Isaneki is a display sans with Japanese style unique completely alternates feel nice balanced. Make the design letter looks incredible. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. How to access Alternates Character? Open glyphs panel : In Adobe Photoshop choose tool Window >> glyphs In Adobe Illustrator choose tool Type glyphs If you have questions, just send me a message and I’m glad to help. Have a great day, Haksen

Among the many display faces Milton Glaser designed during the heyday of Push Pins Studios was the pattern for this dramatically shadowed face, whose original name—for reasons unexplained—was "Kitchen." Well, whatever the reason, it's definitely "what's cooking," so the Italian word for the latter half of that phrase gives this typeface its name. Equally at home being kookie or spookie. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Moldovan and Romanian.

Herlyon is a serif font with an elegant and classy look. Each Herlyon glyph font is designed with natural and beautiful curves. Herlyon typography can help you complete various projects such as luxury brand logos, journals, business cards, titles, products, social media posts, web and much more. If you're involved in a project that requires beautiful, professional writing, the Herlyon font is perfect to help you get it done. Herlyon font features open type, kerning, ligature. Herlyon fonts include uppercase, lowercase, numbers, punctuation and multilingual support.

Apagah Reverse is a reverse contrast serif font with a contemporary concept and modern style. Equipped with an alternative with a reverse style too, you can use the uppercase with the lowercase style, and vice versa. This font also has four styles that you can mix and match, to complete the design you create. Crafted with high attention to detail, giving you the best designing experience. Most suitable for poster design, headlines, quote writing, pamphlets, greeting cards, product packaging, book covers, logo types, album covers, etc.

Astrida is a beautiful and fresh handwritten brush font for posters / marketing graphics / instagram story design / branding / logotype / decorations / signage / greeting cards / promotional designs and anything that needs the unique casual look. Astrida is completely handmade with perfection and aesthetics at its level best. Advanced Kerning & Extended Character Sets: We have performed advanced, in-depth kerning to make sure the font looks amazing on all possible letter combinations. The font includes extended language support including Western European & Central European sets with a total of 259 glyphs.

Stringlight is a Monoline Script Typeface with an amazing character & a multitude of letter variations to make that perfect and unique design. Ideal for a logo, a name tag, handwritten quotations, product packaging, goods, social media and greeting cards. It contains a complete set of lower and upper case letters, assorted punctuation, numbers, swash and multilingual support. The font also contains several ligatures and contextual alternates for lower case characters, accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu.

Ranger Script is a modern handwriting calligraphy script. Contains a complete set of lowercase, uppercase, alternative, ligature, punctuation, numbers, and multilingual support. Works in harmony with Ranger Script to create awesome calligraphy creations. You are welcome to use it for various purposes: logos, wedding invitations, titles, signatures, t-shirts, letterheads, signboards, labels, posters etc. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

Hebrew alphabets contain 22 Hebrew letters along with five final letters. These final letters are automatically activated when used in Applications such as Apple Pages® and MicroSoft Word®. Some alternate hebrew letters have been added. Pageantry Hebrew letters do not contain cantillation marks very much used in everyday modern Hebrew accompanied with the complete latin alphabet. View my other Hebrew fonts, Newmark Hebrew, Hebron Hebrew, Hanah Hebrew and Komunidad Hebrew which is a handwritten (script font). Pageantry Hebrew requires OpenType-aware software.

A second VGC face, this one by S. Biggenden, borrowing from the structure of MICR figures to lend computer associations to the page.

Data Seventy is a high-tech style font, with the look of old computer lettering. Data Seventy gives any text a futuristic appearance.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Puggu is ideal for headlines or posters where slightly unusual or unrefined type is required, though paragraphs of text are quite readable. The font includes 57 ligatures of fairly common letter combinations (such as at, ee, ss, tt, Ar, RD,) with alternative letter-shapes used, to give some random variations and avoid having too many repeat letters looking identical. (The full list is included with the zip-file.) And there's a wide range of accented characters giving compatability with many European languages. The zip contains OTF and TTF versions - only install one version of a font on the same machine, either the OTF or TTF, but not both as that could cause various conflicts and erratic behaviour.

Aromatron is a friendly yet striking display typeface with a balanced and consistent rhythm. Drawing inspiration from the shapes of nature, unique solutions were employed to achieve a rich, dark, creamy texture. The font is equipped with numerous OpenType features: lining and old-style numerals, automatic fractions, small caps, petite caps, and “medium caps” sized between capitals and small caps, subscript and two sets of superscript characters (one aligned with the ascender and one exceeding it), contextual swash capitals. Petite cap glyphs compose well with regular lowercase and are employed by stylistic sets for a unicase effect or compact typesetting. Aromatron offers support for most Latin-based languages, including: Afrikaans, Aghem, Aja, Akan, Albanian, Alsatian, Asturian, Azeri, Basaa, Breton, Catalan, Central Yambasa, Chinese Pinyin, Croatian, Czech, Dagbani, Danish, Dinka, Duala, Dutch, English, Esperanto, Estonian, Ewe, Ewondo, Finnish, Fon, French, Fula, Gagauz, German, Guarani, Hausa, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Jula, Kabyle, Khoekhoe, Koyra Chiini, Koyraboro Senni, Latin, Latvian, Lingala, Lithuanian, Livonian, Maasai, Maltese, Mapudungun, Marshallese, Mundang, Navajo, Ngiemboon, Ngomba, Northern Sami, Norwegian, Polish, Portuguese, Riffian, Romanian, Scottish Gaelic, Serbian, Shawiya, Shilha, Slovak, Slovenian, Spanish, Swedish, Tagalog, Tlapanec, Turkish, Uzbek, Uzbek (planned reform), Vai, Vietnamese, Walser German, Welsh, West Frisian, Yoruba, Zarma, Zazaki, Zulu. The International Phonetic Alphabet with mark attachment is supported too. A selection of symbols and ornaments completes the vast character set.

Schema is a family of hand-drawn architectural lettering designed by Ethan Dunham. Schema comes in three weights, light, regular and bold. This font works well both in mixed case and upper case settings.

This font is designed to create typographic textures. It's based on Ankara Display but not in the same family because of some of its different forms. Also, its angular forms give a digital impact.

Denso is a font family delivering great force using minimum space. It supports 111 languages, features a total of 309 glyphs and includes an outlined and italicized version for each of the 3 weights.

Canniza Typeface Family is a very aesthic display typeface designed for use in large sizes. It features 8 weights, from thin to bold. The typeface features a classic serif design with a modern twist.

Pro sotan is a rounded sans serif font family that comes with 9 weights and matching italics. This font is ideal for typing in documents, headlines, packaging, logos, advertisements, corporate identities and much more.

Contra Condensed is the condensed version of my Contra family of fonts. It is very condensed, but not yet narrow. It is well suited in all situations were one needs to save space. Enjoy!

Albeit Grotesk Rounded Caps is a graphic geometric rounded all caps display font family of four weights (Light, Regular, Medium and Bold) with slightly exaggarated diacritics for better readability making it ideal for headlines.

CRR NTN regular and outline, is a futuristic font family. It works well as an identity logo type and 3D work. Together using the outline and the regular font, you can create endless combinations.

A display face with strong contrast between thick and thin strokes and a distinct calligraphic influence, the Nueva font family is useful for display work in magazines, on packaging and for flyers and leaflets.

A square but fair font, or as they say in Germany "kradratisch, praktisch, gut". Because of the simpleness in this font, I decided add two styles less square to the family: funky and zit.

Anyelir script is a tasty and friendly brush font packed with OpenType ligatures, swashes and lots of alternate characters. The family has an character set supporting Western European, Central European and South Eastern European.

Resiliency font family offers 6 font; 3 weight in regular and italic that provides a variety of looks and possible combinations. Resiliency offers great looks on esports themed designs and other sports in general.

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

Ames’ Weathered is the ‘antique’ accompaniment to our Ames’ typeface families. It has that ‘tumbled’, weather knocked about look. Just the thing for posters, headings and signage where there’s a need to suggest age.

Alfredo is a neo-humanist family with a contemporary touch, presenting a subtlety in forms, in which it’s simu- lates calligraphic fluidity. With rectangular serifs, Alfredo was designed exclusively for publishing projects and texts.

Inspired by the former hot-metal fonts of Imprimatur, Gmuender Antiqua Pro is a fresh designed versatile and multilingual serif font family. All five styles contain three different forms of numbers and small caps.

Clobber Grotesk is a grotesk typeface family designed for high readability. It includes a range of weights and a stencil variant. The terminals of the letterforms are slightly flared in order to increase legibility.

Proven in newspapers around the world, Worldwide is a classic news face in the modern idiom, somewhat condensed, especially in the display weights. The Regular font of the Text family is loaded with features.

Hyperizo is a futuristic style font in three weights. It's the perfect font for logo, game, packaging, poster, web use, etc. The family contains a set of 231 characters, supporting multilingual and OpenType features.