Rivets is a result of my fascination with the beauty I find in utilitarian industrial objects like the decorative ironwork in Grand Central terminal and the eloquent construction details of the urban infrastructure of the 19th and early 20th century. It began as die-raised typography for a magazine cover, developed further for a book about mid-20th century American manufacturing and evolved into a complete font plus four individual components suitable for producing multiple color variations.

Magès is a modern and elegant font. This font is made with a shape that sticks out more to the classics. So you'll find this font emphasizes an artist's feelings for his work. Masculin and feminine flavors are contained in this font. We created a different character for each letter so that it is easy to stick to the mind. Modern and minimalist character! it's perfect for logos, name card, magazine layouts, invitations, headers, or even large-scale artwork.

A set of over 50 ornaments, connecting borders, flourishes and decorative motifs originally designed by Frederic Goudy throughout his career. Many of these designs were used by Goudy at his Village Press and offered by his Village Foundry in the 1920s. The styles range from complex title page illustrations to simple linking borders, but all have the unique Goudy style. This set is completely different from the Goudy Ornaments found in the P22 Goudy Aries Set.

Introducing The Strattos is a powerful playful font and will be perfect for book, title branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature 2 style font Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Feel free to drop us a message any time and follow my shop for upcoming updates Shoot me on email at: dedukvic@gmail.com and find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/?hl=en Hope you enjoy it.

PGF Business inspired by script used on maps, spencerian aka "Business Script" and manual and confident signature strokes. Organized in 5 individual styles, for making it easier to use, and gathered all at one in a bigger unique file called "PGF Bussiness Full" where you will find way much more options, but requires a more advance editing skill to use. Accompained with a useful set of Dingbats and a set of complementary Ornaments to enhance more versatile typographic compositions.

Introducing The Kendrew is a kids handwriten playful font and will be perfect for book, title branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Feel free to drop us a message any time and follow my shop for upcoming updates Shoot me on email at: dedukvic@gmail.com and find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/?hl=en Hope you enjoy it.

Introducing Kittenish is a playful font and will be perfect for book, title branding, product packaging, invitation, quotes, t-shirt, label, poster, logo etc. Feature 2 style font Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Feel free to drop us a message any time and follow my shop for upcoming updates Shoot me on email at: dedukvic@gmail.com and find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/?hl=en Hope you enjoy it.

Cyrillic (and Latin) poster font is limited in composition by uppercase. Monumental, dry, ascetic. Designed for the design of posters, title pages of projects, signage, book covers, building facades. It is formed based on architectural and drawing fonts. It combines Russian traditions and modern trends. The shape of the letters varies from round wide to oblong narrow, in this contrast lies the idea of the font. At first glance, this contradictory decision finds harmony with closer acquaintance.

Named after Maurice Ravel's masterpiece, Bolero likes to find itself in places of classical elegance. Slightly inspired by the soft italics put forth by Giambattista Bodoni and the Didot family, Bolero adds a feminine touch to the traditional clarity of the modern masters. A must-have for anyone who designs wedding invitations, high-end menus, romance-related book covers and posters, cosmetics packaging, fashion branding, and much more. Comes with a large assortment of alternates and ligatures.

ITC Mithras was designed by Bob Anderton and finds its foundation in the worn yet elegant letters carved into stones of a Mithraic temple in Scotland. The capitals are narrow and complemented by a wide, full bodied lowercase. The proportions of the curves vary slightly between characters and this subtle contrast gives the face a mellow appearance while still attracting attention. ITC Mithras is a very legible typeface and hence applicable to a wide range of display uses.

Primaria is a display font, inspired on the very first basic handwrite style teaching at primary school, designed in cursive and print styles in three weights each one: light, Regular and Bold, considering stylistic and typographic needs, it also contain OpenType initial lowercase alternative forms in order to get better links in those case where pairs of letters could be look better. Recommended playful and friendly design, teaching and learning stuff, children toys projects, food & drink and soft stuff.

Delikat is a graceful, finely crafted, slinky, slightly retro, somewhat quirky script font. Perfect for advertising material, clothing tags, restaurant and cafe menus, food labels, music videos, magazine pages, cosmetic branding and so many other uses we lose count! The font contains all upper and lower case characters, punctuation, numerals and mathematical operators, as well as all accented characters used in European languages. Delikat makes use of Opentype features, which enhance the fluidity and legibility of the script.

Captain Quill is a lively calligraphic style script font designed by Jim Ford, based on the handwriting of a fictional pirate figure named Paul Pierce, aka Captain Quill. The Captain Quill font is an exciting font that's loaded with adventure, perfect for pirate-themed documents, scrapbooking, invitations and correspondence. Creative Professionals will find the Captain Quill font useful for everything from logos, packaging, menus & headlines, as it lends an old-worldly feel with its authentic rough texture.

Rick Bradley - known for his Fine Hand, Bible Script, Bradley Hand and Calligraphic Ornaments - drew this font from a gravestone in Ashbourne, Derbyshire, dated 1241. The irregularity lends a special charm to this 'English dialect' version of the international Lombardic style, while the ornamental points reflect the mediaeval 'horror vacui', fear of empty spaces where the evil one might creep in with his influences. Perhaps most useful as a display font, but complete with lower case and extras.

Historical elegance finds its place in the digital era with Reliquaire AOE. Reliquaire AOE is the historical revival and elaboration of the "Memorial" typeface created by Boston Type Foundry in January of 1881. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set. History has found new life.

The Hybi5 Finescript is intended for the more reputable applications. It’s fine and elegant look makes it great for invitations, menu and concert. The Hybi5 Finescript is technically based on my Hybi5 font family, but with a significantly different appearance. The font contains a lot of accents, ligatures and special characters. Please be sure to set kerning to “metric” and spacing to “zero” in your layout app and please allow ligatures for a more smooth look.

Introduce Mottona Script is modern script font, every single letters have been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project ex: quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, etc. Features : - Mottona Script - Mottona Bold Script - Mottona Thin Script If there is anyone who download and find a problem, do not hesitate to let me know. Contact me by email. Thank You

TT Fellows useful links: Specimen | Graphic presentation | Customization options There can't be too many universal fonts! Meet TT Fellows, a new workhorse whose functionality allows you to comfortably use the font in a variety of projects. Calm and neutral at first glance, the mood of TT Fellows can change. Working with the typeface, you can reveal its soft and friendly nature, or even the brutal one, for example, by typing the text exclusively in capital letters in the bold style. TT Fellows is easy to use and perfect for setting large text arrays. Thanks to the font's uniwidth and versatility, the font is ideal for use on websites or in periodicals. Bold styles will work harmoniously in headlines or as accents in print or on packaging. TT Fellows is a humanist sans serif with a mechanical touch. With its open shapes, the friendly neutral character of thin weights and an even softer character in bold weights, the new typeface differs in character from the classic TT Norms® and TT Commons sans serifs, while still offering the same functionality. Calm regular styles differ from bold, deliberately display and more expressive ones. By the way, TT Fellows is a unwidth typeface. It was important for us that the user could change the styles, knowing that the layout will not suffer. The typeface features equal width proportions, open apertures, and slightly squared ovals, which associatively brings it closer to other popular modern fonts. Since the idea of the typeface was focused on it being a uniwidth typeface, we needed to fit the bold styles into the regular em squares, which led to interesting graphic solutions that are noticeable, for example, in the k and ж characters, in which the branches are cut directly into the stems. TT Fellows consists of 19 styles: 9 upright, 9 italic and 1 variable, each with over 700 glyphs. The font has 26 useful OpenType features. For example, there is a switch to single-part versions of letters a and y, fractions, tabular characters, case versions of punctuation, and localized versions of characters for different languages. There is a ligature for a combination of two characters of a complex design fl. TT Fellows font field guide including best practices, font pairings and alternatives.

Introducing Robine – Condensed Sans Serif Robine – Condensed Sans Serif font is the ideal choice for creating attention-grabbing titles and headings. With its high x-height, this modern sans-serif typeface offers a sleek and contemporary appearance, ensuring your designs will stand out. Stylish and Space-Efficient: Robine – Condensed Sans Serif strikes the perfect balance between style and space efficiency. Its condensed design allows you to fit more text into tight spaces without sacrificing readability. Versatile Usage: This font is incredibly adaptable, making it suitable for a wide range of design projects. Whether you’re designing posters, logos, or web graphics, Robine – Condensed Sans Serif adds a touch of modern sophistication to your work. Exceptional Clarity: Robine – Condensed Sans Serif ensures your titles and headings remain easily readable, even at smaller sizes, thanks to its clear and legible characters. It’s designed to make a bold statement while maintaining clarity.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

a sans serif naive font

A modern grotesque sans serif

Extended sans serif display face.

Imperfectly hand-sketched sans serif.

A soft, friendly sans serif.

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. Bonyad is suitable for multiple applications, and gives the widest potential for acceptability. It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

This font is a collection of simple calligraphic ornaments suitable for invitations, gift tags, and anything that can benifit from a "spoonful of sugar" visually. This font includes fewer line fillers, and more "ferns and fans" than our previous swirlies.

Bagiqu is a sporty Sans Serif font. Designed for any purpose you can use it to create a stunning design. The Bagiqu font is ready for your big projects and for the best results of your work. This font is suitable for Logo Design, Poster Design, Signature Design, Branding, and More. You can also use it on social media like a logo etc. This font has 25 alternates and 94 ligatures for all letters and 2 styles, making it a versatile tool for creating originality for your various design needs. You Can Create Professional Quality Typography With These Fonts in Your Artwork or Use It For Personal Projects! What’s Included : - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The Sans Narrow and Slab versions were added to the Vista family in 2008, extending this super-family to a total of 108 fonts. For more information, see the original Vista Sans Design Information.

DSType proudly presents Diversa Std, the same system as Diversa, but with separate styles: Serif, Serif Stencil, Inline, Soft Serif, Sans, Sans Stencil, Slab, Slab Stencil and Baroque. Diversa Std: Because uniformity still sucks!

Are you trying to make an elegant, modern, and stylish statement with your invitations, social media, website, or printed materials? Ready to enchant your audience and enhance your branding? Introducing Carloti-A Sans Serif Font Carloti is a gorgeous uppercase sans serif font that will whisk you away to a place of style! We are hoping that through this elegance and passion edged font, you can maximize your designs, reign in sales or make lasting impressions. The ideal font for social media banners; posts, and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Carloti includes Multilingual Options to make your branding globally acceptable. Features: Standard Ligatures Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio