Dahgean is a modern script font that features a classic and Unique touch. Dahgean is attractive because it is sleek, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to its many beautiful letter relationships. I also offer a decent number of stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertising purposes. . . . . . . . . . Contains full set: -4 Type Font -Uppercase -Lowercase -Alternative -Style -Ligatures -Punctuation -Number -Multilingual support. need help or have questions let me know. I'm happy to help. Thanks & Congratulations on the Design!

Zona Pro is a geometric sans-serif type family of 8 styles plus matching italics, designed by Kostas Bartsokas in 2013/14. It draws inspiration from 1920’s geometric style faces, having clean and highly readable shapes, and mixes it up in the heavier weights with a slight variance in the stroke widths, lending it a grotesque-ish unique and distinctive look. Zona Pro is multifunctional and versatile. With its modern yet elegant form it performs amazingly in display sizes and headlines. At the same time its really tall x-height makes Zona Pro equally suited for editorials and shorter lines of text in smaller sizes (magazines, newspapers). Zona Pro supports Greek, Western, Central and Eastern European languages, ligatures and special characters.

Almeliya Script is a calligraphy script font that comes with a beautiful alternative character. a mixture of copper calligraphy with a handleting style. Designed for an elegant style. Almeliya Script attracts soft, clean, feminine, sensual, glamorous, simple and very easy to read fonts. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Almeliya Script has 600 glyphs. includes multiple language support. With OpenType features with alternative styles, ligatures and characters, it allows you to mix and match pairs of letters to suit your designs, as well as a touch of ornamentation to make this font look elegant. Thanks You So Much.

»Supra« – designed by Gert Wiescher in 2012/13 – is a new sans typeface family of eight weights with matching italics. Supra is influenced by current and past sans typefaces, but has a completely new look. The pleasant flow and warm touch combined with great legibility makes Supra unique. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts.

Newspeak is a display typeface based upon Soviet architectural forms from the Stalinist period (spanning the 1930s—'50s). Stalinist architecture is now considered unsightly and without aesthetic merit, yet it has a strange beauty, hinting at an unrealised utopia (while its function was to buttress a brutal dictatorship). Inspiration was also drawn from the Cyrillic alphabet which, to kids growing up in Western Europe in the '70s and '80s, was a cipher for an alternative way of living – Cyrillic letterforms represented the exotic, familiarity-twice-removed universe of Eastern Bloc states. When you visited a communist country you were confronted with unfamiliar typography that reinforced your sense of alienation and unease that there existed a real, if imperfect, working alternative to consumerism.

Typeface designer and Letraset type director Colin Brignall created the font Romic. The character of the strokes as well as the serif forms give the font its calligraphic look. The placement of the serifs, on the upper left and lower right of a character, also distinguishes this typeface and allows the figures to be set very close to one another. The dots on the i and j do not hang in the air, rather, they are connected to the rest of the letter with a light, serif-like stroke. The elegant and lively Romic font is legible even in smaller point sizes. It is best used in middle length texts and headlines and wherever an individual and sophisticated image is the goal.

Ample is a display type family, optical mono linear and a bit squarish in nature. It has a smooth curve instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasise the message. It is graphically strong and commands viewer’s attention. The overall appearance of type is suitable in setting it as heading, title, headline, etc. The type family consists of six weights viz. Thin, ExLight, Light, Regular, Medium and Bold. Considering the nature of this type family, italics have been excluded. Ample is designed by Aakash Soneri in a period between 2013 and 2014.

Breve was designed for use in editorial projects. Simple but with enough personality to stand by is own, in a quest for a more forceful and contemporary appearance. All the fonts in Breve superfamily, share the same exact structure, both in terms of anatomy and functionality. The Text versions provide a softer and warm feel to the typographic palette and is intended for use in much longer passages of text, while the Title versions are distinguished by non-descending letterforms, making the titles and headlines much more uniform and interesting. The News version is more classic, with ball terminals and classic proportions, while the Display is, somehow, the set of fonts we had to design: extra-black, ultra-contrasted, proud-display fonts.

Perfume - a luxurious display pack. Perfume is a display combo pack of three styles and eight fonts. Perfume fonts are soft and clean and they have a distinguishable character. Perfume Pen is a monoline script with three weights and large x-height. Perfume Pen is equipped with automatic Contextual Alternates that keep the connections smooth. In addition Perfume Pen has Swash, Stylistic and Titling Alternates, boasting over 500 glyphs in total. Perfume Brush is a bold brush script with two weights. Perfume Brush is also equipped with Contextual Alternates to keep connections smooth and Swasha lternates for more imposing character forms. Perfume Sans is a sturdy all caps Sans with three weights. For the best price purchase the whole pack!

A period piece is something of or pertaining to a specific era or time. Anything evoking a knowledge or feeling of an era can be labeled as such. The aptly named type font Period Piece JNL reflects the hand lettering found on the cover of early 20th century vintage sheet music entitled "My Baby's Arms" (from the stage production of "Ziegfeld Follies of 1919"). Although strongly akin to the coming Art Deco movement in its lettering style, Period Piece JNL still contains a strong influence of the Art Nouveau era of the 1900s through the 1920s.

Alles Kaputt means ‘everything’s broken’ in German. I always wonder why my stuff breaks so easily, especially my mobile phones (I have had 7 in the last two years). Maybe I am careless, but I believe that there is a more or less scientific explanation that chaos and destruction are far easier than harmony and creation. I am no scientist, so don’t take my word for it! Alles Kaputt is a nice script font. I made it with a felt tip pen I borrowed from the kids. Use it for texts on product packaging, book covers and websites. Or, whatever you fancy!

This is a complex typographic system which includes three different but complementary styles so far: Slab, italic and script, with nine weights each one; plus three sets of ornamental fonts: labels, negative labels and ornaments. The soul of the family is a slab feeling applied judiciously to the italic and script styles to make it coherent with the whole system. Each style has three sets of figures: Proportional lining, tabular lining and old style. You can mix the three styles in a single piece to obtain more expressive results without worring about the uniformity and complementing the design by using the ornamental sets.

Bucintoro is a modern version of the rotunda blackletter, the Gothic book hand of Italy and Spain in the 14th, 15th, and 16th centuries. As the name implies, it's more "rotund" than the tall, angular Textur blackletter used in Germany that Gutenberg imitated. While the use of blackletter continued far into the 20th century in Germany and Scandinavia, the rotunda gave way to roman (and later also italic) letterforms in Italy, France, and Spain. It's less well known these days. Bucintoro has upper- and lowercase alphabets, numerals, punctuation, diacritics but lacks such modern characters as currency symbols. Has light, medium, and black weights.

I remember that my auntie once made a dish called ‘Macaroni and Smac’. It consisted of little ‘elbow’ macaroni, Spam (which in Holland was called Smac), cheese and ketchup. I am sure it didn’t contain on of your five a day, but it was delicious. As far as I know, I have eaten it only once, but it did make a lasting impression! Biscuits & Spam is a handmade ‘Western’ style font, which I found in my ‘unfinished fonts’ folder. It comes with multilingual support, a full set of alternates for the lower case letters and a really happy vibe.

The original idea for Alda came from exploring an alternative approach to generating different typeface weights by adapting the characteristics of physical objects. I was interested to find out how far this could be pushed before the letters became a parody of what they referenced. Initially I took this treatment very literally, with the boldest weight expressing the tension of bent steel, and the lightest being as spineless as a rubber band. This allowed me to infuse each weight with unique characteristics, where the bold is robust and angular, and the light is delicate and soft.

Sheet music for the tune "Put Your Arms Around Me Honey" (from the 1937 film "Coney Island" starring Betty Grable, George Montgomery and Cesar Romero) has the song title hand lettered in a condensed Art Deco sans serif design. This became the basis for Deco Nights JNL, which is available in both regular and oblique versions. For trivia buffs, the song was written by Junie McCree and Albert Von Tilzer and was first featured in the Broadway show "Madame Sherry" in 1910 and was revived for a second time in the 1949 Judy Garland -Van Johnson film "In the Good Old Summertime".

Virtue Serif is a variation of the Virtue Script which is more friendly to use as the body of your design without losing its unique and authentic features while still being a workhorse in display use. The rugged and spacious look is armed with a stylish set that is easy to control due to the simple design of the nodes. with a full range of weights from thin to black, it also includes multilingual support this typeface is truly complete. Used for logo design needs, posters, magazines, mockups, web ui, branding, Cover art and more Virtue Serif font family is ready for that.

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.

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

Calgera, is a typeface designed by Teuku Riski Firmana. Calgera is a contemporary serif typeface with a distinctive look. Calgera creates an unique character, with different stylistic sets you can change the feel of your design from more organic to more standard. with 9 weights ranging from Thin to Black. This is an elegant font, with beautiful and harmonious alternate, which makes it ideal for use in magazines, in the fashion industry, branding, logo design, dynamic packaging and countless other projects. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes and detailed elaboration of each character, making your text look great both on paper and on the screens. Calgera in numbers: • 108 styles and 1 variable fonts • 843 glyphs and 441 characters in each style • Support for more than 48+ languages • 27 OpenType features in each style • Amazing Manual TrueType Hinting • 4 variable exes (Weight, Width, Slant, Contrast) Useful OpenType features: Access All Alternates, Historical Forms, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Fractions, Oldstyle Figures, Ordinals, Numerators, Small Capitals, Discretionary Ligatures, Standard Ligatures, Small Capitals From Capitals, Case-Sensitive Forms, Denominators, Scientific Inferiors, Subscript, Superscript, Kerning. Calgera language support: Acehnese, Afrikaans, Albanian, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmål, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu, Tagalog, Serbian, Zazaki, West Frisian, Breton, Gagauz, Scottish Gaelic, Northern Sami, Esperanto, Latin.

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness. With the latest update, it becomes a true workhorse, with a range of widths and italics for the normal widths. Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own. Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks. And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l. A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript. Note also that the tabular figures are duplexed across weights - very useful when highlighting specific entries in tables. The tabular figures feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always. Lastly, case sensitive forms of certain glyphs are included for all-cap settings. This typeface will be useful for corporate identities and branding work. It’s spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes. Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs. Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

Quinoa is display typeface by Catharsis Fonts that unites the seemingly opposed concepts of clean geometric architecture and organic humanist warmth. While it is designed for display and editorial purposes, its accessible forms make for comfortable reading even at small text sizes. Its exuberant adaptive "f", "j", "Q" and refreshing titling alternates bring display text to life. Quinoa covers multilingual Latin, Cyrillic, Greek, Hebrew, Arabic, and Armenian. The Quinoa family spans four stylistic cuts (Quinoa, Quinoa Titling, Quinoa Round, and Quinoa Text) with matching hand-slanted obliques, each of which comes in nine weights. The Titling cut offers a number of alternate capital letter designs with lowercase-inspired forms for a refreshing unicase look, and the Round cut additionally removes the spurs from arched letters like n. The text cut introduces true diagonals and a two-storey "a" for a more sober, reading-friendly look. A host of other OpenType features including ligatures, contextual alternates, small caps, figure sets, and character variants are built into all cuts. Furthermore, the small caps of Quinoa, Quinoa Titling, and Quinoa Text are available as dedicated font files under the names "Quinoa SC", "Quinoa Unicase" and "Quinoa Text SC" for ease of use. Acknowledgements: I am thankful to the TypeDrawers and the Typografie.info communities for great feedback and support. In particular, Thorsten Daum has been tremendously helpful with suggestions and quality control. Thanks to Craig Eliason and Jan Willem Wennekes for their help with the Latin, Alexander L. Stetsiuk for Cyrillic, Ofir Shavit and Jonathan N. Washington for Hebrew, Khaled Hosny for Arabic, and Hrant H. Papazian for Armenian.

"Istanbul Type" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Istanbul Type 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

"Istanbul Type Variable" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type Variable" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type Variable" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type Variable" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Istanbul Type Variable 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type Variable" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

Thrace (/θreɪs/; Greek: Θράκη, Thráki; Bulgarian: Тракия, Trakiya; Turkish: Trakya) is a geographical and historical region in Southeast Europe, now split among Bulgaria, Greece, and Turkey, which is bounded by the Balkan Mountains to the north, the Aegean Sea to the south, and the Black Sea to the east. It comprises southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (East Thrace). Trakya Rounded is a modern sans serif with a geometric touch. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Trakya Rounded is softer and rounder than it's sibling Trakya Sans. They're both ideally suited for advertising and packaging, editorial and publishing, logos, branding and creative industries, posters and billboards, small text, way-finding and signage as well as web and screen design. Trakya Rounded provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Trakya Rounded 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Trakya Rounded" comes in 5 weights and italics and has the company of "Trakya Rounded Alt" that also comes in 5 weights and italics for a total of 20 styles. The family contains a set of 630+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures are easily accessible in all graphic programs. Trakya Rounded is the perfect font for web use. Enjoy using it.

Story of Alundra is a handmade brush display font. It has cute yet cheerful feel. No matter the topic, this font will be an incredibly asset to your fonts’ library, as it has the potential to elevate any creation.

Hand selected from multiple sources, the 60+ glyphs of Antique Borders & Corners 2 can be mixed and matched to make authentic 18th and 19th century borders of any length. Flip the orientation for 'bottom' borders with the shift key.

Monospaced black slab-serif without any philosophy or idea, it doesn't pretend to be anything sophisticated, it is as simple as chewing gum or a can of soda. Simple and angry typeface Ivan has a lively friend — Juan typeface.

Courtside is a casual all caps handwritten font. It's easy to read and it has a playful feel to it at the same time. Get inspired by its simplistic charm and use it to brighten up any creative projects

Kare is a custom font which is applicable for any type of graphic design - web, print, motion graphics etc and perfect for t-shirts and logos. Inspired by the popular and unique Motter Ombra typeface designed by Othmar Motter.

Genoock is a bold handwritten typeface. It is suitable for any design needs, branding, cover title, t-shirts, posters and more. The Genoock typeface includes multi-lingual and currency support, numerals, and punctuations. It comes comes with stylistic alternates.

Sekek is a cute display font. It embodies playfulness and authenticity and is the perfect choice for any children’s activity or school project. Add this chunky lettered font to your designs and notice how it makes them come alive.

Black Stamp is a unique, strong, and original handwritten font. Natural and elegant, this font can be used on a wide variety of designs such as headlines, titles, headings, logos, branding, posters, invitations, books, and any other creative design.

Candycane is a cute and casual handwritten font with an incredibly friendly feel. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art!

Monospaced black slab-serif without any philosophy or idea, it doesn't pretend to be anything sophisticated, it is as simple as chewing gum or a can of soda. Simple and lively typeface Juan has a ascetic friend — Ivan typeface.

Bestial is a strong, clean, all-caps ornamental typeface outlined by simple, primitive shapes. It is best suited for massive headlines, fashion editorials, album covers, logo design or any other experimental project. The complete character set has 380 glyphs.