Introducing the new Billie Eilish Modern Ligature Serif!!! Billie Eilish is a modern, elegant and classy serif typeface, best used as a display for headings, logos, branding, magazines, product packaging and invitations. Billie Eilish comes with clean lines and smooth curves that give any project an extra touch of class. Billie Eilish is built with OpenType features and includes 136 ligatures, alternatives, numbers, punctuation, and also supports other languages. If there's anything else you're not sure about, feel free to message me :) That's it! Have fun using Sparkling Modern Serif Ligatures!!! Feel free to follow, like and share. Thank you so much for checking out my shop!

Greycliff Arabic CF adapts Greycliff’s popular soft, geometric design to the Arabic script. Both Latin and Arabic glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside Arabic script diacritics and wide language support, including Modern Standard Arabic, Persian, Pashto, and more. Greycliff Arabic CF works as a complete, self-contained type system, with both Arabic and Latin scripts included and designed to compliment one another. It also pairs well with contrasting typefaces, such as serifs, in both Arabic and Latin scripts. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Garagin Rock was developed from the studies for the title of a publication called Garagin in 1999. Its use is indicated for the titles on posters and stuff like that, but feel free to dare. Anyway, it really was not made ​​for small sizes and is not a WebFont obviously, but again, feel free to dare. May you notice something odd in the baseline position, this is to keep leading with a defined size. But of course you can change it in any editing program. Being a heavy typeface, use in moderation... or not! Garagin Rock Lite is a version with a limited set of characters.

Mazaeni is a bold serif font family that includes 5 Weight regular to Extra Black which is inspired by something simple, elegant, usable, and versatile. Mazaeni is a daring and playful display typeface perfect for logotypes, posters, and editorial use. Includes wide language support, optional ligatures, OpenType alternates, and more. One thing to note about Mazaeni is the letter spacing. It was intentionally for clean reading if you wanted to use it for the body type, so I recommended setting the spacing a little tighter for display use (around -5 to -25 should do!). All typefaces from Kereatype include free updates, new features, and free technical support.

Grookey Shawn is a calligraphy script font with many letter styles. This font consists of 4 to 6 alternatives, this combination creates a stunning font style. Feel free to combine a variety of alternatives, you will see a different look for each combination. This font is suitable for anything from new year greeting, invitation, promotional material and handwritten quotes, to product packaging, merchandise and branding projects and more. We also include swashes and ligatures to support the creation of logotypes. I hope you enjoy and feel free of playing with Grookey Shawn. Thank you for your attention, dont forget to comment and send me an email if you need other support.

Introducing the Garden Collection. A new Garden Grown font family by Cultivated Mind Type. This hand-painted collection includes four scripts, two caps fonts, plant art, extras art and free words.  Garden Grown Pro scripts includes 260 alternates and 46 ligatures. Ligatures are programmed to pop up when specific letter pairs are typed. Try the alternates and ligatures together to give your designs a realistic hand-painted look. The all caps fonts and basic scripts do not include alternates or ligatures. Use the free words font for keyword and hashtag ideas. Garden Grown works great for cookbook covers, product design, packaging design, restaurant marketing, magazines and film.

Hidetoshy is a free-spirited brush font that's perfect for adding a very imperfect handwritten touch to your projects! Great for styling quotes, creating beautiful logos, album cover designs, magazines, signage, social media, blog posts, packaging, and much more! Fresh, fun, free-spirited hydetoshy + handmade with lots of love for your beautiful projects. • Hidetoshy Brush Fonts - Uppercase, lowercase, numbers, symbols, punctuation and multilingual support. • Multilingual Support - Multilingual Support is included for the following languages: English, Cornish, Danish, Dutch, Estonian, Faroe, Filipino, Finnish, French, Friulian, Galician, German, Swiss German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourg, Malay, Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Romansh, Scottish Gaelic, Spanish, Swedish. Enjoy!

Kodama are spirits in Japanese folklore that inhabit trees. The term is also used for trees in which a kodama houses. Kodama Forest is a rough, spikey and inky font, in the style of the great Ralph Steadman. Kodama Forest comes with a bunch of alternates, some interesting ligatures and a lot of splatter. And, of course, all the diacritics you can throw a tree spirit at.

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.