Introducing Ultra System; A modern exploration of 8 fonts, each carefully designed to naturally compliment one another. With 6 clean sans fonts and 2 textured script fonts, Ultra System gives you a variety of ways to combine and arrange each font, allowing you to create striking & modern typographic designs. This typeface collection consists of 8 fonts; Ultra System Script • A textured, bouncy & flowing marker script font containing upper & lowercase characters, numerals, and a large range of punctuation. Ultra System Script Alt • This is a second version of Ultra System Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Ultra System Sans • A wide, bold sans font containing uppercase only characters, numerals, and a large range of punctuation. Ultra System Sans Line One • A thick outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Line Two • A thin outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Italic • Italic variations are included for all 3 Ultra System Sans fonts. FAQs; Accessing Ligatures • Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Many programs will automatically have this feature switched on for you, but if you need any help accessing then please feel free to drop me a message. Language Support • All Ultra System fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

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

Hisham is a modern Arabic headline face, designed by the Lebanese calligrapher, Ahmed Maged, originally for Linotype-Hell Ltd. The Hisham design has a distinctive style with a strong baseline, relieved by strategic cut-away effects, which is counterbalanced by the bold vertical strokes and some strong diagonals. This somewhat compact font adds a new style to the range of Linotype’s Arabic headline fonts. This OpenType font includes Latin glyphs from Optima Extra Black, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Hisham incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

The font collection is called "Brocades", it is a crafted display with vintage themes. These collections contain monoline script, sans serif stencil and serif stencil. Every font comes with 4 style typefaces (regular, rounded, rough and stamp). Brocades give more extras 2 pack illustrations (animals and motorcycle). This script font includes 3 sets alternates and swashes. The Brocades matches apply in some designs such as the logotype, poster, label, badge, packaging, apparel, branding, and more custom design. Brocades features : 4 style typefaces (regular, rounded, rough and stamp) Uppercase, lowercase, numeral, symbol, punctuation, alternate and swash in monoline script All-caps, numeral, symbol and punctuation in sans serif and serif font Multilingual PUA Encoded Brocades includes : 14 fonts (script, sans serif, serif and dingbat) 52 illustrations in dingbat Thank you for your support and choosing us.

Shapely is designed with elements of classical calligraphy expressed in a very modern idiom. It embodies the Scholtz signature - casual, extravagant, bold design with an underlying attention to detail and legibility. Numerous ligatures emphasize immediacy and the handwritten quality of the finished product creates a feeling of variety, spontaneity and flexibility. The font abounds with extravagant flourishes, however, with almost every character, plainer alternatives are available through OpenType technology. This frees the user to put an individual stamp on his use of the font. There are a total of 70 ligatures and alternate characters that use OpenType technology to expand the flexibility and power of Shapely. The font contains all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters used in European languages.

Whiteside - Handwritten Script Font. Beautiful handwritten script fonts are here to accompany your design projects. Accompanied by awesome textures to enrich the visual value of your design. Suitable for branding designs, logos, quotes and others. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual, Ligatures, Alternates & Underline. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks! Note: To access swash just type underscore + underscore + numeral (1-3).

TF Teenage Rockstar Display Script Font - a stylized design that is sure to bring a touch of elegance and sophistication to your projects. Our font features swooping tails on select lowercase letters, adding an extra level of flourish and personality that is sure to capture attention. There are 2 styles available (Regular & Extrude). Both font versions are meticulously crafted with attention to detail, ensuring that each letterform maintains its structural integrity while still conveying its unique style. With our display script font, you can create designs that are both elegant and impactful, giving you the freedom to express your creativity with confidence. Features: Uppercase, Lowercase, Numeral, Opentype Features, Punctuation & Multilingual. Note: To access tails, just type underscore + underscore + numeral. The alternates feature must be active. Example __3 For any questions please contact me 🙂 Thanks!

VP Pixel Pro is designed to be the definitive standard for a pixel typeface. With over 1300 characters in each style, it ensures full support for over 230 languages, enabling your work to be localized world-wide, effortlessly. All fonts in this family include upper case, lower case, and small caps letters of the Latin alphabet, as well as extended sets of the Cyrillic and Greek alphabets, along with multiple sets of numerals, a large set of diacritics, punctuation marks, and other symbols. Numerous OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, and contextual alternates. Versatile and advanced, VP Pixel Pro combines a vast character set with advanced typographic features, thus becoming your go-to pixel typeface no matter the task.

Longa Iberica is a serif typeface inspired by ancient scripts (Visisigothic, Proto-Gothic, Gothic). It has a long ascender and descender, small x-height and low-profile lining figures. Include automatic ligature creation, stylistic alternates and historical letterforms, lining and oldstyle numerals, fractions, Roman numerals adjusted to figure height (lining and oldstyle) and ordinal letters. Character set contains the complete Unicode Latin 1252 (Western European; ANSI), 1250 Latin 2 (Central European), 1254 Turkish, 1257 Baltic. Supported OpenType features: Acces All Alternates, Alternative Fractions, Capital Spacing, Case-Sensitive Forms, Contextual Alternates, Contextual Swash, Fractions, Historical Forms, Kerning, Lining Figures, Localized Forms, Oldstyle Figures, Ordinals, Proportional Figures, Slashed Zero, Stylistic Alternates, Stylistic Set (1-20), Superscript, Swash, Tabular Figures. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

The font collection is called "Higakles", it is a display font for logotype. These collections contain serif and sans serif font. Every font comes with 4 style typefaces (regular, rounded, rough and stamp). Higakles give more extras 24 mystic and mythology illustrations. This stamp style has unique vintage handmade looks. The Higakles matches apply in some designs such as the logo, poster, label, badge, packaging, t-shirt, branding, quotes and more custom design. Higakles features : 4 style typefaces (regular, rounded, rough and stamp) Uppercase, lowercase, numeral, symbol, punctuation in serif font All-caps, numeral, symbol and punctuation in sans serif font Multilingual PUA Encoded Higakles includes : 9 fonts (serif, sans serif and dingbat) 24 hand-drawn illustrations in dingbat If you have any questions, please contact (edignwn11@gmail.com)

To see more technical details download PDF specimen document: https://peggofonts.com/pdf/PGF-Elyss-Sans_%28Specimen-2023%29.pdf PGF Elyss Sans is based on its previous family relative PGF Elyss Roman. With clean and modern lines, but preserving the original Roman style, created to be in labels, invitation, website design, digital graphics, book headlines & titles, brochures, newspaper and magazines design, logotypes, branding and corporate design and much more. In seven weights with more than 900 glyphs each, and ready for more than 200 languages. Including: Standard and Discretionary Ligatures Contextual Alternates Scientific and fractional forms Lining, OldStyle and Tabular figures (Numerals, Mathematical operators and Currency Symbols) SmallCaps (alphabet, numerals and symbols) Social Network & Letter alike symbols Localized language customization (for Azeri, Crimean Tatar, Tatar, Kazakh German, Dutch, Polish, Catalan, Romanian, Moldavian and Turkish)

RARE BIRD SPECIMEN III Rare Bird Specimen III is a graceful hand by Karla Lim of Written Word Calligraphy. This all lowercase font feels both modern and feminine. While uppercase letters are still lowercase in shape, they are larger and read as caps. OBSERVATIONS Specimen III has a dancer-like form; supple and lithe. Willowy letters are nimble and lissome, content alone or paired with a stronger, more masculine specimen. DEFINING CHARACTERISTICS Opentype programming, formal title and preposition word art, 7 alternate lowercase t cross-strokes, Roman numerals, old-style numerals, seamlessly semi-connecting calligraphic letters, realistic double-letter ligatures, in and out-stroked letters at the beginning and end of words where appropriate, basic Latin encoding. POTENTIAL SIGHTINGS Bridal + baby shower stationery, logo design, gourmet food packaging, clothing labels.

Romance Story is a classy handwriting font with a distinctive curve, inside with some interesting features that are perfect for an authentic-style project. Romance Story is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. A handwritten script font containing upper and lowercase characters, numerals and a large range of punctuation. Romance Story Includes: - Basic Character ( Uppercase and Lowercase, Numerals, Symbol and punctuation ) - Multilingual support - Ligatures - PUA Encoded - This font including alternate glyph. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. How to get access alternate glyphs with designing software to open type fonts check this link : http: //adobe.ly/1m1fn4Y

"Crypto Currency - Block Chain" quickly entered our lives and its use is increasing day by day. Blockchain became more popular in web, TV and printed works. It is necessary to use their logos when defining "Crypto Currencies". But it is not easy to access these logos fast. "Cryptocurrency Font Family" which I prepared for you, is a resource that you can reach without searching for too many logos. Cryptocurrency Font Family contains 200+ logos. These are the most popular "Block Chain" logos in recent years. The popularity rankings changed over time and you can contact me if you need new logos and changing logos. I can create the "Block Chain" logo you need or apply the changes. You can send your new logo and logo change requests to me at "buyuksel@hotmail.com". Subsequent corrections and additions will be completely free. After the first purchase, there is no additional payment for updates. When using Cryptocurrency Font Family, "Cryptocurrency No.00 Guide Map" is absolutely free to download and use. This will help you a lot to define coins. "Guide Map" contains the letter and the Unicode numbers. --- Contents --- Ardor ARDR, Bitcoin BTC, Bitcoin Cash BCH, Bitcoin SV BSV, Bitcoin Gold BTG, Bitcoin Diamond BCD, Bitcoin Private BTCP, Bitcoin Plus ZBC, Bitcoin Z BTCZ, Etherium ETH, Etherium Classic ETC, Xrp Ripple XRP, Ripple, Teher USDT, Litecoin LTC, Litecoin Cash LCC, Eos EOS, Binance Coin BNC, Monero XMR, Cardano ADA, Steller XLM, Tron TRX, Tezos XTZ, Unus Sed Leo LEO, Chain Link LINK, Cosmos Atom ATOM, Huobi Token HT, Neo NEO, Hedge Trade HEDG, Crypto.com CRO, Iota MIOTA, Dash DASH, Maker MKR, Usd Coin USDC, Ontology ONT, Nem XEM, Ve Chain VET, Dogecoin DOGE, Basic Attention BAT, Z Cash ZEC, Paxos Standard PAX, Ftx Token FTT, Decred DCR, Qtum QTUM, Syntehetix Network SNX, True Usd TUSD , Raven Coin RVN, Ox ZRX, Okex OKB, Algorad ALGO, Holo HOT, Centrality CENZ, Augur REB, ZB Token ZB, Seele SEELE, Omisego OMG, Swipe SXP, Waves WAVES, Horizen ZEN, Kucoin Shares KCS, Theta THETA, Nano NANO, Nervos Network CKB, Byton BTM, Lisk LSK, Molekular Futures MOF, Digibayt DGB, Bittorent BTT, Icon ICX, V Systems VSYS, Iost IOST, Abbc Coin ABBC, Komodo KMD, Nexo NEXO, Siacom SC, Monacoin MONA, Luna LUNA, Enjin ENJ, DxChain Token DX, Hyper Cash HC, Verge XVG, Bytecoin BCN, Steem STEEM, Zilliqa ZIL, Maidsafe Coin MAID, Energi NRG, Bitshares BTS, Digixdo DGD, Rif Taoken RIF, Aeternity AE, Block Stamp BST, Zcoin XSC, Matic Network MATIC, Quart QNT, Silverway SLV, Kyber Network KNC, Iexec Rlc RLC, Electironeum ETN, Ren REN, Status SNT, Status Euro EURS, Single Colleteral SAI, Nash Exchange NEX, Grin GRIN, Decentraland Mana MANA, Stratis STRAT, Solve SOLVE, Kick Token KICK, Aelf ELF, Golem GLT, Pumdi X NPXS, Enigma ENG, Metaversa Etp ETP, Digitex Futures DGTX, Elastos ELA, Gxchain GXC, Chiliz CHZ, Ripio Credit RCN, Aion AION, Fetch Ai FET, Loopring LRC, Dragon Coin DRG, Wayki Chain WICC, Thunder Token TT, Iotex IOTX, Nebulas NAS, Hedera Hashgraph HBAR, Bread BRD, Hyperion HYN, Ignis IGNIS, True Chain TRUE, Wax WAX, Tierion TNT, Wanchain WAN, Reddcoin RDD, Wink WIN, Gatechain Token GT, Diamond Platform DPT, Nuls NULS, Yap Stone YAP, Vertcoin VTC, Project Pai PAI, Denta Coin DCN, Ark ARK, Fun Fair FUN, Loom Network XMX, Edu Care EKT, Aragon ANT, Factom FCT, Populous PPT, Revain R, Harmony ONE, Qash QASH, Groestl Coin GRS, Civic CVC, Fantom FTM, Swiss Borg CHSB, Santiment Network SAN, Moeda Loyalty MDA, GoChain GO, Dent DENT, Edc Blockchain EDC, Storj STORJ, Divi DIVI, Pivx PIVX, Bancor BNT, Metal MTL, Loki LOKI, Wirex Token WXT, Bitkan KAN, Gnosis GNO, Network NEW, Thorchain RUNE, Odem ODE, Bibox Token BIX, Bosagora BOA, Oceon Protocol OCEON, Celer Network CELR, Chimpion BNANA, Mixin XIN, Veritasium VERI, Mine Bee MB, Bankera BNK, Bitcoin2 BTC2, Casino Coin CSC, Bitforex Token BF, Dynamic Trading DTR, Poseidon Network QQQ, Obyte GBYTE, Cloak Coin CLOAK

Tire Swing BB is lighthearted without being silly. It's whimsical without being cliche. It's a body copy font, or great for headers, and includes lots of European characters.

Hi! Introducing calligraphic font named "Megawatt". It's a script with connected letters, lots of characters including West European languages support and few ligatures. Thank you and have fun!

Vxtr11 is a experimental typeface for use on logos and titles this typeface is not for text! see the presentation here http://www.behance.net/gallery/Vxtr11-Experimental-Typeface/818127

Yes, it's handmade - and yes, it's super funky! Sticky Beat is quite useful for everything that needs a quirky approach, and at the same time not overdoing It.

Sweetheart Script revives handwriting from the mid 20th century with a lot of bounce and personality. Use it in casual settings where you need a bit of flair!

Inspired by the sign outside a beauty salon, it is an art-deco all-caps font. This font will NOT make you more attractive to the opposite sex.

I was playing around with some brushes and ink, and out came Skulduggery. Use it for any project you can apply the term ‘skulduggery’ to. Or not. Whatever.

A unique looking sanserif that connects like a script. It's different and innovative design creates a whole new look. A great decorative display font with lots of applications.

Display Intense is a display font designed specifically for display, headline, logotype and similar applications. It is not intended for text use or for use at small sizes.

Brillig is a loose and informal handwriting font. It comes in four flavors, each of which has a very different feel. Brillig Gimble: more formal in that the characters are interconnected as in cursive script. To further enhance this effect, the characters have been created with a slightly "blobby" pen which provides a suggestion of precision. Brillig Earth: is bold and strong. It is more "down-to-earth" than the other styles, however, the boldness is tempered with quite wispy ends (terminuses) to the characters. It conveys a suggestion of speed and strength. Brillig Aire: is the most delicate and ethereal of the styles. Think of fairies, dandelions and dragonflies and you have an idea of what Brillig Aire conveys. Not only are the characters very light in weight, but they terminate in a wispy, delicate end. In spite of all this, Brillig Aire is very readable and can be used in a variety of contexts. Brillig Brave: is quite like Gimble in its feel with one important difference -- the characters are not connected as in cursive script. Each character stands alone. Brillig Line: is a clean, lightweight style using a mono width line for an informal, handwritten feel. There is a collection of the above four styles that is attractively priced and gives you the ability to use these four fonts in a variety of ways within the same document. The font is particularly useable for the promotion of products aimed at designers of: wedding invitations, party invitations, young clothing ranges, magazines, cosmetic packaging. It has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

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.

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

KARN is a display typeface inspired by psychedelics. Regular, bold, outline, and summer dingbats are available. Perfect for projects that require fun and creativity. Punctuation, Multilingual & PUA Encode

Michalena Script is a fun and cool script with a relaxed summer vibe. Get inspired by its unique charm, and turn any design project into a true standout!

Introducing Hulahoy Typeface. This font is inspired by the design styles of the 70s. The style is funny, groovy, classic, not serious but has aesthetic and unique value, besides that the Hulahoy font is very easy to remember and becomes the image of a design. Hulahoy is very good for being your font collection because this font is very unique and easy to apply to any media that has a design concept that is not so serious, groovy, classic, funny and unique.

This font is not overly distressed, nor is it overly clean. It is a typewriter font. It is perfect when you want a document to look like it was made on a typewriter. This font is primarily based on the typewriter used for a typographic conference document from 1966 in Mainz Germany. The model and age of the typewriter used is not known. Additional characters were sourced from other vintage typewriters and others were designed to complete the full character set.

Aago is year-long project to create sans inspired by Positype's popular Aaux Next typeface, but not beholden to its previous conventions. 54 fonts spread across 3 widths, 9 weights, and each with matching italics. Drawn from the ground up to “just work well” across print and screen uses, Aago provides a comfortable, not too wide footprint with hopes of becoming a go-to utilitarian typeface perfect for packaging, branding and identity systems, poster and billboards, small and HD screens alike.

Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script, Koziupa and Paul’s latest creation. Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility. A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.

The Corset Pro is not another font, but not exactly and the same, as the previous two (Khamai Pro, Aeolus Pro) but is simple a different... But it has common elements and is based on two earlier. A new style added is Inlier, has this advantage engagement with Βlack style in the same manner explained in Aeolus Pro. And this series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

No, we’re not referring to the strange phenomenon of babies who are born pinkies first, and we’re not talking about downloading oven-fresh loaves of bread byte by byte! If you have any UNDERSTANDING of the name of this font then you’re in good shape, because we won’t be REINVENTING it any time soon. Created by John Roshell for the incomparable Scott McCloud to letter REINVENTING COMICS, this friendly & easy-to-read pen style later appeared on the letters pages of ELEPHANTMEN.⁠