Fresh Fruit is a display playful font that will be the perfect addition to any of your projects. You can use this font for many design ideas such as stickers, t-shirt designs, amazing logo designs, magazine or book covers, comics, cartoon drawings, and many more. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Love Jingle is a fun and lovely handwritten font that you can use it for anything ranging from t-shirts, book designs, packaging, and greeting cards to stickers and posters, or anything that needs a casual touch, it will be your perfect font to pick. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Million is a natural handwritten Script font. Its unique flow and easy signature style makes it perfect to use for invitations, logos, signatures, quotes, wedding, labels, packaging design, blog headlines or simply use it in your next design project. I hope you enjoy this font. If you have any questions please don't hesitate to drop me a message :) Thank You, Subectype

Designed for an age of increased nuance and inclusivity, Pluot defies conventional classification. With an upper half inspired by sans-serif tendencies and a serif-influenced lower half, Pluot is a geometric semi-serif (or semi-sans). It is, at once, fresh and exciting, while also completely at home in any setting. Pluot is your elegant workhorse for a new era.

This super bold display font created by Gholib Tammami , Tamarin Font perfect for your display content with heavy titles and headlines. This font has a unique style with uppercase, lowercase, number, punctuation and ofcourse with multilingual support. Tamaran Features : Mulitilinguange Support If you have any questions, before or after purchase, please feel free to get in touch. Thankyou for coming!

Fruit Viesta is a simple, fun, and relaxed handwritten font. A little bit bouncy, this smooth and bold font looks incredibly adept in a wide variety of contexts, whether you're using it for crafting, digital designing, presentations, or even school projects, it's perfetto! Get creative with its childlike playfulness, and use it to brighten up any of your wonderful projects.

Caffe Sunday is a casual and playful blackletter font. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, packaging designs, or anything that needs a casual touch, it will be your perfect font to pick. Fall in love with its incredibly versatile style, and use it to create lovely designs!

According to the dictionary, the way a letter is formed or shaped within a writing system is an allograph... and Allograph JNL from Jeff Levine takes on unusual shapes. Using characters from Jeff's Printing Set JNL font, they were printed out white-on-black, and the paper was torn into abstract pieces and then scanned in order to create this edgy looking font.

Callina is a new modern & fresh script in handwriting style. This font will make your design look elegant, natural and stylish. Callina handwritten font is perfect for any awesome projects such as photography, watermark, signature, quote design, social media posts, advertisements, logos, branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or any project that needs a handwriting taste.

Introducing Mighty Courage Mighty Courage is a modern and elegant serif font. Mighty Courage is It's modern and classy font with a unique and deference look . Perfect if you need a dose of fun in your project. Perfect for editorial projects, Logo design, web font, clothing branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

This fun typeface is great for quote, tagline, or headline. Letter Sketch is all caps hand drawn font with two style, rough sketch and filled version. It's have natural drawing feels in each characters and give personal touch to your projects. Letter Sketch Regular : a funky rough pencil sketch font Letter Sketch Bold : the filled version of Letter Sketch Regular

This connected and brush script is very impressive, but is also legible, so it is the best for package of sweets or breads, shop card, shop front and so on. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

FM Ephire is a hand-drawn, multilingual, type family of five weights with complimenting italics. Stuffed with tons of features, Ephire really shines through its artistic and stylish, yet elegant feel of natural handwriting. It is your best choice whenever you design greeting cards, banners or posters, and it also handles pretty well for body text, even in small sizes. Enjoy Ephire!

A vintage look label font named "Pirate Bay".Typeface includes five styles plus aged version, for sample look at 4th preview. This font will good viewed on any retro design like poster, t-shirt, label, logo etc. For using effects layers: - Type your text in Regular. - Copy that and paste at the same position. - Change the style to Effects, Shadow or Texture.

Hype Marker is a cool marker hand lettered font. You can use it for anything ranging from t-shirts, book designs, and greeting cards to stickers and posters, packaging designs, or anything that needs a casual touch, it will be your perfect font to pick. Fall in love with its incredibly versatile style, and use it to create lovely designs!

Bodoni Classic Bold Ornate is another puzzlestone in my ever growing Bodoni Classic family. This time the letters are ornated within the limits of the letter, this keeps the classic form of the typeface intact and still gives it ample decoration. Please use this font only sparingly to decorate text or use it as initials only. Your Bodonimaniac, Gert Wiescher

Warm Thanksgiving is a warm and fun font for your thanksgiving day, you can use it for everyday use too for its versatility. Create something with it from regular typing notes, to t-shirts, kids’ book designs, greeting cards, stickers, posters, or anything that needs a casual touch. Fall in love with its incredible style and use it to create lovely designs!

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Picto Handwriting” comes with beautiful handwritten pictograms that let you quickly spruce up your designs.

Game over. Insert coin to continue. 1 coin, 1 play. Credits 00. Screener is the latest child of arcade alphabets. Not too trendy, not too retro, not too stand-out, yet clear and fresh. Although it boasts plenty of the traits of its origins (early screen technologies), it manages to maintain a balance between the elements of its 1980s origins and the mechanical yet transparent late 20th century techno/pop design. Precise and geometric, solid and strong, Screener looks great on screen as well as in print, in tracked small sizes as well as in teaser headlines. Screener comes in two widths and weights, with italics, and extra sets of symbols and numerals (enclosed, fractions, superiors, inferiors, etc.), as well as two weights of small caps. Screener is available in separate packages, or in a value package that contains all twelve fonts.

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Introducing Ayuga, a display typeface inspired by the retro and psychedelic typefaces out there. Ayuga is definitely bold and thic enough to make your design stand out from the crowd.

Hello Everyone, introduce our new product Font Rockin Rocker This Is A Rough Display Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. That is has charming, authentic and relaxed characteristic more natural look to your text.

Hello Everyone, introduce our new product Font Rockin Stncl This Is Rough Stencil Display Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. That is has charming, authentic and relaxed characteristic more natural look to your text.

This was originally brought out as a caps-only font, but later the foundry scrounged up a lowercase that wasn't our idea of a very good match. So we cleaned up the caps and made them a bit bolder, then drew a harmonizing lowercase.

Hello Everyone, introduce our new product Font Mighty Sans This Is Bold Sans Display Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. That is has charming, authentic and relaxed characteristic more natural look to your text.

Say hello to our new display bold serif font "Marcgravia". Marcgravia is an elegant and luxurious serif font. Trendy and stylish, this font will elevate each of your creations. Marcgravia is PUA encoded which means you can access all the glyphs and swashes with ease.

Hello Everyone, introduce our new product Font QUACKS This Is Rough Display Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font QUACKS is great for your next creative project such as logos, printed quotes, invitations, cards,

Contigo Is our new brushy script for your summer cards and gifts. This script has a lot of contrast created with a lot of pressure and release of the brush pen. The icon set contains tropical elements like leaves, pink flamingos, pineapple and more.

Introducing Sloke, our new psychedelic-style font. All capital alphabet with a psychedelic style. Consist of 5 weights and tons of ligatures. Sloke will add some fun vibes to your designs. This font is perfect for t-shirt design, book covers, titles and many more.

Hello Everyone, introduce our new product Raisin Up is Modern Display Font with a natural feel. This handmade font will make your design has a beautiful natural touch for each details. Raisin Up with 2 stlye Raisin Up Regular and Raisin Up Italic Set.

Viva Kaiva is one of our unique fonts with a psychedelic touch, this font has many stylistic alternates that make this font the best option for creating a unique title for your Illustrations, titles, posters, branding projects as well as designs with a fantasy theme.

Hello Everyone, introduce our new product Airiest It Is Simple Handwriting Font with a natural feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design You can activate 11 Ligature glyphs OpenType panel.

Tough Guy JNL gets right to the point of your headline in a strong and charismatic way.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Fatface takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Fatface is a combination of its traditional upper- and lowercase forms, in an extra-bold style. Its inventive, hybrid forms are a bolder take on those of its 2010 sibling typeface, Ambicase Modern. Ambicase Fatface stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Fatface offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Fatface can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Fatface is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended.

Most fonts include uppercase and lowercase letters. Some experimentally-minded designers have proposed unicase typefaces as well: rather than having two different forms for a given letter, unicase fonts have one, chosen from the upper- or lowercase forms. Ambicase Modern takes the next step, offering not "either/or", but rather "both/and". Each letter in Ambicase Modern is a combination of its traditional upper- and lowercase forms, in a modern (didone) style. The inventive, hybrid forms that result are intriguing and handsome. Ambicase Modern stands out as a carefully crafted experimental font: its eccentric forms do not hinder its readability. It is suitable for high-style display settings. Ambicase Modern offers a large character set and extensive OpenType features. Most notably, in modern OpenType-aware applications, Ambicase Modern can be set in swash mode, which features sophisticated decorative flourishes that differ depending on whether the letter is at the beginning, middle, or end of a word. Ambicase Modern is available in two optical sizes: Regular and Poster. At very large sizes, the Poster cut, with its finer details, is recommended. For an extra bold variant, see its sibling typeface, Ambicase Fatface.

We're presenting our new italic seventies retro font, Night Empty! Night Empty - A Italic Seventies Retro that has both retro and soft bold italic. This font has smooth curves and clean lines to make your project more nostalgic feels. This font will make your project looks retro, chic, and presentable. Night Empty - Have 37 beautiful alternates and ligatures which consist of 4 stylistic sets. Comes with alternatives and ligatures, and helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, and much more. Super-versatile, have a scroll through all the previews to see how wide the range of uses that can be with Night Empty, it's so limitless! What you get : Letters, numbers, symbols, and punctuation Has 37 beautiful alternates and ligatures Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Hello... this is Cherries, a cute and bounch hand drawn font family. Cherries have 5 weight: light, regular, medium, semibold and bold with 2 styles: regular and slanted also included with pairing font Cherries Display. Cherries included with some alternate character and ligature to make your design awesome. Cherries is fun and very suitable for cute or girly design needs such as cover design, typography, sticker, greetings card, logo, merchandise and many more. Cherries also easy for read and you can use it for quote or caption. Add this beautiful handwritten font to each of your creative ideas and notice how it makes them stand out!

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynascript one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.