Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

Albion Signature is a value packed font of exceptional character, with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project, big or small. It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles, that can be used in endless combinations. It’s like several fonts in one. Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index, so you will be able to find exactly the glyph you are looking for fast. This font can only enhance the fonts that you already own, making them more versatile and useful. On its own, it is a very elegant calligraphy script, that will make every project you create look great. The capital letters overlap and intertwine just like in days gone by, for a unique style. Also included are tools that can give you very precise spacing, right inside a word processor. Usage: Photoshop styles, InDesign, personal promotion logos, monograms & signatures.... That’s where it shines, yet it’s still great for art, cards, fancy documents, really fancy labels & even notes to Mom. Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.

Bauhaus Geometric, economical, functional... The good, wholesome, modernist values that once fired up the tutors and students of the Bauhaus became the inspiration for FS Dillon after an exploration of the work of the pre-war art and design powerhouse in the Fontsmith studio. The font combines simplicity and directness with a characteristic Fontsmith warmth. Letterforms are compact, with a generous x-height, and built for maximum clarity and impact. The Bauhaus sought beauty through function. FS Dillon achieves it. Made for TV The weights of fonts for TV sometimes have to be adjusted so as not to “blow” on-screen. FS Dillon was originally drawn for the on-screen presentation branding of Film Four, whose primary colour was red. Black type on a red background looks heavier than white, so Dillon needed two weights that would allow white and black type to be used together, looking balanced and equal. Type design is an organic process. Years after developing FS Dillon, we revisited it, redrawing elements and adding italics to maintain consistency. Olympic You don’t get a much higher confirmation of the functional fitness of a typeface than to have it selected to guide visitors around an Olympic complex. FS Dillon was selected as the font for signage at some of the key venues at the London 2012 Olympic Park, helping to get spectators, athletes and officials from all over the world to their seats and starting blocks on time.

United Kings is a masterfully crafted formal script font that exudes an air of perfection and fine art. Designed for high-end projects and showcasing genuine, authentic craftsmanship, this font brings an unparalleled sense of balance and beauty to your creative work. The exquisite, well-crafted letterforms of United Kings make it an exceptional choice for logotypes, professional branding, and artisanal projects that require a touch of finesse and sophistication. Use ¤ to make tail swashes, or multiple for longer swashes. Example: Kingdom¤¤¤ Use underscores _ anywhere in a word to make an underline. Example: Belo__ved Use # after any letter to give it a crown. Example: Que#en The United Kings font family includes six elegant styles to suit various design needs: The weights Thin, Regular and Bold, enabling your design to range from a delicate and graceful style for a refined touch, to a more bold, assertive and captivating presence for impactful designs. In addition to the thicknesses, each style is provided as Italic. Built with advanced OpenType functionality, United Kings ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs as unique and impressive as the font itself. United Kings offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

Casagrande Collection has been designed in 2020 by the Italiantype Team (Manuel Alvaro, Valentino Coppi and Mario De Libero), working in close collaboration with Italian lettering artist, illustrator and calligrapher Alberto Casagrande, with help from the Zetafonts Team (Francesco Canovaro, Andrea Tartarelli and Cosimo Lorenzo Pancini). The goal of the project was to use as inspiration Alberto's colorful, vintage themed digital illustration style to develop a suite of closely related typefaces that, used together, would allow designers to replicate the nostalgic charme of Italian poster and product design from the thirties and the forties. Two color overprints, coarse dithering, handmade calligraphy, reminiscences of art deco, hints of modernism and pop culture references: all this and more mixed in a exuberant and playful collection, created with illustrators, poster artists and book cover designers in mind. The final product is 24-font package with six display families with styles varying from the thirties-inspired Antifascista (3 weights + 3 dithering weights) and Deco (3 weights + 3 inline weights), to the modernist Casabau (5 weights), to the geometric Grind (4 widths), to the vintage elegance of the two script families, Reclame and Casatiello. The collection is complemented by a two-color icon set font, Casagrande Ornaments, allowing any designer to easily explore the creative possibilities of this incredibly powerful creative collection. Please Note: Casagrande Antifascista Ombra simulates fine dithering and may be processor intensive for some older computers. Use Casagrande Antifascista if it slows down your system.

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

Stoilen is font duo family serif typeface made with the desire for a quality, elegant, classy font that can still be used for all design needs. Wrapped with a modern yet unique character with a style. with so many alternate variations that are so unique but still elegant, it will add to the impression that this font is so luxurious for your design. Stoilen is ideal for design, logo design, blog graphics, style quotes, wedding stationery, art prints, additional design, packaging, social media, magazines, fashion, creative branding, editorial design and web designing. Features a Latin character set of more than 500 glyphs covering various languages, and includes advanced open type features such as standard and discretionary ligatures, positional numbers, style alternatives, and so on. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this has given PUA Unicode Fonts (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Features : Lowercase and Uppercase Stylistic Alternates & Discretionary Ligatures Numerals & Punctuations Accented characters Multilingual support Don't forget to check out other cool fonts in our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Designed to be set in big, large and huge sizes in classic TNT (tight-not-touching) style, Benguiat Caslon is dynamite for a wide range of display demands. We also included outline and drop-shadow versions as well as numerous swash caps, ligatures, contextual alternates and automatically-shifting punctuation. Ed Benguiat originally designed this alphabet for the Photo-Lettering library during his tenure as the legendary type house’s art director. When we purchased Photo-Lettering in 2003, one of the first things we did was start picking some of our favorite films to digitize as fonts. Photo-Lettering partner Christian Schwartz chose this expressive serif specimen for its high contrast strokes that stand up to the most vigorous display typography demands without withering against pesky design limitations like screen resolution, ink spread and dot gain. FEATURES: Alternate characters, ligatures and contextual substitutions add an unexpected flair to words and phrases. We also provided a drop shadow to add depth and dimension. Shifting punctuation marks take care of those optical tricks so you don't have to. A delicately expressive outline version adds color even in black and white. BENGUIAT CASLON CREDITS: Typeface Design: Ed Benguiat Typeface Digitization: Christian Schwartz, Bas Smidt Typeface Production: Ben Kiel, Jason Campbell Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Aeonian, designed by Emilia Adorno, was mostly inspired by the iconic morphology adopted by the arts of the 1920s. One hundred years later we can still see the resemblance between the wants and the needs of now and then to reach for the sky, to look ahead and enter the future in style. Now as then, we seek the right tools to do so, then once again, we embrace the rational, yet elegant and stylish forms of simplicity, geometry and symmetry. At the same time, there is a strong and growing need for a warmer approach to creating lovemarks. For that, Aeonian’s alternates hold attractive, soft and inviting shapes to an emotional appeal. Aeonian is a combination of all of them. A rational side entwined with an emotional one. Born a geometric sans, Aeonian ended up being a 2 in 1 font with a sans serif set and alternates reaching over 1200 glyphs. The entire family contains 6 weights, from thin to black, with its matching italics. It features a variety of ligatures to be used as connectors, specially for display. It also offers multilingual support, even for certain display ligatures. Later, Aeonian kept growing, with stylistic alternate sets of initial, mid and final glyphs. These are its arms to reach for infinity with a warm heart. The wide range of possibilities that Aeonian offers, makes it the best font for creating vast design systems with a rich visual language.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Experience the beauty and authenticity of Colossal Love, a mesmerizing handwritten font that will captivate your audience. With its natural feel and resemblance to real handwriting, Colossal Love adds a personal touch to your designs. Whether you're creating wedding invitations, stationery art, or eye-catching social media posts, this font will infuse your projects with elegance and charm. Colossal Love features a comprehensive set of uppercase and lowercase letters, allowing you to create versatile typography that suits your creative vision. The font also includes numbers and punctuation, ensuring seamless integration into your designs. Its multilingual support allows you to communicate your message effectively across different languages, making it accessible to a global audience. What sets Colossal Love apart is its extensive collection of ligatures. These ligatures enhance the natural flow of the font, creating seamless connections between letters and giving your text a handcrafted appearance. The result is a unique and authentic look that captures the essence of handwritten elegance. With PUA encoding, accessing the amazing glyphs and ligatures of Colossal Love is effortless. This feature ensures that you can fully explore the font's potential and unlock its hidden treasures with ease. Let your creativity soar as you experiment with different combinations and give your designs a personal and heartfelt touch. Discover the beauty of Colossal Love and bring a touch of handwritten elegance to your projects. Add a personal and intimate feel to your designs and make a lasting impression on your audience.

Brasserie, the font, is a tribute to all brasseries since they are wonderful places to relax and enjoy food, wine and friends. It is also a salute to Parisian neon sign makers who continue in their difficult quest to adapt type, including script, into fragile, gas-filled, electric glass tubes. I tried to capture the spirit of these neon signs and combined it with the loosely styled handwritten menus written on blackboards that are usually placed outside Brasseries. You will find Brasserie to be very useful in many situations where you need clarity with style in a reasonably compact width. It is also creates an unusually even texture in sentences. Brasserie is a fairly upright script with a large x-height, which helps to save on overall width. Like a brasserie, the font is a relaxed and informal script, useful for logo, packaging, menus, editorial, advertising, invitations, etc and is available for Mac and PC in Opentype, Truetype and Postscript versions. In France, a brasserie is a café doubling as a restaurant with a relaxed setting, which serves single dishes and other meals. It can be expected to have professional service and printed menus (unlike a bistro which may have neither), but has more informal eating hours than a full-fledged restaurant. Typically, a brasserie is open every day of the week and the same menu is served all day. The word 'brasserie' is also French for brewery and, by extension, "the brewing business".

It’s alive! Insigne’s new creation, Daito, is now functional, built to process your logos, business cards, magazine layouts, packaging and more without the slightest glitch. But this new slab serif is no heartless churn of the same factory nuts and bolts. Daito is designed to greet your reader with a friendly face. Inspired by types from the era of the Space Race, this new take on some old faces brings a contemporized, unique set of serif forms to the font race. Daito comes complete with a variety of weights to help you find the best settings for your current needs or moods. Need soft and playful? Daito light communicates its message gently with softened serif. Need a different feel with more authority? With the touch of a few buttons, engage the powerful Black or striking Bold. Additional features with Daito include stylistic alternates, ligatures, titling capitals and small caps among other typographic features. Please note: use magical OpenType-savvy applications such as Adobe Creative Suite, QuarkXPress, etc to keep your font from malfunctioning, shorting, attacking people, or attempting a world takeover. Daito also speaks Western, Eastern, and Central European languages. However, Japanese is not available for this edition. It’s not every day you find a top-of-the-line font like Daito. This machine can handle most anything on your list, short of folding your laundry (though it may make your laundry look nicer). Don’t wait. Order yours today while supplies last.

The lifetime of Lorenzo de Medici (1449-1492) coincides with the rise of metal type as it displaced broad pen calligraphy for the production of books. This revolution marked the end of formal Western calligraphy, as the industry employed metalworkers who designed type according to geometric measurement while calligraphers were forced to become secretaries who practiced handwriting systems. Renaissance Florence should have witnessed the marriage of calligraphy and typography, just as all the other arts and sciences flourished as classical learning was applied to technical advances; but the metalworkers and geometricians measured, dissected and recast the calligraphic letters by crude indirect methods, and in the end took all the life out of them. Here they languished until digital type has made it possible to render the precise motion of the broad pen stroke into type. Lorenzo is a confluence of many strains from the Middle Ages, brought together within the classical harmony of the capitals. It attempts to bypass metal type, using calligraphic means to achieve the precision of type while retaining the life of the stroke: a classical font that would be familiar to Lorenzo himself as well as to the modern eye. The Lorenzo family comes in four weights, ranging from light to bold. Two sets of italics, one with swashed caps and ascenders, complement each weight. The family boasts extensive language support and an offering of over fifty calligraphic ornaments/flourishes included within the character set.

Bauhaus is celebrating its centenary in this year. For the Bauhaus's 100th anniversary year, art and design museums and galleries around the world are hosting exhibitions and events. The publication of „Bauhaus Arabic“ font family is my contribution to celebrate this event. Bauhaus Arabic is a sans-serif font family designed by Naghi Naghashian in tree weights. Bauhaus Arabic Light, Bauhaus Arabic Medium and Bauhaus Arabic Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Bauhaus Arabic supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Bauhaus Arabic design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bauhaus Arabic was developed for multiple languages and writing conventions. Bauhaus Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Introducing Signatory, a captivating stylized handwritten signature font that adds a touch of elegance and sophistication to your designs. With its beautiful style and versatile features, Signatory is perfect for creating stunning wedding invitations, exquisite stationary art, eye-catching social media posts, and more. Let your creativity flourish as you explore the endless possibilities with this remarkable font. Signatory offers a comprehensive set of features, including both uppercase and lowercase letters, numbers, and punctuations. Its multilingual support ensures seamless integration of various languages, allowing you to connect with a diverse global audience and convey your message effectively. Whether you're designing for personal projects or professional endeavors, Signatory provides the tools you need to create visually striking and impactful compositions. With PUA encoding, accessing the amazing glyphs and ligatures of Signatory is effortless. These special characters add unique flourishes and connections, elevating the visual appeal of your text and giving it a personalized touch. The signature style of Signatory adds a touch of authenticity and elegance, making it an ideal choice for creating logos, branding materials, personal signatures, and more. Unleash your creativity and make a lasting impression with Signatory. This font combines the beauty of handwritten signatures with a stylish flair, allowing you to create designs that exude professionalism and refinement. Whether you're a graphic designer, a creative professional, or an enthusiast, Signatory is the perfect addition to your font collection, offering endless possibilities for captivating and memorable designs.

Caltic-Holiday, Caltic-Festival, and Caltic-Straight are three eye-catching, very bold typefaces that are suitable for posters and signage. Caltic-Holiday and Caltic-Festival base letter shapes on trapezoids with curved sides but with curves that are reversed going from one to the other. Caltic-Straight has letters based on trapezoids with straight sides. None are suited for text and with their built-in spacing will not work as all upper-case or all lower-case. All three come in two widths, regular and wide, giving the Caltic family six members. Caltic has nothing to do with Celts. The Calt refers to the calt or contextual alternative OpenType feature that makes this typeface work. When the letters on the upper-case keys alternate with the letters on the lower-case keys, they fit snuggly together. As long as the user has a word processor that supports the contextual alternatives feature, there is no need for the user to alternate letters; the calt feature does it automatically. Although the fonts seem similar to hand-drawn lettering that was done on posters and signs during the hippie era of the 1960s and 1970s, I can find nothing quite like them. My inspiration for them is older, in a newspaper from 1932 that led to the typeface family PoultySign. Caltic (and Lentzers) are the result of seeing what else I could do with the inspiration that sprang from that 1932 newspaper.

Hello there! We are introducing my new font - Skypilot! This font is carefully selected from hundreds of letters. We manually created this font using a flat pen and make it as close as possible to street graffiti style. Not only that, we also make another typeface that is perfectly suited for this theme, Skypilot extruded! With those fonts, you can combine them as a pair to make them a layered style! You will make exquisite real street graffiti art just like on the wall that you saw in the city! Besides all this, the Skypilot Swashes and ornaments are designed to make your designs more fun! You can apply this font to t-shirt designs, posters, covers, video thumbnails, merchandise, wall, and so on to make it look special. ——— Skypilot features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Layered Style +379 Total Glyphs +100 Graffiti Swashes and Ornaments included! ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.

Say hello to Qene-G Typeface, Qene-G is based on a problem that often occurs when I design, which is to combining typefaces in typographic art. I am pretty sure you also in this problem, so Qene-G Typeface comes to solve the problem. Qene-G is a complete package consisting of serif fonts and signature scripts. A careful approach makes this font give a luxurious and elegant taste to your project. Smooth curves, some flowy terminals, and flirty tails will make your project looks unique. The handmade signature combination emphasizes the style that you create in the natural beauty atmosphere. Qene-G consists of 5 families, they are Qene-G-Regular, Qene-G-Regular Italic, Qene-G-Outline, Qene-G-Outline Italic, and Qene-G-Script. You will get all caps letters with 2 styles that you can access via uppercase and lowercase buttons, charming script fonts, and tons of ligatures and stylistic alternates. Complete with Unicode and PUA which allows you to access all features without graphic design software. Your project will travel around the world with 131 languages ​​of this font. Qene-G is a strikingly versatile font, It is a bold choice for branding projects, fashion magazine imagery, social media text overlays, posters, website headers, and more. Let's start creating stand out designs with this font. We are pleased to tell you about our newest product made with totality, please CLICK HERE

Experience the enchanting allure of Amantea Script, a stunning and delicate font that embodies elegance and grace in every stroke. With its thin and flowing style, this script font captures the essence of sophistication, making it the perfect choice for a wide range of design projects. Amantea Script is a true gem for those seeking to create captivating wedding invitations that leave a lasting impression. Its intricate and graceful curves evoke a sense of romance and beauty, adding a touch of magic to any special occasion. The versatility of this font extends beyond weddings, as it effortlessly enhances stationary art, creating stunning pieces that exude refinement and style. In the realm of digital design, Amantea Script shines on social media platforms, effortlessly captivating audiences with its captivating charm. Whether it's engaging posts, inspiring quotes, or eye-catching advertisements, this font adds an element of sophistication and allure that commands attention. With its extensive language support, Amantea Script opens up a world of possibilities. From English to Spanish, French to German, and beyond, you can seamlessly incorporate this font into your projects, ensuring that your message reaches a global audience. Amantea Script comes complete with a wide range of features, including alternate characters and ligatures, allowing you to create unique and personalized designs. The font is PUA encoded, providing easy access to a plethora of stunning glyphs that add depth and flair to your creations.

Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Wonder Smile is a lovely script typeface. With a quirky character, this optimistic and charming lettering will give any project a naive and happy appearance. In a hand-drawn style, Wonder Smile is your rustic and down-to-earth calligraphic font. Use underscore _ before or after any letter to make cute heart decorations. Example: _beauty_ Write # after any letter to make a swash. Example: Wand#er (Download required.) The Wonder Smile typeface family consist of four diverse styles: Regular, Italic, Bold and Bold Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

SemikolonPlus: Optimal readability by reduced, distinct letter forms. Appropriate for 
early readers of any age in schools and other educational institutions. SemikolonPlus minimizes the risk of confusing similar characters and therefore is predestinated for the use in text blocks, work sheets, educational games et cetera. Furthermore, with its accented characters, currency signs, true fractions and other special characters, SemikolonPlus is suited for numerous typographic tasks and – thanks to its distinct letter forms - offers great readability, even in lower point sizes. SemikolonPlus is recommended by the German association of alphabetization and basic education, which uses it for adult education, reading magazines, teaching material and the own YouTube-channel. SemikolonClassic: Is the familiar font with alternative character forms. E.g. it contains the lower case double level a and g, as well as glyphs harmonically formed to the typeface. The SemikolonClassic is suitable for diverse uses in various sectors. Together or in combination SemikolonPlus and SemikolonClassic offer extensive possibilities for the layout of text material with their heavy font weights.

Richy unique chic font with any beauty shape and fancy ligature suitable for brand and logo design. Crafted by graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with a classy shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, chic, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah cb ch eb eh ak am ck cm ek em an ap cn cp en ep ar cr er ca ea ss ob oh ub uh ib ih ok om uk um ik im on op un up in ip or ur ir ka at ga Richy-font is also included full set of: uppercase and lowercase letters multilingual support numerals punctuation Wish you enjoy our font. :)

Black Stanky a work that is purely a result of handwriting, has a natural characteristic. this is perfect for invitations, signatures, blogs, social media, business cards, product brands. Black Stanky has Stylistic standard, Stylistic Initial, Stylistic Teminal and ligatures. and includes uppercase and lowercase letters, numbers and punctuation marks. Accessed by using : OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. A Total of 362 Glyphs: Multilingual Support : ŠŒŸÐÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝ àñáâåäãçæìíîïòóôõöøùúûüýÿèéê뢚ߞ Ligature accesed :St dd th gg pp ff wh mm of ck on we are all wr en ex ee ve oo ox ax ss so rr ot al tt ch ll rl ct ol rt at cl az 4 alternative setst accesed : a b c d e f g h i j k l m n o p q r s t u v w x y z special greetings for all, all of us all smoothly in running the routinen