A font completely made of nature elements. Pieces of wood, branches and leaves. Do not go limp, use Wald instead!

This Heavy weight Display font includes Basic Latin, Latin 1 Supplement, Latin extended A, Cyrillic, Armenian. May be used in titles, posters, labels, etc. The structure of glyphs does not require kerning for any pairs! Criation year: 2021

ITC Mattia is a typeface with an edge. It's nervous, tense, and a little disquieting, with twisted characters that are more scrawls than lettering. Designer Giuseppe Errico does not confine Mattia to a traditional baseline. When set in short blocks of copy, the design creates a tone of passion and candor. Not just another pretty face," Mattia is a rare and commanding communication tool."

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.

An isolated letters typeface design with a comic feel. All letters start with a prominent circular dot. All final shape letters end with a smaller dot, in addition. The Nuqat (Arabic for dots) font family has four members which include two weights, normal and bold, and comes in regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. The Nuqat font family employs variable x-height values. Nuqat includes only Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Nuqat includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

Here is my next Celtic Monograms font family. I used a lot of authentic knots and curves to imitate Insular art style. The term derives from insula, the Latin term for “island” in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. I've drawn sketches set, manually vectorized it and assemble the font family. In an attempt to replicate the intricate patterns found in Celtic art, I endeavored to create a design that embodied the essence of true Celtic knot work. The interweaving lines, which were prominent motifs in Celtic art prior to the arrival of Christian influence around 450, served as the foundation for my creation. Over time, these designs seamlessly integrated into early Christian manuscripts and artwork, incorporating depictions of various elements from everyday life, including animals, plants, and even human figures. In the beginning, the patterns were intricate interwoven cords, called plaits. This particular style is often linked to the Celtic regions, but it was also widely embraced in England and spread throughout Europe through the efforts of Irish and Northumbrian monks. The utilization of the Celtic knot as a tattoo design gained popularity during the 1970s and 1980s in the United States. Consequently, it has proven to be a highly advantageous font choice for various applications such as posters, banners, and sportswear. You can also create a vintage color shift effect. Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Two or Three lines style initial on the top of Back style. I’m happy to present you the Rough, Two lines, Three lines, and Back styles for your design. You’ll get uppercase and numbers set. Thank you!

Betabet was drawn using traditional serif fonts as a guideline. The scribbled style and serifs combine to make an unusual font. Betabet does not look like handwriting, but works well where handwriting or script fonts might seem too insubstantial.

Huskeseddel is to-do list or memo in English. If you not already guessed it, the font is based upon my own handwriting. Actually not my everyday handwriting, but the kind I use when I make my to-do lists. But it wouldn't look right with a simple font with the same letters repeating all the time, and that's why I added 12 different hastily written versions of each letter. These 12 different versions cycle as you type, making your text look...well, like hastily written letters...you'll have to take a real close look to find out that you are looking at a font, and not a genuine hastily written to-do list! :)

Delfino Script is a cool, connecting script that can appear both retro and contemporary. Curved on the outsides of strokes, and jagged inside, the forms look like an abstraction of strips of tape, folding and flowing, or even marker pen style lettering. This script is not created by any pen though - its forms are constructed, not painted. Typographic features like ink traps add sparkle to the text. OpenType features include ligatures, contextual alternates (for more realistic connections) and stylistic sets. Stylistic Set 1 changes certain upper case letters into forms more suited for all caps setting, although they can also be used freely with the lower case. Set 2 changes the r into a less scripty form and set 3 adds a connecting tail to the q. Delfino Script would find itself at home in cookery books, fashion blogs, vintage car magazines and set large and proud on expanses of concrete, or, most likely, whatever you might have in mind for it! Delfina Script is practically identical to Delfino save for round tittles, periods and any other dot shaped glyph components. Strangely for such a little change, it does seem to give the face a different character.

KlipJoint is a novelty font in which all the characters are formed from paper clips. It does not have a true set of lower case letters, but in their place is a second and often different set of upper-case letters.

It’s perfect for Christmas cards, branding, stationery, blog design, custom art, custom stamps, custom embossers, book, apparel, packaging, headline, Crafting, Logo, or much more! It will add a unique feel and looks stunning to any design project! Does not contain Caps.

"Soup Du Jour" is French and simply means "Soup Of the Day" - may not sound interesting, but I can tell you that I have had several tasty soup of the day served. I wanted to make a font that resembles that feeling of not really knowing what you get served, but you got a feeling that it is something good! The font has got 6 different versions of each letter, and they automatically changes as you type - it makes your text organic and lively, and probably quite tasty too! :) "Soup Du Jour" is also a well-known quote from one of my favourite movies: "Dumb and dumber"

Ravenstonedale is a village in Cumbria, England. There’s not much to see in this quaint village, but the landscape surrounding it is beautiful. This font was sort of based on a number of handwritten letters by English author D.H. Lawrence. It is not a true reflection of the man’s handwriting, though, as I had to design a lot of missing glyphs myself; it was merely an inspiration. Ravenstonedale comes in a slightly slanted ‘regular’ version and a more slanted ‘Italic’ version. In order to stay true to the handwritten nature of this script, I have added a lot of ligatures, plus all the diacritics you could hope for.

Paperlight Script - Luxury Calligraphy Font. Paperlight Script is calligraphy font with a classic style and a touch of elegance, inspired by the handwriting of ancient manuscripts. This calligraphy harmony gives the impression of being luxurious, free and sophisticated. The body text of Paperlight Script font has been designed with high details, precisely, smooth and flow. Paperlight Script font carefully designed to work together harmoniously making it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classic, formal or luxurious The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Abella Script, is a calligraphy manuscript, handwritten modern and classic, so soft, perfect for your next design, such as logos, printed quotes, invitations, cards, product packaging, headers and anything else about your imagination. Abella Script allows you to create custom dynamic text. you can access by turning on; Stylistic Alternates, Swash, as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's switch from the regular character into character alternative to get the text with the layout of your dreams. Abella Script features 1000 glyphs and has given PUA encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software. Language Support Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Spanish, Swedish.

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Frederic W. Goudy designed three weights of this friendly-looking sans serif font from 1922-1929 for Lanston Monotype in the United States. Goudy was attempting to impart freedom and personality to the sans serif form at a time when geometric sans serifs, such as Futura, were gaining rapid world-wide popularity. To achieve this challenging goal, he looked to lapidary inscriptions and manuscript writing for inspiration. He included elements such as slight swellings of terminal strokes, slab serifs on a few of the caps, alternate uncial forms, and a few swash strokes. The result is uniquely Goudy: charming, instinctive, and just right for adding warmth to magazine or advertising layouts. The design staff at ITC updated and filled out the family for a total of eight styles in ITC Goudy Sans. ITC Goudy Sans® font field guide including best practices, font pairings and alternatives.

I’m happy to present you the Bohemian initials font family. Regular and Colored styles (Uppercase & Numbers) based on Codex Gigas originated in medieval Bohemia. The manuscript has been dated 1230. The elaborate initials are at the beginning of the main texts and their principal divisions. The painter was aiming to achieve a plastic depiction of the trailing vines of the initials, and he painted with solid colours. He used only four of the primary colours cinnabar red, blue, green and yellow, brightly toned, as well as white accents and contours. The trailing vines of the initial letters are painted in a decorative, advanced Romanesque style, already bordering on naturalism. The plant taken as the starting point is the acanthus, a thistle-like plant which grows wild in the Mediterranean countries. The decoration of the Devil’s Bible is not the work of an amateur. Scholars have concurred: it is book illuminations created in Northeast France and Southern England in the so-called Channel style which provided the starting point for the coiled trailing-vine shapes in the initials of the Devil’s Bible. --- You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- Please feel free to request any help you need: kaer.pro@gmail.com Thank you!