Vintage Varsity was inspired by that classic iron-on letterman jacket your "cool" uncle wore in high school (and lets be real, probably still wears today)... Pair with some fuzzy felt textures and you got yourself a killer duo! Strike the fill, throw a stroke on it, and design a retro-slogan t-shirt. Is this starting to sound like a cheesy infomercial? Good, I'm rolling with it. Have fun!

Ahhh, who doesn't want to sleep late? That’s excactly what a “sovetryne” wants ... even though he/she often sleeps way to much! But that’s not the case with this font. It’s legible, even though it’s slightly worn. Change between upper- and lowercase letters to variate the typing - and turn on ligatures, in order to use the substitution of double letters such as aa, bb, cc and many more!

Art Party is a hand-drawn font suitable for headlines of all kinds when you want a handmade look. Prissy Pots owner Erin Solomon drew the playful letters, which include regular and bold versions. Each face also offers an entirely separate set of upper and lowercase letters accessible in your applications' glyphs palettes. With contextual alternates turned on, these extra letters show up automatically, yielding a more natural, random look.

Flood was designed by Joachim M�ller-Lanc� and is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic. Flood�s energetic rhythm is well suited for informal menus, logos, and brief ad copy, as well as personal correspondence.

Sheet music for the song "Today I Feel So Happy" from the 1932 motion picture "Sunshine Susie" provided both the visual model and the name for Sunshine Susie JNL, available in both regular and oblique versions. The lettering is a bold Art Deco thick-and-thin design, and comes not from the song's title, but the hand lettered name of the movie as it appeared on the cover the song folio.

Flefixx is a typeface designed to support a project "Flefixx", an idiosyncratic visual language and typeface system that unfolds narratives based on common combinations of letters. In this visual language, just as individual letters come together like puzzle pieces to form different meanings or words based on combinations, the typeface is also constructed from fragmentary elements, each playing a distinct role as if they are individual pieces. The intentional exposure of the intersections of these fragments emphasizes the typeface's creation through interconnected elements. Furthermore, diacritics and dots are strategically positioned as ornaments, enhancing their presence within the gaps between letters. This concept aligns with the theme of composition and connectivity among fragments, allowing strong rhythmic patterns to emerge as letters and symbols blend in a paragraph. Additionally, the prominent and bold punctuation marks serve to provide pauses and clarity within sentences that incorporate both letters and the visual language. They contribute to articulating sentence structure amidst the dynamic flow of sentences with combined characters and visuals.

Ribbonetter is an experimental font playing with the calt or contextual alternatives feature of OpenType. This feature alternates letters in ovals with letters in hourglass shapes to create a banner. The letters in the ovals will be determined by the start of the line, whether it starts by typing an upper-case or lower-case letter. Using layers, background color can be added (dot accent and ring characters) or the outline color can be changed (sterling and yen characters). The font may also be useful with the contextual alternatives turned off. Different amounts of character spacing may give interesting results. With default character spacing, ovals with will overlap. If you are typing numbers and want the start to be an oval, switch on OpenType style set 2. In at least one word processor (Pages 5 for Macintosh) the carriage return adds the shape assigned to the space character. If you encounter this, try adding a nonbreaking space (option-space on the Macintosh) before the carriage return.

With this charming new layered typeface, the possibilities are endless with your vision behind it. Accomplish the effect you've been searching for by layering these exceptional fonts and altering opacity and color, for a unique custom appearance that yells “hello there!” Play around a bit with the potential of Le Havre Layers. Build effects which include realistic 3D appearances reminiscent of the storefronts of old and adding centerlines, dotted centerlines, and shadow variations. Inspired by the affable appearance of vintage signage from the 1930s to the 1960s, Le Havre Layers spacing is altered from Le Havre Titling’s to accommodate shadows and other options properly. With its generous width it sends a message of refinement and grace. The geometric and art deco curves are a beautiful addition to your work. Mix and match with the other members of the Le Havre Hyperfamily. There are many amazing design solutions for you to discover. See what you could build with Le Havre Layers!

On a cold winter's night, George Ryan, of Galápagos Design Group, began musing on the possibilities for a “truly original” sans serif typeface. What came out of his musing, and his always-present sketchpad, was ITC Adderville, a typeface whose visual impact is immediate and strong. Ryan explains how he did it: “The rounded ends of its strokes and their skewed baseline contact create an illusion of dancing feet. The tops of lowercase stems emit serif buds, suggesting transition into or out of the serifed form. The spear-like lowercase stroke terminators, along with other distinctive elements such as the stylized reticulation of the lowercase 'g' segments, the salute of that same character's spur, and the bold, non-self-conscious 'i' and 'j' dots, all contribute to the playful and unique nature of this design.” The result is a friendly, lively type family whose graduated weights -- book, medium, and heavy -- lend themselves especially well to use at small display sizes and in short blocks of text.

Introduce “Morgan” is a duo font, consisting of Serif and Script fonts, a very fitting combination, of course making your design more elegant and very charming Morgan was created to fulfill your need to create a charming and cool design. Equipped with many unique ligatures in serif fonts that will make your designs different from other designs, and also equipped with many Alternates in Script Fonts that will add a luxurious impression to your designs. How to use special characters in serif fonts for the letters “A, I, U, E, O” please select one of the letters above then use the dot 2 times (A..), then you get a special character, and to get a special character on letters K, R & L, use one of the letters above, then add a hyphen (-) once or twice. What's Includes: Morgan Serif Morgan Script Special Ligatures in Serif Font Special Alternates in Script Font Multilingual Support If you have any questions, please contact us

A Bloomer is a crusty loaf of bread with rounded ends. I don’t know why I chose this name, but it may have to do with the fact that my wife signed up for a bread baking course. Bloomer is a rounded, hand made cartoon-ish font. It will look especially good on product packaging, but any design in need of some authenticity could do with a bit of Bloomer! Comes with ligatures and a light dusting of alternates.

Inspired by a former Hermann Zapf design, Hanse Textura was completely redrawn and redesigned as an English-style blackletter font with a calligraphic touch. It comes also with the historical long s which can be reached either by typing [alt] + b or by using the OT feature historical forms. I strongly recommend to activate both OT features, standard and discretionary, to access all ligatures built in the font. The keys pi and product are occupied with beautiful border elements.

Nyxali exudes an industrial ruggedness, a typeface that is not content to be relegated to the background. No, Nyxali demands attention, with its rusted metal stamping style that creates an impression of hard work and gritty determination. This typeface’s design is inspired by a misaligned mechanism that is not afraid to show its imperfections. The result speaks to the rough-and-tumble nature of life and the willingness to get one’s hands dirty to get the job done. Nyxali’s alphabet is not content to be perfect; instead, it embraces the irregularity that comes with the cryptic stamping process. But make no mistake, while Nyxali may be rough around the edges, it is not without refinement. The letter pair ligatures are a testament to this, breaking up the monotony of plain, repeating characters and adding a touch of sophistication to an otherwise brutal design. With Nyxali, you can infuse your message with an element of cryptic allure, drawing in your audience with its mysterious and edgy charm. So, if you’re looking for a font that is bold, rugged, and industrial, look no further than Nyxali. It’s the perfect choice for designers who want to inject some personality into their designs and give their message an authentic, industrial edge. 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.

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

Honey Painting is a font inspired from both Honey and Painting, same imagination if a user do painting with Honey, this font now is giving this option.

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

The world has ended, and all that remains is chaos and destruction. The remnants of civilization are scattered, and the once-great cities are now nothing more than ruins. In this post-apocalyptic wasteland, communication is more critical than ever. Your message needs to cut through the noise and grab attention, but how can you do that when everything around you is broken and damaged? Enter Octynaz—a typeface that perfectly captures the desperate spirit of this new world. With its severe damage and broken counters, Octynaz embodies the shattered landscape of the post-apocalypse. But it’s not just a broken typeface—in fact, it’s even more powerful because of its flaws. OpenType-aware programs will automatically substitute bespoke pairs to produce a grungy, realistic appearance that will make your message stand out. When you use Octynaz, you infuse your words with frantic authority and shattered vigor. You’re not just communicating—you’re commanding attention. Your message becomes a rallying cry for those who remain, a beacon of hope amidst the darkness. 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.

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

Flamingo Plush is something you want to use when you need your statement shouted out! The large, rough and worn letters will do the job for you - all you need to do is write your message! There is a slight difference in upper- and lowercase in a kind of unicase way. Some of the lowercase letters looks a bit more worn, when mixed with uppercase makes the handmade look really stand out! Go for something big, go for Flamingo Plush!

Sick to death of buying an entire dingbat font just for the ONE symbol you really want? Are you a closet Goth? Do you think Halloween should be a national holiday? If so, then you need Crania, the all skull font. No poorly drawn bats, no gay pumpkins, no goofy looking Frankenstein monsters or grinning mummies, no lame-ass puns carved into headstones... JUST SKULLS. Crania contains 52 different skulls and a PDF guide so you know what the hell you're doing.

Diamant Handwriting is an upright handwritten font, which looks like a thick pen stroke. Form orientation is generally flowing horizontally, this is a reflection of composure in writing, we set the rhythm of each glyph so that the combination of high and low letters is very soft, try it, whatever you type with this font looks very calm. Activate the OpenType feature, because this font is equipped with ligatures (liga), Stylistic(salt), Contextual(calt) and initial alternates. We present all of this so that your writing is automatically setup, we also provide access to all alternates (aalt) features, this allows you to choose the glyph you like manually. We designed this font only for brand identity. Your brand will look different from other brands. You can also use it for short slogans to further amaze views and attract more customers to see you closer. 'Diamant' is another word of diamond that is often used in Europe, we give this name as a representation of the whole font as a symbol of luxury, brilliance and stability and comfort. We do not extend the theory and philosophy of this font, you better try it yourself, and you will be amazed. thank you

Article to appear on the font family page: According to the Catholic faith, a well known náhuatl story called "Nican Mopohua" (translated as "Here it's narrate") about the Marianas apparitions on the Tepeyac's hill, to the north of the actual Mexico City. After four apparitions, La Virgen de Guadalupe (LVG) told Juan Diego (JD) that he must introduce himself to the first Bishop of Mexico. JD took in his "ayate" some roses (that aren't natives to Mexico's barren territories) and when he dropped them in front of the bishop, the image of LVG appeared in front of him with indigenous features. I’ve worked a lot in this font that appears to came out of nowhere, just like the image of LVG itself, the fact is that I started first sketching some flowers, because I wanted to do something related to this mexican story, so, taking some features from this flowers I started sketching some letters, for example “r” and “i” and the counter forms for some letters like “a” and “o” (that I didn’t use by the way) and the punctuation marks, all inspired by this leaf forms. Lighter weight coming soon! Hope you like it. Any comments: rodrigonabo@gmail.com

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

Continue your branding with the ever popular Viva Beautiful font. A new hand-painted brush script collection by Cultivated Mind. Viva Beautiful is back with nine new fonts that include six scripts, a caps font, free words font, free extras and plenty of alternates/ligatures. There are five sets of alternates for every letter adding to the uniqueness of your designs. The new Viva Beautiful scripts are a much cleaner brush script than the original. All scripts come in pro and regular versions. Both versions are Latin Pro. Pro scripts include 260 alternates and 8 common ligatures. Ligatures are programmed to pop up when specific letter pairs are typed. Try the alternates and ligatures together to give your designs a realistic hand-painted look. The all caps font is a basic version that includes 5 common ligatures and looks great paired with the scripts. Regular versions include Latin Pro characters but do not include alternates and ligatures. Viva Beautiful Collection works best for beauty products, music branding, film, television, cookbooks, book covers, food marketing, magazines, and websites. Check out Cultivated Mind Type on Instagram for fun Viva design ideas. Bring beauty to your designs with Viva Beautiful! Fonts designed by Cindy Kinash. Poster designs by Corinne Alexandra.

The Handasi type family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Handasi employs variable x-height values. Its design uses straight lines only but with variable distributed weight. Handasi fonts include all required Lam-Alif ligatures and use ligature substitutions and selected marks positioning but they do not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. It employs our "natural Arabic input" method where first glyph is displayed in its non-isolated form. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Handasi family includes both Arabic and Arabic-Indic numerals, all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. The fonts in this family support the following scripts: Arabic, Persian, Urdu, Pashtu, Kurdish, Baluchi, Kashmiri, Kazakh, Sindhi, Uyghur, Turkic, and all extended Arabic scripts.

Quayside is a deliciously thick and bulbous baseball script, with a wealth of OpenType features. Features include: Contextual alternates - I would suggest having these on by default; they make letters connect more smoothly (uppercase letters like M and H, which are normally non-connecting for all-caps purposes, connect to lowercase letters. The swash variant of J, and all o and b characters connect to any e character at a lower junction for a smoother join). Contextual alternates also make sure special end-forms of lowercase letters are used at the ends of words. Ligatures - A nice collection of useful ligatures which make the text flow smoother. Swash - Gives you more exuberant capitals. Not recommended for all-caps usage! The swash function also gives a variation of the ampersand and turns # into a nice numero symbol. Oldstyle Figures - lining figures are default but with the flick of a switch in OpenType savvy applications, you get expressive oldstyle figures. Quayside is a versatile typeface. Depending on the mood you're after, it can easily be retro or modern, fun or (fairly) serious. I'm often pleasantly surprised by the wide variety of uses my fonts get put to, and I can't wait to see what you do with this one!

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

Milky River Cyrillic playful childish font contains the uppercase and main & alternative lowercase letters. And also the full set of double letters a large range of numerals and punctuation. The Milky River font will be perfect for use in all your fun design projects be it logos, labels, packaging design, blog headlines. Also, it will look great on mugs, cards, kids' books headlines, or other typographic projects. Milky River Cyrillic playful childish cute font contains the Cyrillic glyphs too. The Milky River symbols are an additional font with 36 hand-drawn doodles, catchwords, arrows, and swashes and can help to make your design more original. Combine and arrange swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use a-z and 0-9 keys in the included Milky River symbols font). A different symbol is assigned to every uppercase or lowercase standard character so you do not need graphics software just simply type the letter you need. Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, and Ukrainian languages.

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Quendel has been expanded to become Quendel Happy Family. Apart from the new Bold weight for easy distinction and emphasis, there are now four other very exciting variants, rendering different writing tools and writing materials. The basic form of Quendel was written with a Japanese bamboo tip and therefore embodies a form letter of natural flow. The new versions show other features that provide the feel of written scripts. While the styles Wood and Crayon include some alternate characters, Q Marking Pen and Q Fingertip, due to their apparently more complex enacted forms, do not need additional alternates without looking stiff or boring. The wood relief of Quendel Wood was created by a freehand wood relief drawn with oiled chalk. Quendel Marking Pen seems to be written with a felt-tip pen soon depleted. At the same time it is also reminiscent of the blooming effect, which we know from photography. The name of Quendel Fingertip suggests what can be seen - someone seems to have written with the finger in a grainy material. One would like to try it himself. The effect of broken lines which can be gained by writing with chalk as reflected in Quendel Crayon. Almost like parched sandy soil, the writing material seems to crumble.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Tipograf�a caligr�fica inspirada nos t�tulos das canci�ns dun caderno familiar de partituras de 1941. � unha fonte creada da maneira m�is fidel posible a como se debuxar�a cunha pluma estilogr�fica do momento. Axeitada para t�tulos ou letras capitais. Non se recomenda empregar para textos longos, de non ser que se pretenda simular un arquivo antigo dun estilo manuscrito semellante. Tipograf�a caligr�fica inspirada en los t�tulos de las canciones de un cuaderno familiar de partituras de 1941. Es una fuente creada de la manera m�s fiel posible a como se dibujar�a con una pluma estilogr�fica del momento. Adecuada para t�tulos o letras capitales. No se recomienda utilizar pata textos largos, a no ser que se pretenda simular un archivo antiguo de un estilo manuscrito semejante. Calligraphic typography inspired by the titles of the songs of a family notebook of 1941. It is a source created in the most faithful way possible to how it would be drawn with a stylus pen of that moment. Suitable for titles or capital letters. It is not recommended to use for long text, unless you pretend to simulate an old archive with a similar manuscript style.

Arabesque is a romantic, ornamental font, in which intertwining, flowing lines and generous loops enhance the beauty of the basic shapes. Arabesque successfully combines legibility with a decorative, sumptuous style. In its European interpretation it was also called "Moresque". The font "Ability" was the origin of Arabesque, however, numerous, subtle changes set it apart. Arabesque, is characterised by a small x-height and relatively large ascenders and descenders (loops). The loops are created out of two or three delicate, intertwined lines that contrast with the much less expansive bowls and shapes of the lowercase letters. The capitals, more complex and composed of intertwined lines, echo the elegance of the loops on the lowercase letters. As a result of these changes "Arabesque" is both more readable, controlled and extravagant than "Ability". Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty products media - lingerie tags - women's magazine pages - classical music media - award certificates - magazine pages The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages. Arabesque works well in Application packages such as Microsoft Word that do not support professional kerning.