canva, ligatures are not supported out of the box, however, I have included detailed instructions on how you can use them for your designs as well! Happy creating everyone!

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Noyh is a modern geometric font family that is based on research of similar typefaces of the 1990s and 2000s. Based on that research, font designer Chatnarong Jingsuphatada created a design whose main purpose is to perform equally well in as many environments as possible. Noyh offers a geometric structure with smooth corners, giving it great legibility and making it clean and friendly. As a result, Noyh works well both in print and on screen; it can be used freely for e-books and mobile applications and is perfect for headlines, banners, posters, web-sites, magazines, etc. Perhaps the greatest advantage of Noyh is the stunning number of fonts it includes. There are no less than 72 fonts, each containing over 350 glyphs. The family has 4 formats – Normal, Rounded, Slim and Slim Rounded. Each format is supplied in 9 weights – from Hairline to Black with their respective italics. The individual fonts work very harmoniously with one another, giving the potential user a variety of options. The Noyh font family was created by Thai designer Chatnarong Jingsuphatada and is released by the Typesketchbook type foundry. Chatnarong intends to add an additional member to the family – Noyh A – that will include ornaments, undoubtedly making the Noyh family even more versatile and multi-functional. In the meantime, please take a look at his other typographical projects: Delm, Mairy, Tolyer, Abula.