Hai Folks! The Auratype is retro and classic typeface who inspired by the 60s - 80s designs with more unique explored style like swosh and alternate character. This font made from manual sketch with many many scratch then finished to font. Make your designs project with this font and extras illustration to give more superb. This font also suitable to design like logo, sticker, tees design, banner, poster, sign, display design, packaging and more superb designs! Enyoy with our product and feel free contact us for support! Features : Full set of Upper & Lowercase Character Number & Punctuation Swosh Alternate Extras Illustration Multilingual Language PUA encoded Opentype Features _________ ▼To using the feature OpenType Stylistic alternate (including swosh), you must use program that supports OpenType such as Adobe Illustrator CS, Adobe Indesign, Corel Draw X6-X7 and Microsoft Office 2010 or later versions. Additional way to access alternate/swoshes are using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or more program which has Pop Character. ▼For more information about accessing alternative, you can see on this link : http://adobe.ly/1m1fn4Y ✌ Get in touch with author https://www.instagram.com/wahyudwi.cc/ https://www.instagram.com/auratype/ https://www.behance.net/fontsfighters ❤ Thank you for purchasing our product and supporting us! We hope this font can be part of your designs project. If you have other queries, questions or issues, just feel free and have fun to contact us directly. We are glad if we can help you more! If you are happy with our product, please put your star into our design reviews, it was so fantastic moment for us. Thanks! :)

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

Predige is a condensed and constructed sans type family, with a very low contrast. The Predige family includes 7 weights, from Hairline to Black, with their corresponding italics. Each font includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Ligatures and Fractions. Predige family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

China Dragon JNL was inspired by a vintage letterpress logo cut on sale in an online auction. The logo for The China Dragon restaurant (presumably from the 1950s or 1960s) had a wonderfully eclectic hand-lettered look. Some of the original characters were modified slightly to conform with the ones created for the remainder of the typeface, but the original styling remains intact. The unique design of this font allows it to adapt well to Art Nouveau or Mideastern project styles. In January of 2006, Jeff Levine Fonts started with just ten designs. A little more than seven years later, in April, 2013 the release of China Dragon is the 700th font added to this ever-growing library.

Introducing the ultimate indulgence in typography—Conceal. This gorgeous display typeface is inspired by the world of high-end cosmetics and premium beauty brands. It encapsulates the essence of luxury and glamour, as lipstick-like lines and elegant letterforms come together to create a breathtakingly beautiful font that exudes opulent splendor. Each letter has been crafted with precision and care, just like the art of makeup application. Its smooth, flawless lines will elevate any message to a level of pure sophistication, making it perfect for the beauty industry, high-end fashion brands, and any company seeking to exude an air of elegance and refinement. Conceal will draw attention to your brand and leave a lasting impression. It’s the perfect choice for any project that requires a touch of glamour and refinement, from logo design to magazine covers, social media graphics, and beyond. Experience the ultimate in luxury typography with Conceal—the font that delivers your message in the most exquisite way possible. Unleash your inner beauty with this stunning display typeface and let your brand shine like never before. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Chameleon consists of 16 fonts based on 3 completely different designs. Different but specially designed to complement each other. Together they form a well-balanced design kit suitable for many different projects, e.g. invites, menus, magazines, brochures, packaging, etc. Chameleon comes in three styles: 2 outline versions and a basic (solid) version. To combine Chameleon with Chameleon Fill, you will need an application that allows you to stack text frames. Once you start layering different fills, like a true chameleon, you can change colors and patterns. Simply place several layers on top of each other, choose from 7 fills to determine your pattern and assign a color to the fill. Always place one of the outline versions of Chameleon on the top layer. Chameleon Pen was added to give you the possibility to spice up your design with a personal touch. It is a charming handwritten font, which was first written out with a dip pen and ink, then scanned in and digitalized. It comes in regular and italic. And then there is Chameleon Sketch for a bit of nonchalance to add to your designs. The Outline, Hatch and Solid version can be used separately, or stacked to create a shadowy or multi-colored effect. On top of that, you'll find 102 glyphs of extra fun to play with in Chameleon Sketch Extra.

Inspired by the lettering on a perfume, Halmos extrapolated a complete uppercase alphabet, and he also created a matching lowercase. Now the character set has been expanded completely, and this stylish Art Deco font is ready to create some headlines, new logos and wordmarks in many more languages. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Voila! This is it . . Classical Romance Decorative Serif Family Classic serif with 125 stylistic alternates for a uniquely vintage, yet modern feel. Each letterform has a slightly rough exterior that works beautifully to enhance Classical Romance’s soft, conventional details. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, alcohol labels, poster, online magazine, automotive, and much more. Keep it classic, or get decorative with ornate alternates for both uppercase and lowercase glyphs! This Classical Romance font was handwritten under the inspiration of traditional calligraphy and the wonderful magical vibe of Bali Island. Classical Romance brings more lovely old day vibes with 12 weights to matchmaking with your own style and it has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. Immerse more your arts in the classic feel with Classical Romance, and be classy! A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y Features: A-Z Character Set a-z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

Picture this: the smell of freshly-grilled shiitake mushroom burgers wafting through the air, the sound of sizzling plant-based steaks on the grill, and a cold drink in your hand. It’s barbecue season, and you want your message to sizzle just as much as your food. Enter Charbroiled, the scorched and antiqued typeface that will take your design to the next level. Inspired by the classic American Italic from 1902, Charbroiled has a rustic and natural design that will add panache to any message. But Charbroiled isn’t just any old font. Custom letter pairings are automatically swapped to achieve a more genuine look, giving your design that extra edge. With its bold and distinctive style, Charbroiled will make your message stand out in any setting. So fire up the grill, crack open a cold one, and let Charbroiled do the talking. Whether it’s for a barbecue invitation, a restaurant menu, or a summer sale flyer, Charbroiled will give your message the perfect touch of authenticity and style. Get your message across with Charbroiled, and make your design sizzle! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Barberry is a hand-made brush script typeface equipped with some decorative OTF features, made by Zakhar Yaschin (FontaZY). Barberry font contains stylistic alternates, initial and final alternates (which is duplicated by contextual alternates in the case when ini & fina are not supported), ligatures, titling alternates, small caps and large collection of swashes (additional variants - in Stylistic Set). The Barberry font is essential for hand-made lettering and design. The Barberry family also includes Barberry Vigniette font with over 200 icons and vigniettes in it. Barberry Letters supports most of Western languages (including Central Europian, Baltic and Eastern European languages) and also Cyrillic. Each lowercase letter has three positional versions of the design – basic (if the letter is in the middle of a word), initial (if the word starts with it) and the final (in the end of the word) that makes the set look more alive and expressive. Working with Barberry Letters you can enable and disable if needed such typographic tools as swashes, ligatures, small caps, titling alternates, stylistic alternates, additional swashes and the already mentioned initial and final alternates. If your design software does not support the use of the initial and final alternatives, they can be duplicated by contextual substitutions. There are more than 20 Latin and Cyrillic ligatures in the Barberry Letters. It works by default as the standard ligatures, but you can switch it off for design reasons or to select the more appropriate typographic solution in any particular case. Ornamental font Barberry Vigniette has more than 200 pictograms and vignettes that can decorate your typographic layout. All icons are drawn with a brush in the same style as the Barberry Letters. You can use them inside the text lines, or make the ornamental decoration for text, or use separately, without any letters. OpenType extensions of the Barberry Letters significantly expand the choice of typographical tools to design a better, more expressive layout. Choosing the optimal variant of certain letters in each case, you can receive a unique composition. Whether it is lettering for packaging or magazine headline, logotype or the name in the invitation – just one Barberry font-family gives you the very wide typographic possibilities.

Basenji is a flowing headline typeface influenced by the modular geometric design trend of the 1970s. Herbert Bayer published his highly influential Universal Alphabet in 1924, which was based on circles and straight lines and had a modern, industrial appearance. Jan Tschischold’s typography popularized this simple, unconventional style but by the late 1950s, it had fallen by the wayside. Type designers Joe Taylor and Herb Lubalin inaugurated the 1970s with fresh takes on an old concept. These new typefaces were more practical than the original, and their blend of futuristic curves and funky curls fit the zeitgeist. The popularity of these types spawned a flood of similar designs like Pink Mouse, Bauhaus, Pump, and Harry. These typefaces were popular throughout the decade then fell out of favor by the mid-1980s, making a comeback in the year 2000. Many contemporary font designs have drawn inspiration from the beginnings of the Universal Alphabet, but Basenji is unique. This typeface amplifies of the 1970s elements of Rondo, Pump, Bauhaus and Blippo, and packs them into a practical, versatile design toolset. Basenji comes in nine weights and italics. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Aquawax Pro PDF Specimen Aquawax Graphic Project on Behance Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics.

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

Mi negra is a funny and hilarious typography designed especially for children, thought and created by Isabel de Gregorio. It could be described as an original combination between a semi-handwright and semi sans-serif font. Thanks to its structure and nice endings "Mi Negra" is recommended for composing short texts (logotypes, packing, posters, etc.). It may similarly be used for illustrations and comics, as well as in printing press works for children from 6 to 13 years old for instance. Mi Negra has been conceived to be a useful support in all kinds of illustrations works (please note that Isabel, the type designer, considers herself primarily an illustrator). The font designer of Mi Negra tells that every time she needed to provide some text data (i.e. in children infographies) and needed to make them more understandable and suitable for children, she used this typography. The former idea was than to create a font who could be a second option to comic sans, but as the project started to reveal its forms, it was clear that it was revealing another connotation and its own character. In this way, Mi Negra went on modifying its forms and the more it developed, the more it was showing its new characteristics and concepts. The family is composed of three weighs: Light, regular and black. It provides also interesting functional ligatures. It also includes a dingbat with nice doggies. It has 434 characters and can work with 208 languages.

Art deco The inspiration for FS Blake’s elegant, lightly geometric forms can be traced back to design of the 1930s; designer Emanuela Conidi was influenced by the typography of cool, European, art deco posters. FS Blake bears traits of the art deco style, from its thin weights to its heavy weights, giving a set of faces each with their own distinct character, but still with a strong family resemblance. Mechanical type Mechanical and organic shapes combine in FS Blake to create a harmonious whole of generous curves and cursive spikes. A strong, punchy contender in display sizes, it’s also got a gentle touch with small text in lighter weights. Lively, versatile and with plenty of character contrast between weights, the FS Blake family offers impact in whatever task it’s given.faces each with their own distinct character, but still with a strong family resemblance. Sketch book Great fonts still emerge from a combination of hand, paper and pencil. After filling her sketch book with ideas, Emanuela and Jason extracted the elements that both felt could work in a font. The process yielded a whole crop of starting points for future designs as well as a focus for FS Blake as a striking, characterful, almost industrial font.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Satimah is a stunning Arabic style typeface that brings an elegant and professional look to any design. With its simple yet refined design, this font is perfect for a wide range of projects, from branding to editorial and beyond. The font also comes with stylistic set 1 and 2, as well as stylistic alternates for some characters, giving you even more creative options. Satimah is particularly well-suited for Islamic design and Islamic theme events, thanks to its beautiful calligraphic flourishes and timeless elegance. With both regular and italic versions, this font is versatile enough to be used in a wide range of design applications. And with multilingual support, you can be sure that your message will be communicated clearly and effectively no matter where your audience is located. Features : - Satimah Family Font - Stylistic Alternates - Stylistic Set - Multilingual, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Hope you enjoy with our font! Attype Studio

This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set. A totally enjoyable reworking of an original design. Now also with a Bold and a brand new Light variant! Please note that these variants are made by adding/removing from the regular shape, so the letters no longer sits on the baseline. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Directors Cut Pro is a compelling new font series designed by Alex Kaczun. It recently won the second place—a commendation in the Canberra Typeface Competition. This handsome Geometric Antique serif design is based on the early 19-century Moderns and Scotch styles, infused with the warm charm of traditional antique, added for interest. Capturing the best of both ages: it's warm, comforting and persuasive. Directors Cut Pro's graceful aspects naturally invite uses at large sizes, for which we have created a stunning and elegant lighter weight. But, this workhorse typeface series incorporates a solid regular weight, along with its italic—ideal for a multitude of text purposes, at varying point sizes. A robust Bold weight is available for headlines and emphasis. Director Cut Pro comes with proportional as well as tabular lining figures for quickly setting up charts and tables. It also contains an extended character set—including most Central European languages. Alex Kaczun is in the process of expanding this typeface series to include additional weights, styles and proportions. Stay tuned! The large Pro font character set supports most Central European and many Eastern European languages.

Eponymous is an Egyptian-style typeface with chunky, scalloped serifs. It is available in five weights in both roman and italic. I have always loved slab serif type and have created Eponymous to fulfil a yearning for a versatile, stylish and contemporary slab face. A key design characteristic is the implementation of scalloped serifs which, to me, imbues the typeface with a distinctive personality. Make use of the Open Type features that are part of Eponymous. For a start, you can implement some stylistic alternates, so, if the main characters don’t quite suit your concept, try activating Stylistic Set 1. There’s also a full set of small caps included. You can mix and match these characters with regular lowercase to create some interesting unicase typography. Of course, all characters have complementing diacritics, enabling multi-language support. Key features: Eponymous is is an Egyptian-style typeface with chunky, scalloped serifs 5 weights in roman and italic: Light | Regular | Medium | Bold | Black Full set of small caps with diacritics and figures 30+ alternate characters Full European character set 650+ glyphs per font Eponymous was redrawn and re-spaced to a higher standard in April 2021 (v2.0).

Sans meets serif. Would you like to express tradition by using a contemporary font? Sintesi might be exactly what you are looking for. Sintesi stands for synthesis: the unification of serif and sans-serif into a contemporary font, which surprises with different facets depending on its application. In copy size Sintesi performs like a sans-serif. It is a compact and well readable font that fulfills all requirements of modern digital media. In larger sizes, Sintesi unfolds its traditional character. Now, its strong contrast and the perceptible feather-ductus stand out clearly, as we appreciate it in a historical old style face. Sintesi is completed by a suitable italic. Its cursive character has more to do with writing-speed than to moderate inclination. Therefore Sintesi may be well-suited for many other purposes, not only for emphasis. The whole font family consists of 20 styles and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. Sintesi (Serif) builds together with Sintesi Semi and Sintesi Sans an extended family. Start combining antiquity with modernity! Download a free trial version of Sintesi with a reduced character set. Check it out!

Edgar No. 9 is an original design by Alex Kaczun. Edgar No. 9 is a derivative work based on his Big Boy typeface series. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. Edgar No. 9 is a heavy baroque slab serif and although it shares the underling skeleton of 'Big Boy', it is a much more compact in overall proportions and spacing. A handsome bold headline font that works well in text as well as display sizes—ideally suited for publications and advertising. Alex plans to expand the font series to include a large range of weights along with corresponding italics numbering 1 thru 9, as well as, true small capitals and old style figures. Distressed version(s) will also be available in upcoming releases. Stay tuned, more to come soon. The large Pro font character set supports most Central European and many Eastern European languages.variations to expand this 'hip' new font series. Groovin' baby.

Southern Hills calligraphy an elegant new font! This font is made especially for those of you who need a touch of elegance to design your next project with perfect and amazing results. Southern Hills is equipped with lines that are perfect for use for various purposes. Such as titles, signatures, logos, correspondence, wedding invitations, letterhead, sign boards, labels, bulletins, posters, badges, Branding, Greeting Cards, etc. So beautiful on invitations like greeting cards, and more !! Southern Hills includes alternative glyphs and stirs beautifully in fonts including set styles, ligatures etc. The Open Type feature can be accessed by using Open Type savvy programs such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7 and Microsoft Word. And this font has provided a unicode PUA (special code font). so all alternative characters can be easily accessed in full by craftsmen or designers. If you do not have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows). If you have questions, don't hesitate to contact me via Gmail: Cooldesignlab@gmail.com. Thank you and love to design :-)

This is Alter Littera’s second original design. It started as an attempt at translating into roman forms the lowercase metrics of classic blackletters, in particular those of The Oldtype “Alter Gotisch” Font. Eventually, the design process led naturally to an innovative and modern re-creation of the overall forms and style of classic bold condensed letters from the early twentieth century, especially those of the “Century Bold Condensed” type from American Type Founders (ATF) Company’s American Specimen Book of Type Styles, Jersey City, 1912 (pp. 274-7) [also seen in McGrew, M. (1993), American Metal Typefaces of the Twentieth Century, New Castle: Oak Knoll Books (pp. 76-7)]. In addition to the usual standard characters for typesetting in modern Western languages, the font includes a comprehensive set of special characters, alternates, ligatures and ornaments, plus Opentype features, that can be used for creating distinctive and attractive texts with virtually unlimited variations. The glyphs are clean, smooth and definitely readable, so the font will be suitable not only for large titles and headings, but also for full text pages. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Alter Headletter” Font Page.

Hero Fire is a dynamic and bold typeface that embodies the essence of a powerful superhero. The characters are meticulously crafted with strong serifs, exuding strength and resilience. The design seamlessly blends classic typography with iconic superhero elements, making it a distinctive and impactful choice for display purposes. Illustrations: The typeface is adorned with illustrations inspired by the superhero universe. Each character is meticulously detailed, featuring elements such as: Fire: Flame motifs gracefully intertwine with certain characters, adding a touch of intensity and energy. Swords: Sharp and sleek sword illustrations are incorporated into select characters, symbolizing heroism and the strength to overcome challenges. Skulls: Subtle skull designs enhance the edginess of the typeface, capturing the essence of a fearless and bold superhero. Shields: Protective shields are cleverly integrated into specific characters, emphasizing the font's ability to safeguard and endure. Wings: Majestic wing illustrations accompany certain characters, representing the freedom and soaring spirit of a superhero. Characteristics: Bold and Strong: Hero Fire commands attention with its bold and robust characters, making it perfect for headlines and attention-grabbing text. Serif Display: The typeface features classic serifs that add a touch of sophistication, making it suitable for both modern and traditional designs. Versatile Usage: Hero Fire is designed for versatility, lending itself well to various design applications such as posters, comic books, branding, and more. Usage Recommendations: Hero Fire is particularly well-suited for projects that require a strong and impactful display font. Its superhero-themed illustrations make it a perfect choice for comic book titles, movie posters, gaming graphics, and any design where a bold and dynamic aesthetic is desired. Embrace the power of Hero Fire to infuse your designs with a heroic and captivating spirit!

Introducing Pastrami on Rye—the comic-style font that is anything but conventional. With its rough-hewn appearance and constructed style, this font adds a unique edge to any design project. Unlike other comic-style fonts that are based on pen and ink, Pastrami on Rye is inspired by cut paper and fabric. The result is a bold, organic look that is both playful and professional. One of the standout features of this font is the serifed “I” in the capital position. This adds a touch of elegance to the font and is perfect for personal pronouns or acronyms. But that’s not all—if you’re using an OpenType savvy application, you can enjoy the benefit of automatic shuffling of letters and numerals. This means your designs will have a more natural, hand-drawn effect without any additional effort on your part. Pastrami on Rye is a font that works well in any application that supports OpenType standard ligatures. Whether you’re designing a logo, creating a comic book, or adding a unique touch to a marketing campaign, this font is sure to stand out. Why settle for a boring, generic font when you can add the organic, bold look of Pastrami on Rye to your designs? Try it today and see the difference for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Packing more copy in a narrow space is the main reason for using a condensed type. Characters with a more ovular shape tend to be less wide than their circular counterparts and will allow for more letters per line. In narrow columns for example, this typeface can provide up to 25% more copy than the regular typeface in the same space. Another reason is when a larger type size is called for — used sparingly it is useful for headings or headlines. For emphasis, narrower letters can provide a stark contrast in the flow of reading, creating impact while retaining typographic character. Condensed types can specially useful in tables and charts because typically both use few words in each block. If space now allows, you may think about the luxury of a larger point size. This optimizes space while keeping your typography more easily legible.

Introducing Winthorpe, a typeface that’s steeped in history and inspired by the classic letterforms of traditional metal fonts. With its transitional style, Winthorpe bridges the gap between the old and the new, giving your designs a timeless, sophisticated edge. But Winthorpe is more than just a pretty face. It’s available in small caps and italics, in Regular, Semi-Bold, and Bold weights, giving you plenty of options to play with. And with its versatile range of characters, including lining and old-style numerals, fractions, superiors, inferiors, and ordinals, Winthorpe is perfect for any project that requires a touch of elegance and refinement. So if you’re looking to add a touch of classic sophistication to your designs, look no further than Winthorpe. With its carefully crafted letterforms and attention to detail, it’s the perfect choice for any project that demands the highest level of quality and style. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Rizado Script is a classy one-weight script typeface, made with “dolce vita” in mind. Its high contrast and pointy tone are recalling the fine nib handwriting of a meticulous and decisive person that hasn’t got free time to spare but surely knows how to enjoy his life. No quick and dry strokes, but rather wide, elegant and strong-minded temper that will bring a long-lasting touch to your packaging layouts. Sure, if you are looking for a good fit for some more ephemeral design such as a weekend high-class cocktail promotion, or a wedding invitation – this handy display typeface won’t let you down for a second. If you happen to go to Venice and enjoy their popular Aperitivo, you’ll be asked to choose between three types of bitter-reddish base drink. Rizado will bring you the same amount of pleasure, authority and uniqueness while you pick out one of the three ampersands or other alternate characters. According to the concept of Fellini’s lifestyle, “la dolce vita” is a luxury lifestyle full of cheerful worldly pleasure. But don’t let yourself be fooled by this moto, because Italians are famous for their modesty and sagacity as well. That’s why you’re always supposed to turn on the Contextual Alternates (to activate extra positional forms — isolated, initial and final) and keep your voice down and never set this typeface in all Capital letters. There are 391 total glyphs made to support West European, Central European and South East European languages.

Alstera is an Oblique Serif Modern Display Type. Inspired by a luxurious & elegant brand that use minimalist design language. Alstera created in a simplicity, a minimalist, luxury and also looks elegant. Designed for a Display fonts that perfectly fits for Headlines, Logo, Branding, Packaging, T-shirt, or any design with a stand out or big typography. Alstera Comes with an option for alternate characters Uppercase and Lowercase. It's great when use for Title Case or Sentence Case. Ligatures are also available on the capital combination letters. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Greek, Gusii, Icelandic, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Welsh, Western Frisian, Wolof, Zulu Thank You !

A typical Art Deco font with high contrast. I have mirrored the uppercase A and M to give the strokes a correct direction, and shortened/widened a few lowercase letters to give the text a more even color. A stylistic 30s-looking font is ready for international text-setting! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Horseface is a chic geometric typeface with Didonian roots and a penchant for high fashion. Its mono-linear, formulaic structure is elongated with a generous x-height giving it an upmarket but approachable look, traditional forms remixed with a modern twist. Fundamentally a display typeface, Horseface is best set at large sizes. Because of it's thin line weight it is advised to expand paths after typing. It is available in six different styles and comes in OpenType (.otf) format for Mac and Windows. Features: Horseface Supports the following OpenType features: Standard ligatures, discretionary ligatures, ordinals, custom fractions, denominators, numerators, small caps, superscript, scientific inferiors, proportional and tabular oldstyle and lining figures, and a slashed zero. There are also three stylistic sets containing alternate glyphs. Supported Languages: Each weight has a 665 glyph character set for use in the following Latin languages: Albanian, Afrikaans, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Gaelic, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Norwegian, Occitan, Polish, Portuguese, Romanian, Sami, Serbian (Latin), Slovak, Slovene, Sorbian, Spanish, Swedish, Swahili, Turkish, Walloon and Welsh.

Monggirella script font is a pretty calligraphic script font with flourishes, that will look gorgeous on all your designs, wedding invitations, love stories, branding materials, logos, business and wedding cards, calligraphy Insta quotes elegant fashion sketches, calligraphy love monograms and much more. Monggirella script font contains the Cyrillic glyphs too. Monggirella script font contains a full set of uppercase and lowercase letters and can be used to create a handwritten calligraphy look. Some letters include the flourishes and you can receive them by typing numbers after letters. Please use the glyphs map to choose the letters with flourishes Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. Cyrillic glyphs support for Russian, Belorussian, Bulgarian, and Ukrainian languages. (Does font support more Cyrillic languages just type a message in the text box below and see if all characters you’ll need are there.) Please note, sometimes the text box may not display the flourishes, but they are definitely available! :)

MVB Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.