Need that perfect statement fonts for your designs? Hello Mango knows how to make your designs go from good to be ultra good. It is harmonious uppercase display and script font duo. The display font is beautifully designed and add a distinctive touch wherever they are used. On the other hand, the script style expresses elegant and modern look. In this package, you can also get 15 illustrations as special extra. Features: Ligatures Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation This font would looks great on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

Wakandan is an alphabet designed by Hannah Beachler, and used in the 2018 film Black Panther. It is based on Nsibidi symbols. In the film it is used to transliterate English text in the credits and other on-screen text. Another script used in the film was developed by Oluwaseun Osewa and inspired by Nsibidi, a system of symbols used in southeastern Nigeria between about 400 and 1400 AD. In addition, the symbols of several different ancient languages ​​were also used for the alphabet. Like Old North Arabia, Old Tifinagh. I did not draw for this font, except for a few letters. I transferred the sound values ​​from the ancient writing languages ​​fonts that I had made before to the Wakanda font, so I did not take much time, I finished it in 4-5 hours.

Sagita Script is a beautiful formal script, contemporary typeface with classic root and elegant touch. Can be used for various purposes.such as logos, wedding invitation, heading, t-shirt, letterhead, signage, lable, news, posters, badges etc. including initial and terminal letters, swashes, alternates, ligatures and multiple language support. Files included: - Sagita Script.otf To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: - http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw

Dorset marks Léon Hugues first script typeface and first release with the Positype Flourish label. Built crosscurrent to a strict revival or calligraphic digitization, Dorset’s aim was to understand how a font could interact with various calligraphic influences in a single execution and how that interpretation by Léon would lead to new, exclusive design choices. The design purposely chose to connect various gestures from Spencerian handwriting and copperplate calligraphy and meld that with his initial experiments with fine, flat nibs. The result is wholly unique and useful when clear, open, and legible script typography is desired. OpenType features included in this typeface allow the user to seamlessly move from an italic to connected script, while the various stylistic sets can lead you to variations of texture and rhythm, allowing for a more personal and exact expression.

Hello Velantinos is modern calligraphy. a bold, elegant & fun vintage script font. It can be used for various purposes such as logos, wedding invitations, t-shirts, letterheads, signage, news, posters, badges etc. Hello Velantinos features 453 glyphs and 222 alternate characters, ligatures, washes and multiple language support. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get alternative glyph access from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternatives/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me.

Harley Queen is a fun, vintage script font. It can be used for various purposes such as logos, wedding invitations, t-shirts, letterheads, signage, news, posters, badges, and more. Harley Queen Script features 300+ glyphs and extruded font, alternate characters, ligatures, and swash support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get access alternate glyphs from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me by e-mail. Thank you!

PTL Attention a robust and contemporary sans serif type family with its very own characteristics. Made for work in text as well as display it comes with nine weights in two styles, including small caps, a set of contemporary OpenType features, all standard figure sets and a rich language support. The concept for PTL Attention goes back to the days of Viktor’s thesis Type Attack!. From the beginning there was the idea not only to have a display stencil type like PTL Attack, but also to create a more serious companion. One of the intentions while designing it was also to come to an result that shows not another feel-good, streamlined corporate typeface. A pinch of "anti" should vibrate with it. Nevertheless the main intention was to create a highly legible and useful type family.

Starline Script is a sweet monoline font, with a casual and dynamic baseline, This font can be used easily and simply, perfect for branding, logos, greeting cards, wedding stationery, quotes and more. It comes with a handy set of OpenType Stylistic Alternates, Ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. These coded with PUA Unicode. Mac users can use Font Book and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn

Meet Maengame Font Display, Bring Fun and Power to Your Designs! Maengame is not just a font; it's a gateway to a world of joy and power in your designs. With eye-catching display themes and a strong game style, Maengame brings a unique touch to your projects. Inject a fun twist into each character with a bubble-filled design, adding a fun element to each letter. Maengame also brings a sense of courage and resilience, making your projects stand out with passion. Maengame is the perfect solution for projects that require a unique touch. Whether you're working on a bold display, a lively game, or an entertaining event, this font ensures that every design carries unforgettable charm. Do not miss this opportunity! Get Maengame Display Font now and turn every design into an unforgettable game!

Stencil typefaces are popular because they are striking and decorative, and their associations - whether Utility, Travel, Vernacular, etc - are evocative. Anostencil is developed from, but not exactly like, our Ano typeface. Ano’s geometric skeleton, tweaked a bit, allows for a level of abstraction while retaining legibility. Some of Ano’s characters, such as the a, e, f and r, have been amended to make clearer, more graphic shapes when the stencil design has been applied. Different application of the stencil gaps in the letters make functional but decorative and expressive linear forms. This is particularly evident in Anostencil’s extended character set which features codified, semi abstract shapes. So the stencil design in Anostencil has been applied in not necessarily the most logical or immediate way, but in a way that makes each letter a striking and graphic shape.

Benthura Script is a modern calligraphy. bold, elegant & fun vintage script font. Can be used for various purposes.such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. Benthura Script features 510 glyphs and 279 alternate characters, ligatures, swash and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get access alternate glyphs from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me.

The Nightfall is a romantic typefaces. bold, elegant & fun vintage script font. Can be used for various purposes.such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. The Nightfall features 300+ glyphs and 100+ alternate characters, ligatures, swash and multiple language support. View all glyphs here: http://s28.postimg.org/7osts7ezx/All_Glyphs.jpg To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get access alternate glyphs from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Hambuger brush script font textured perfectly and based on the expression of the signature style that flows freely, friendly and organic. Hand painted with love. It includes ligatures and alternates characters in Open Type Features. Perfect for brand projects, logos, product packaging, posters, invitations, greeting cards, news, blogs, everything including personal charm. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Hambuger is encoded with Unicode PUA, allowing full access to all additional characters without designing special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank you for your purchase!

Bredagh (pronounced Braid-ah) is a happy font! It can bring a smile to your face, yet is at one with science and mathematics and the Arts. The first presentation is in a Poetry book. Overall, it is a strong and capable font. The organic nature of the font Breadgh is in Nature itself, with the roundels as found in the cross-section of a tree, for example, both circular and rounded oblong shapes, influencing. Accordingly, some of the characters are of a condensed nature and some are not. The lower case does not have the condensed aspects but the numerals do. In the creation of Bredagh, it was the dynamic between all of these that was part of the challenge. And to make them all work together subtly to be in overall harmony—was the ultimate challenge.

My name is Teruyoshi Matsui. I am a Brush Art Designer. My foundry ‘Brush Art Design Office’ is situated at the foot of an active volcano ‘ Mt. Aso ’ in the Kumamoto Prefecture, the southern part of Japan. I design the letters of the alphabet with a Japanese brush. I have created the brush font named ‘ Lethal Fake ’ in my unique brush style. At the beginning of making the font I was going to name it ‘BrushType Lethal’ and tell you, “ Be careful using it. That’s because it ’s Lethal ”. But actually I was very disappointed when it was finished. I tried to make it lethal, but it was not. So I changed the font name into ‘ Lethal Fake ’. This time I have to say to you, “ Be careful using it. That’s because it’s not Lethal ”. Thank you.

Compasse is a semi-condensed sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 12 style: six weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the large x-heights increases legibility and readability. The basic skeleton of their letterform was not designed over-modularly but moderately semi-modularly (adjusted by designer's experience). Therefore the typical artificiality and unnaturalness which come from module-design does not exist in this family. The sophisticated letterform and its universal, neutral, and standard design make it possible to be used across a wide range of applications in all medias, all purposes. Compasse supports almost all european languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

Introducing Hypothalamus - Sans Liquify Serif by Look Minus Today. Hypothalamus is inspired by the flow of water that flows so beautifully. This versatile font is perfect for all design needs, from print materials to digital media. With the right balance of thickness and spacing to get the beauty of how nature can create such beautiful shapes. Its elegant lines and smooth curves make it a great choice for a variety of design applications, including branding, advertising, packaging, and editorial design. Our font is a versatile and stylish choice for any design project. ------------------------------------------------ Features: - Uppercase - Lowercase - Alternates & Ligatures - Numerals & Punctuation - Multilingual & Symbol - HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Illustrator go to Window - Type – glyphs In Adobe Photoshop go to Window – glyphs For any further questions or assistance, please feel free to contact us. Thank you and have a nice day !

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Bogie Bogie – Logo Typeface A special font for the company logo and the logo of the project you are working on will certainly make it easier to create a logo. so for those of you who are still starting a business, this font will be very suitable for your identity and you will not bother anymore to create a logo. Bogie Bogie is perfect for logo designs, electronic logos, drone logos, smartphone logos, computer brand logos, camera logos, and other logo logos. What’s Included : + Standard glyphs + Multilingual Accent + Works on PC & Mac, Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support + Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Thanks

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies. I'm proud to introduce: Galano Grotesque and Galano Grotesque Alt.

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Here at Comicraft we have seen the signs on the headline news, we have read the portents of things to come... yes, just as thunder is a sign of storm, just as pumpkins outside Ralph's on November the 1st are sure to be on sale, just as fresh produce becomes rotten, as sure as night turns to day, dark turns to gray, winter turns to spring and milk turns sour if you leave it out on the kitchen table overnight... Yes, here at Comicraft we know there's a signpost up ahead... a sign heading not into the twilight zone, but down a road of hope and hard work, a banner year, a red letter day, we know it's time to knuckle down, soldier on and pull ourselves up by our bootstraps. Well, we should probably pull ourselves up by our bootstraps BEFORE we soldier on, NEVERTHELESS, here it is -- not a soundbite, not an unfulfilled campaign promise -- SignLanguage is a font that makes the impossible possible, a font that cuts the taxes for 95% of American families, a font that closes down Gitmo and brings our troops home from Iraq. Senator Joe "Six Pack" Biden has described SignLanguage as articulate and bright and clean -- and a nice-looking font. In conclusion, Comicraft recommends you elect Sign Language.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

Hot Dogs, Apple Pie, Baseball and great TYPOGRAPHY are deeply rooted in American culture. American Auto is a Type Family that embodies that culture visually. It joins a robust workhorse sans with a playful script that brings you back to 70+ years ago, while at the same time remaining as contemporary as any new 2019 design. This unique pair work together in harmony to create wonderful designs for a variety of uses. From book covers to posters, web sites to apps, American Auto is an excellent choice to create striking designs that stand out from the crowd! American Auto also features many Opentype Features such as: Alternate Characters, Initial & Final Forms, Contextual Alternates, Old Style Figures, Lining Figures, Numerators & Denominators, Fractions, and more! This typeface has really been designed to meet any challenge that a designer can throw at it!

Dante was designed by Giovanni Mardersteig. Mardersteig started work on Dante after the Second World War when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book face with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, Dante was adapted for mechanical composition by Monotype in 1957. The new digital font version has been re drawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. The Dante font family was issued in 1993 in a range of three weights with a set of titling capitals. Dante is a beautiful book face which can also be used to good effect in magazines, periodicals etc. Dante® font field guide including best practices, font pairings and alternatives.

College styles fonts are a "must have" for any designer just because of their really vast possibilities of uses. With our "Ultimate College Team" pack we're giving a whole range of "College style" fonts where you'll be able to select in any moment the perfect characteristic necessary for your next project. The pack includes 9 hand crafted fonts that capture these very emotions of team work and campus life. Our college fonts speak largely of sports activities, but also of those strong emotions that combines force, discipline, determination, confidence and that feeling to be “in the Team”. The "Hot Sports Elements" font, which consists of handy sports related graphic elements, is the last touch to reinforce and add meaning of a piece of text and create the best balance to your layout and it comes free when you buy the packs available!

Rocksane Display is a modern hybrid font with fantastic decorative uppercase and strong serif lowercase for impressive and powerful look. This typeface works fine in big sizes and more suits for example in short tittles, logotypes, names, movie posters, books and music album covers. Rocksane includes 84 beautiful uppercase alternates except of basic set. You can easy get it with special combination like A1, A2, A3 etc. (This hot keys works with activated Standard Ligatures option). In addition, there are 11 End-swashes which harmoniously underline the words. You can quickly get it by the same way with combination like _1, _2, _3 up to _11 (underscore+number). This features works fine in Adobe Photoshop or Illustrator. You can use Rocksane for following languages: Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.

Precious Sans Two is a complete reworking of the 2002 design which was only ever available in PostScript format. Over a decade later G-Type’s Nick Cooke decided to re-appraise the typeface, scrutinise the old letterforms and overhaul the family. Make no mistake though, Precious Sans Two is no rudimentary re-release; nearly every character has been redrawn, re-proportioned, respaced and improved. Precious Sans Two is now in cross-platform compatible OpenType format with extended Latin language support for Western & Central Europe, the Baltics & Turkey. The original quirkier glyphs (f, g, I) have been retained as an OT style set feature and the typeface now contains small caps and an extensive set of discretionary ligatures as well as both proportional & tabular figures. The character set is further enhanced with the addition of 20 directional single and double arrows in each of the six weights which range from Thin through to Black, all with accompanying italics. Precious Sans Two is a distinctively modern typeface, well equipped for advanced typographic use in print, web and digital publishing environments.

One of the most remarkable characteristic of this humanistic sans serif is its versatility. Ronnia’s personality performs admirably in headlines, but is diffident enough for continuous text and small text alike. The heavier weights deliver very cohesive shapes, and they have been successfully used for branding and newspaper headlines. Its ten styles grant the designer a broad range of coherent color and texture variations in text blocks, necessary tools to solve complex information and editorial design problems. Ronnia has been mainly engineered for newspaper and magazine applications manifested in its properties: economic in use, highly legible, and approaching the reader with some friendliness and charm. Ronnia features about 800 characters per weight, including small caps, fractions, old style and lining numbers, scientific superior/inferior figures, and a set of symbols and arrows. It supports over 40 languages that use the Latin extended alphabet. Ronnia Basic is a reduced version of Ronnia. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Favourite is a hand-lettered font. Mix it up with uppercase and lowercase and you'll get a different vibes from it. It's works perfectly for headlines, pull quotes, wordmark logos, posters and many more. Latin-based Language Support (You can check your language typing characters in text box below). Happy creating!

Foxtale was inspired by an ancient Hebraic scriptural style, boasting flared seraphs, classic structures and dramatic shapes. Foxtale is perfectly suited for impactful word marks or subtext. A fully featured typeface with upper and lowercase, Latin characters, numbers, symbols, currency and alternatives - Foxtale will surely excite your next design adventure!

The Sans Serif is crafted for complex display typography with friendly extravagance and high readability. Each font has an extended character set and provides latin based languages. The typefaces include ligatures, alternate- & swash letters, various ampersands, smallcaps, fractions, lining-, tabular numbers, superior/inferior figures and other extras. Go with the flow!