Young Best is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. Supported by alternative options such as swash and alternative characters, making Young Best font very easy to create designs with strong or dark themes. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Young Best font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Files Include : Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multilanguage Support In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files. Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

Hillstone is a handwritten font with a rough texture, the process of making letters with scratched with strong and fast stroke on paper to make the rough texture that characterizes of Hillstone, so this is a font with a rough and dry brush style. We repaired the letters computerically and if they didn't unite well and we made several alternate glyph. There is no problem for long or short text, so this font can be used in various designs widely. you can use this font for instagram, quotes and other long text, this font is also unique for one word text or short typing, that you can use for product brands, company logos, books and magazine covers, everytype will look very typical. use ligatures and alternatives to your taste.38. Anything made with this font will definitely be wrapped in a very contemporary style and elegance. We make several priview images as a guide for designing directions, please check them all Best regard and thank you very much.. 38.lineart studio

Introducing Tooth & Nail; a rustic & hearty hand-painted dry brush font, designed to work in both all-caps as well as lowercase. It also includes a bonus vector pack, featuring 24 elements designed to boost your text and reaffirm it's hand-made style. With rough bold strokes and high quality textures throughout, Tooth & Nail is the perfect workhorse font for product packaging, promotional messages, handwritten quotes, home decor and branding projects. Tooth & Nail is reliable and familiar, like meeting someone for the first time and feeling like you've been reunited with an old friend. Tooth & Nail consists of 2 styles: 1. Tooth & Nail • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Tooth & Nail Alt • This is a second version of Tooth & Nail, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

Foverdis is a versatile and powerful ornate script face. Foverdis features flowing hand lettering with tall and graceful ascenders. The face offers a wide array of weights, from the powerful Black weight to the graceful Thin to unique Hairline. Foverdis can get the job done for many unique design tasks. Its wide range of weights at a great price, and OpenType alternates make it a very valuable font for your design toolbox. Foverdis OpenType features include a set of non-connecting alternates, 20 ligatures, and two types of ending letterforms. OpenType features include ornaments, a full set of swashes, swash endings, ending contextual alternates, discretionary ligatures, ligatures and twelve different stylistic sets filled with alternates. In total, there are over 150 alternate letterforms and ornaments. Please see the sample .pdf to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Foverdis is great for a professional designer that wants to maximize design capabilities.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

I present to you the universal everyday font 'Kit Cloudkicker'!! This font is very versatile and can be used in various styles of projects where a fast relaxed handwritten font is required. Filled with fun and energetic brush strokes, this font will undoubtedly add a touch of playfulness to your text - perfect for greeting cards, branding, merchandise, invitations and handmade quotes! The 'Kit Cloudkicker' font is so easy to use and create completely unique, hand-made words every time. It looks so great!! Font Features A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required, and to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop Made with love and magic ♡ Thanks for checking it out, and feel free to drop me a message if you had any queries! ~ Anastasia

Carlino is named after the cutest dog on earth. Why? Because it’s the cutest font ever made. Especially intended for stationery use, it’s loaded with lots of alternates and ligatures, not only in the lowercase but in the uppercase. All of them are Open-Type programmed, so the possibilities of having something unique are endless. Following nowadays trend, Carlino is a multi-layered font: shades, holes and dots were made to work alone or all together with fantastic results! The way it works is so easy that It’s impossible not to enjoy it: Just type a word; then the same one set in another style and voilà! The font has also a lot of sweet ornaments to embellish your projects. Find inside: hearts, fleurons, party icons, flags, and the funniest animals. To accompany Carlino, there’s nothing better than Carlino Capitals. Its cute flavor makes everything more lovely. Have fun with Carlino and oh! don't forget to feed this little pug or it will bark all day long! Special thanks to Maximiliano Sproviero, whose advice helped me make this dream come true.

-OC Format Sans is the third incarnation of this geometric grotesk sans serif which fuses the style of Futura with the rhythm and proportions of Akzidenz. It comes in two styles, standard and a new Print family where crisp sharp edges have been made blunt in reference to the ink spread that occurs when printing on uncoated paper stock. It can give digital media a softer more approachable analog aesthetic. Typical of both grotesk and geometric styles the design has an even weight with minimal stroke contrast and the slanted form is an oblique rather than a true italic. The default double-story �a� and �g� give an academic touch, the single story versions of Set 1 are more friendly and approachable while Set 2 changes the look into something more scientific. Made with tireless attention to detail and kerning it's perfect for logotypes and extensive text, supports multiple languages and comes with a plethora of OpenType features including standard and discretionary ligatures, social icons, symbols, and multiple figure styles including roman numerals.

The design of the Newspoint typeface is based on the tradition of the American sans serif faces of the last century. This form expression was greatly influenced by the News Gothic type which was created by Morris Fuller Benton in 1908, and has, once again, become very popular. When the development of sans serif types such as Futura and Kabel by Renner and Koch began in 1925, the design of American sans serif types receded somewhat into the background. In the 1950’s, however, they experienced a renaissance which continues to this day. Thanks to its clean design and the relatively large x-height, the Newspoint is well suited for informative texts in newspapers, magazines, and brochures. In packaging design, as well, the Newspoint can display its strength in small print. Newspoint was developed as a customer-specific variation of the News Gothic. In contrast to the News Gothic, however, the face appears to be softer and more appealing thanks to the changed interpunctions. If so desired, the alternative characters give the typeface expanded individuality and a richness of design options.

Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard’s own range of Grotesques. More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement. The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Giesecke’s 1913 type specimen book ‘Die Zierde’. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in ‘Die Zierde’ make for beautiful combinations. This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings. The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the ‘G’, the gammy-leg of the ‘R’, a strange ampersand and some irregular terminals across the weights. Zierde is display face meant for headlines, titles, short-copy, labels and logos. It comes in caps and small caps, Latin and Cyrillic.

Bronto is a typeface that mutated many times: it went from being morphologically conventional, to have soft features, to finally have some inverted contrasts that made it more dynamical; but all this without losing sight of the meaning of a typefamily, and the aim pursued by this work: Bronto doesn’t behave as a piece of art, but as a tool. In some weights, this typeface possesses fluffy characteristics and is boldly bighead, while in other versions is slightly contrasted and controlled; this in order to maintain the essential features of the typefamily along the versatility and usability of the 20 variations that composed it. Bronto it’s inspired in neo humanists typographies of the 20th century, and in Chilean lettering. This kind of work was made by the spontaneity of the paintbrush, which gave an inverted contrast to some characters. This typeface has plenty of OpenType features, specially an extensive set of ligatures in all weights. Bronto is well suited for motion graphics, letterings, web, advertisings, magazines and books.

Labyrindo is inspired on the classic Labyrinth. The oldest known labyrinth is 3200 years old and is to be found in Greece. The mythological king Minos held the monstrous son of his wife ‘Minotaurus’ prison in a labyrinth. Much later the labyrinth made his appearance in the medieval churches, this time as a pattern on the church floor. During the Italian renaissance the multiple gate labyrinth came in fashion. Paths led trough green hedges in beautiful palace gardens. These hedges where perfectly cut in rectangular shapes. Mainly meant as an aesthetic statement. Besides the origin of the physic labyrinth, it has always been a great source of story-telling and myths. I mention a few personal favourites (film) like, Pan’s Labyrinth (a journey to the underworld), Labyrinth (with David Bowie) and the Shining with Jack Nicholson (where a horrific scene takes place in a labyrinth). Not the most cheerful stories but fascinating and intriguing. A Labyrinth is mind boggling and mysterious but wonderful. I made graphic translation in this typeface.

Bodoni Sans is a new classic built on the foundation of two centuries of history. Fresh and contemporary, while feeling familiar. Stylish and sophisticated, confident and elegant. Bodoni Sans is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. High contrast is the key feature of Bodoni Sans. To maintain this contrast over a wide range of sizes, three optical sizes were drawn: Standard, Display and Text. Contrast adjustments were made for each optical size for optimal performance. The Standard was designed for the mid range of 12 to 60pt, Display for 48pt and above, and Text for 6 to 12pt. Web/Digital use was also considered while developing Bodoni Sans. The fonts were tested as web formats, and examined on a variety of screens, to ensure seamless use in both print and digital applications.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

Night Visions: An Unsettling Hand-Drawn Brush Script Font Night Visions is a hand-drawn script font with a loose style typical of late night horror and thriller movie posters. It’s designed to look as though ink has been laid with the nervous flick of the artists brush, giving a random, imperfect, but elegant result. This font comes with the flowing script of the regular version or a complete set of non-script alternatives. Added to which there are additional character alternatives and special ligatures to experiment with for a truly hand-made look. Each version comes with a full set of uppercase and lowercase characters along with numerals, punctuation and language support. I recommend this font for anyone about to design a header or title that needs an authentically hand-made look. It’s the perfect choice for movie titles or posters, album covers, comic books, t-shirts or editorials. It’s a font that rewards experimentation and offers many options for your designs. Check out the visuals for usage ideas.

One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

Whitenights is a contemporary text family, which was developed by the prolific Swedish typographer Lars Bergquist in 2002. Containing five weights (11 different fonts total), this family contains every tool you need to set splendid text. The base font of the family is Whitenights Regular, a reliable face designed in the old style manner. It ships in OpenType format, with old style figures. Whitenights Ligatures Regular is a supplementary font, which contains many extra ligatures (e.g., ffb, ffk, tt, and fj) whose use will improve the color" of a page of text set in Whitenights Regular. Whitenights Regular may be accented by combination with Whitenights Small Caps, Whitenights Italic, Whitenights Bold, and/or Whitenights Bold Italic. The Whitenights Italic, Bold and Bold Italic styles all have supplementary Ligature fonts available for purchase, similar to the Whitenights Ligatures Regular face described above. For larger, headline text, the specially designed Whitenights Titling is quite useful. This titling font has been optically redrawn and respaced for use in large sizes. Naturally, it has its own supplementary Ligature font as well. In books, magazines, and newsletters this font is a great display companion to the rest of the Whitenights family. Its use in conjunction with the text faces will make your typographical compositions more sophisticated. Last but not least in the Whitenights family is Whitenights Math, which contains many additional mathematical and logical glyphs not found in a standard font's character set. Used together, the above 12 styles can set almost any text or math-based document. The entire family is included in the Take Type 5 collection from Linotype GmbH."

Introducing Gunec, a cutting-edge and futuristic font ideal for technology- and science-related designs. Gunec is the ideal choice for anyone looking to add a touch of futurism to their work thanks to its distinctive letterforms and svelte lines. The versatile font Gunec can be used for a variety of tasks, such as branding, packaging design, book covers, and more. However, Gunec is more than just a pretty face. This font is ideal for all of your design projects, from print to digital, as it is made to be highly legible and simple to read. Additionally, Gunec has all the elements required to produce a comprehensive and professional design, including a full set of upper- and lowercase letters, punctuation, and numerals. With Gunec font, you’ll be able to create designs that are both stylish and professional, with a futuristic look that’s sure to stand out. This font is perfect for those who want to be ahead of the curve in design, and for those who want to add a touch of innovation to their work. So don’t wait, make Gunec your font of choice today, and take your designs to the next level! What’s Included : - File font OTF, TTF, WOFF, WOFF2, CSS, HTML - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The name of this font brings back memories of an old fried chicken restaurant in Willow Springs Illinois circa 1960’s and 1970’s, my family would all get in the car and take a long drive down to an old country road Illionis Rt 171 through a forest preserve where we’d come upon the old Willowbrook motel with a bar and restaurant next door. The restaurant was called Kegal’s, when you entered the building you had to walk through the smoky bar first to get to the restaurant, I can still see the hard wood floors with all the finish worn off from decades of foot traffic. Up until the mid 1960’s Kegal’s used to raise their own chickens behind the restaurant, back then fried chicken in the Midwest was either coated in flour or bread crumbs, Kegal’s was covered in a beautiful layer of golden bread crumbs. Before your meal arrived they’d bring a basket of dinner rolls along with crackers, bread sticks and country butter, on the side they’d serve coleslaw with a vinegar sauce, which is very common in the Midwest, the first time you try it your face puckers up like you just sucked on a lemon but you get used it over time. After waiting for what seemed like forever to a child the waitress comes out of the kitchen with a huge tray of that golden deliciousness and your mouth begins to water, in her other hand was another tray filled to overflowing with crinkle cut french fries all made by hand, I’d eat a hole handful of those french fries first then take a bite of that tender juicy farm raised chicken. Today a fine Italian restaurant occupies the old Kegal’s building and the motel is long gone, only my fond memories remain. Fast forward to 2020 and FontMesa has just made some Fried Chicken as an eight weight type font family with alternates. With the Fried Chicken slab serif font family we’ve broken some rules by removing a few of the slabs on certain letters for a unique homemade look. Fried Chicken is perfect for your next product label, t-shirt design, logo, headline or cookbook cover. Treat yourself to some good ol’ Fried Chicken today.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

ITC Cerigo is the result of a challenge which designer Jean-Renaud Cuaz set for himself: to create a typeface with the grace of Renaissance calligraphy but different from the numerous Chancery scripts. He calls Cerigo a 'vertical italic' and based it on 15th century calligraphic forms. The weights are carefully designed to complement each other and are made more flexible by a number of italic swash capitals. The flexible ITC Cerigo is suitable for both text and display.

Quanta was designed without reference to existing sansserif faces. As an original design, Quanta draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. My intention was to produce a highly legible and adaptable sans-serif, initially intended to be a TrueType GX font, then as a Multiple Master font, later as a five weight range from extremely thin to extra black. A related uncial design will be released shortly.

Noah’s Ark was designed to combine it with the bestiary animal series I designed. A simple font, well harmonized with the highly synthesized designs of animals and insects. So, it seemed natural to use them for posters. Noah's Ark is a stylized font with a constant stroke, which stands between writing and the typeface. Its design is inspired by the fonts used in the 1940s. It is made up of linked letters, excluding numbers and other signs.

Keswick is a beautiful small town in the English Lake District. It is a good place to hang out for a while and explore the surrounding National Park. During your stay you could visit the Keswick Pencil Factory - which brings us to this nice font… Keswick font was created using a 6B pencil (the crumbly, soft kind) and a lot of patience. I have to admit, the pencil used was not made in Keswick. Sorry 'bout that…

Sirkle is a semi-serif typeface for display, constructed with sharp and curvy characters. All Letters are handcrafted and made to fit each other perfectly without exception, with a modern and edgy style that gives them a unique look. Sirkle comes with ligatures, alternates, and supports 60+ Latin-based languages. The Sirkle is ideal for logotype, signage, posters, packaging, and much more! Features: Uppercase & Lowercase Numerals & Punctuation Alternates and Ligatures Multilanguage Supports 60+ Latin based languages

Introducing, Black Stable - A modern blackletter typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation stylistic alternate multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

In 1903, faced with the welter of sanserif typefaces offered by ATF, Morris Fuller Benton designed News Gothic, which became a 20th-century standard. In 1995 Tobias Frere-Jones studied drawings in the Smithsonian and started a redesign. Cyrus Highsmith reviewed News Gothic, and with the Font Bureau studio expanded it into Benton Sans, a far-reaching new series, with matched weights and widths, offering performance well beyond the limits of the original; FB 1995-2012

SK Yok Deve is a handwritten font. It is designed for use in cartoons, comics or illustrations. Special kerning settings have been made for easy reading in small areas such as speech bubbles. It offers full support for the Latin alphabet and contains many typographic elements. In this way, you can easily use it in your designs. This font family includes 8 fonts and 2656 glyphs. In this way, it contains many typographic materials you will need.

Montana is an elegantly playful handwritten font family with separate fonts for icons and illustrations included. This font is based on tight, condensed Grotesk typefaces, combining geometry and legibility with the originality of handwritten strokes. The result is a fresh font family perfect for headlines, typographic posters, t-shirts, food packaging and other print works. Its optimized legibility, simple structure and low contrast was made to perform excellently with e-books and mobile apps in mind.

Brusley is a classy script. This typeface has nostalgic feel because of its style, so the font is really match for your project with classic/vintage theme. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Hedgehock Script Inspired by Sign painting style and combination with Hand Lettering style. I'm made with personality touch every single curve. I hope this can make inspire you from your work. and a very bouncy baseline It has a perfectly paired complimentary marker font , and a super handy set of bonus Swash. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Opentype Feature Stylistic Alternate Alternative Character Ligature Swash Extended Latin Pro

Questal is an intriguing unicase serif. The face appears rather eccentric, yet it still retains a refined character. The typeface is wider than most, but not to the degree that Aviano is extended. The font includes some interesting OpenType alternate characters to extend the quirky quality of the letterforms even further. If unicase isn't your thing, the Questal family also includes a small caps variant for more traditional uses. Use Questal for eye-catching and distinctive logotypes or headlines.

Introducing our foundry with the new Sans Serif typeface, Kommon™Grotesk, a super family with 96 styles. Different width from Extended to Compressed, variety of weights from Thin to Super, made Kommon™Grotesk suitable for multiple usage. The typeface was crafted till clean and simple. It has high legibility with modern and clear look to be use as text or display font. Kommon™Grotesk is effective displaying on many medias, both print and on screen.

FA Berlewi is inspired by stencil lettering of a vanguard creator, Henryk Berlewi, who was a precursor of contemporary typography, a painter and a creator of the mechano-facture (Mechano-Faktura) theory. In 1924 he designed a poster for his mechano-facture one-man show in Warsaw Austro-Daimler car salon. An attention-grabbing composition with stencil lettering was doubtless a real innovation and according to Berlewi - the first typographic poster to be made in Poland.

Introducing, Lemonade and Peach, a fresh display typeface. As you can see, this typeface has playful and fun look which is perfectly made to be applied especially in storybook cover, comics, cartoon characters, kids theme design, etc. Features : uppercase & lowercase numbers and punctuation multilingual alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Cucaracha is a freaky, crazy, flowery-kinda looking family of two fonts: Cucaracha Font & Cucaracha Wixa. Cucaracha Font is like a plant starting to bloom in spring. It comes with an assortment of 8 additional icons all available through the standard keys. They are easily positioned so you can combine the icons and make an endless variety of patterns, structures and frames. Cucaracha is custom made for the Volcano ‚Bastard Project’ and was published in the project book.

Merry Brook is a beautiful signature script based on manual hand writing. The stylistic alternate, ligatures and the tick and thin stroke kk make this font looks a real hand writing instead of typing a font. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.