Sailor is the digital rendition of a film type that was popular in the early- to late-1970s. The type was called West Futura Casual at Photo-Lettering by David West. Some of the letter shapes of the original were replaced with more contemporary versions, but the originals remain accessible as alternates from different cells within the font, along with some other alternates and letter combinations. Just as the name implied, this sort of lettering is what happens when someone tries to apply Futura’s geometrical principles with a casual hand brush. This style has been popular for over three decades now, and is still going on strong. Posters with casual attempts at geometry are seen everywhere these days. Sailor’s brush style is now the standard visual expression of fun, cool, and happy atmosphere. It has the kind of versatility that can excite the eyes of children in cinemas, brand a product as happy and hip, turn a sign or banner into a cheerful invitation, or just make a poster or book cover that much more appealing to the eye.

In 1066, William, duke of Normandy, was invading England. He was demanding the crown for himself, against King Harold the Saxon. He killed Harold and reached the crown at Hastings, the well-known battlefield. A few years later, in Bayeux (Normandy, French)was displayed a large tapestry (almost 70 m long) who was telling the story of the conquest. Along the tapestry was written a comment in Latin, using Roman capitals influenced a little by English or Scandinavian style (as it is visible in the Eth character). We have created the font, inspired from this design, adapted for contemporary users, making difference between U and V, I and J, which has not any relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash... and usual accented characters did not exist at the time. We also have reconstructed the K, German double s and Z, always using patterns of the time. We have scrupulously respected the poetic irregular and distressed original forms with two or three alternate for each characters, including reconstructed numerals.

Bodoni Sans is a new classic built on the foundation of two centuries of history. Fresh and contemporary, while feeling familiar. Stylish and sophisticated, confident and elegant. Bodoni Sans is more than just chopping off the serifs. The classical proportions of the capitals and x-heights were maintained, but the letterforms were rebalanced for use without serifs. Contemporary modifications were made to some widths, as well as an all new Light weight was created. High contrast is the key feature of Bodoni Sans. To maintain this contrast over a wide range of sizes, three optical sizes were drawn: Standard, Display and Text. Contrast adjustments were made for each optical size for optimal performance. The Standard was designed for the mid range of 12 to 60pt, Display for 48pt and above, and Text for 6 to 12pt. Web/Digital use was also considered while developing Bodoni Sans. The fonts were tested as web formats, and examined on a variety of screens, to ensure seamless use in both print and digital applications.

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Pargrid is a grid-based typographic experiment from the young Swiss designer Michael Parson. In the Pargrid family, which contains three separate weights, Parson has created an intriguing system of small circles-similar to LED's or light bulbs-that live separately on a grid, creating unique letterforms. In small sizes, these circles blend together to create seemingly fluid lines, giving Pargrid's letters a wide, rectangular appearance. In larger sizes, the letterforms transform themselves into objects d'art-virtual and ordered communities populated by various points. Fantastic in both display settings as well as short strings of text, Pargrid may offer the exact look that your next project is looking for. Pargrid and nine other constructed type designs from Parson are included in Take Type 5 collection, from Linotype GmbH."

Jan Koller designed the Banner typeface family especially for the creation of animated web banners. Banner is best used at 80p without antialiasing. The family comes in 24 styles which, in combination, create great, unusual screen effects. Three different animation modells provide the basis: extrusion, cutting in/out by ‘pixelation’, outline pixel rotation. The available flash clip listed in the Related Links below demonstrates some of the effects. Take a look! The swf clip runs in any web browser (drag & drop) but you need the flash player plugin. Apart from animation use, Banner also works well in print. Since all 24 styles are identical in width and kerning, you can set several styles on top of each other, maybe using different colours for each style. Look at the nice effects yourself!

Epilepsja is an all-caps type family perfect for display works. It has been derived from stencil-sprayed and painted letters in the city space. The glyphs are simple but unordinary. Every letter has something from 3D illusion, but is flat simultaneously. The main feature and asset of this family is the ability to create multicolor text. Epilepsja consists of three styles: Outline, Solid and Fill. Outline is the base from which the other two styles are created. When you mix Solid with Fill, you can create two-color Outline style. Solid is neat and legible in small sizes. There are alternative uppercase/lowercase characters, digits, diacritics of western, central and southeastern Europe and Africa, punctuation and symbols including currency. Use it for posters, headlines, magazines, websites or anything you like.

Cinemas from the early 20th century are called “Lichtspiele” in Germany. “Lichtspiele” transports you back to a time where neon lights and marquee letters decorated cinema façades. Of the five styles, three have two versions of italics — the left-leaning italic evokes looking up from lower-left, the right-leaning italic is as if we are looking from lower-right. Display is the basic style, while Neon is inspired by the old neon letters found outside cinemas. Try placing Neon Outline on top of Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. The Screen Credits style is based on the notes — producers, cast, crew and so on — on movie posters. Get more out of life, go out to a movie.

A dinner is not complete without a fine appetizer. Whatever you dinner will be, CA Negroni is the perfect introduction. Delivered in three flavors, Normal (Light + Black + Fill), Inline and Round. Versatility is proved by the extensive language support, covering whole Central Europe. CA Negroni is the well aged and improved version of a typographic classic: in the beginning of the 20th century, type in advertising was mostly drawn by hand. A master of this art and pioneer in logo-design was Wilhelm Deffke (1187–1950). CA Negroni is inspired by his kind of bold and solid letterings, picking up some of the charming details while leaving away other that might have a disturbing effect on the general look. Two stylistic sets let you choose between a more serious or a more playful look.

If you want your design to have that nostalgic typewriter effect, Not my Type would be perfect. It's old-fashioned and retro—letters are worn and grungy like it needs a new ink ribbon. Some of the letters are misaligned—just like a real old typewriter. It is best used at smaller sizes, perfect for logos, headlines, covers and any design where you want that vintage look and feel. Each letter has two alternatives, making three in total. Using the alternative letters, you can make your type layouts look more random, like a real typewriter. You can manually set the alternatives via the glyphs panel in your design software or you can enable them automatically. If you enable contextual alternatives in your design application, the letters will change automatically as you type.

Close Together was designed to alternate convex and concave letter sets, with convex letters on the upper-case keys and concave shapes on the lower-case keys. The OpenType feature of contextual alternatives (calt) does this automatically. Individually some of the letter shapes are strange and unsightly. They have the shapes that they have so that they fit snuggly with adjacent letters. The family has three weights: regular, bold, and extrabold. The letter spacing is set very tight and the user may want to loosen it by altering characters spacing. (Either the convex or concave set the letters can be used alone if the character spacing is adjusted.) The typeface has four OpenType stylistic sets of alternates, one for numbers and the others for letters D, T, and Y.

Sevigny is for the poetic eye. It sings to readers - luring and promising - sweet like candy. Even though it is different, you feel that you've already seen it. Sevigny seduces you to look. Look twice. Déjà vu Ease the lure. Allow your eyes to follow the rhythmic ribbon. Enjoy the wavy ride on the weavy patterns. Let Sevigny enrich your design ideas. Recommended for Christmas windows, ribbon candy packaging, lingerie labels, book covers, everything that smells good, everything for grown ups, everything for kids, Christmas carol titles, wedding invitations and wedding magazines. Sevigny is offered in three versions: standard latin letters (upper and lowercase), numbers and symbols. Sevigny PRO is packed with extra ligatures, alternate letters, OT features, more symbols, extended support for foreign languages. Sevigny CAPS has only uppercase letters & numbers.

This is a 2023 redesign of Bronzo, originally designed by Rick Valicenti and Mouli Marur in 1991. With this redesign, Bronzo now has 6 new weights, for a total of 9, and 587 more glyphs than it was able to in 1991. Bronzo appears to move forward, yet remain still, via a center stroke that only sticks out on the left, a tense curve that only happens on the right, and a width that sits uncomfortably between square and rectangle. Those three things, combined with a balanced light to dark ratio, are what makes Bronzo appear tense and ready. Bronzo accepts Modernist ideals of minimal, rational construction—but it also adopts luxuriant shapes over Modernism’s sandblasted neutrality. It’s almost an alternate reality, a “what if?” of Modernism. Modernism’s fun, interesting, cute reboot.

Rig Sans is a streamlined geometric typeface, that speaks in a confident, affable tone. Its open, clean structure lends text a neutral, transparent quality. Distinct features enable Rig Sans to thrive, both in print and on screen: Minimalist Design Terminals clipped at 90º Generous x-height Wide apertures Distinct I,l,1 (uppercase i, lowercase L, Number 1) Rig Sans’ sturdy characters produce text settings with excellent clarity and readability. Their shape has been adapted from robust letterforms originally designed to withstand 3D distortions. This unique approach has resulted in an original sans serif rendition and an adaptive, durable type family. Rig Sans is comprised of eight weights and accompanying italics. Each weight contains 514 glyphs. OpenType features include: Alternate characters Three figure styles All caps punctuation Fractions Ordinals Superscript Subscript

Dingos is a display typeface specially handcrafted for potent usage. It is compact, solid, and dense, with a heavy-built structure, tight internal space, and a versatile touch. Dingos is perfect for large settings due to its precise shapes. The 'Display' and 'Display Outline' styles have sharp and clean paths with angular ink traps, while 'Stamp' and 'Stamp Outline' have round ink traps and irregular, soft, curvy outlines optimized to ensure high-quality contours. Stamp textured styles have three sets of alphabets that slightly differ from one another. Thanks to the Contextual Alternates, these alphabets are automatically alternated to avoid repeating the same curvy textures. Some of Dingos' features are ligatures, discretionary ligatures, stylistic sets, numerators, fractions for any number combinations, arrows, special decorative characters, and a glyph coverage that ensures extended language support.

NarrowWay is a family of 18 condensed and ultra-condensed sans-serif typefaces. The family started with the ultra-condensed widths, then the condensed and regular widths (the regular is still quite condensed) were added. All widths have three weights and each weight has an italics style. These 18 styles lack a true lowercase but rather have a set of alternative characters, some based on lower-case forms, on the lower-case keys. Some alternative letters can be reached with the OpenType feature of stylistic sets. The character spacing in most of the styles is quite loose and it can be tightened with an application's character spacing if needed. These typefaces are display faces that can be useful for squeezing tall lettering into tight spaces. They are not readable at small point sizes.

CA Zentrum is a compelling mix of conciseness and pragmatism. Bold, distinct and original, contemporary and versatile. At a closer look, it reveals rounder reading-friendly forms. The choice of weights aims at an easy, straight forward use. A set of five well-balanced weights and three widths ranging from light to black and from condensed to wide. This variety ought to be enough to cover most needs without throwing the typographer into questions. The family’s glyph set supports over 100 Latin languages. With its blend of timelessness and modernity, the type-family is uniquely suited for modern corporate visual languages, websites, corporate design, editorial design and advertising. Careful spacing and a great choice of OpenType features make it especially well suited for text copy and/or editorial design.

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

Thoroughly contemporary, clean, and ready for work, Tilden Sans was designed by Delve Withrington to be no-nonsense but still stylish and friendly. Tilden Sans is square-ish with low contrast and a generous x-height. Curvilinear strokes like those in the capitals C or S, and many lowercase letters feature incised terminals offering a measure of distinction from other sans serifs, without sacrificing legibility. All of those features work in unison to make this typeface a pleasure to use and read. The Tilden Sans family has seven useful weights ranging from Light to Black and features a glyph repertoire of over 900 glyphs with language support for 225 languages. This versatile typeface performs brilliantly in a host of sizes. The Regular and Medium weights can be used at text sizes, while the Light and Black weights are great for display size settings.

Prosper Rules is a distinguished serif font that exudes sophistication and refinement. With its timeless serifs and carefully crafted extended lines, this typeface brings an air of elegance to your designs. The defining feature of Prosper Rules lies in its extended lines, gracefully integrated into select letters. These extended lines add a touch of distinction and visual interest, elevating the font's overall composition. Each letter is meticulously designed to strike the perfect balance between tradition and modernity. Inspired by classic typographic elements, Prosper Rules captures the essence of timeless beauty. The serifs, with their subtle flares, provide a sense of stability and sophistication. The extended lines offer a contemporary twist, infusing the font with a touch of creativity and uniqueness. The uppercase letterforms of Prosper Rules are meticulously crafted, showcasing clean lines and well-balanced proportions. The extended lines, thoughtfully placed in specific letters, create a sense of flow and purpose. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Prosper Rules fits for headings, titles, logos, and any design project that seeks to make a refined and memorable statement. Whether you're working on editorial layouts, branding materials, invitations, or any project that demands a touch of sophistication, this font will lend a sense of timeless beauty. It is particularly well-suited for applications related to luxury, fashion, fine arts, and high-end products. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Blured Stroke is a beautiful script font. Every letter in this font looks like it was created with a skillfully swung brush. The subtle and soft brush strokes are clearly visible at every angle and bend, giving the entire font an artistic and expressive feel. The ends of each letter tend to be rounded, giving it a soft and elegant touch. This font is designed with detail and a perfect balance between thick and thin strokes. The thicker lines bring out strength and firmness, while thinner lines add softness and elegance to this font. The perfect combination of these differences creates an eye-catching visual harmony and expresses a unique writing style. The colors used in this font can vary, but to maintain a soft impression, bright colors would be the right choice. The letters remain legible and understandable because they have clear outlines. Enjoy the various features available in this font. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Blured Stroke fits best for any design projects that want to convey tenderness, friendliness and creativity. This font can be used in the invitations, greeting cards, brand logos, promotional materials, and many other design projects that require a warm artistic touch and are full of personality. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

This font is a collection of ornaments and drawings suitable for Halloween themed materials. There are bats, singly and in swarms, owls, dead trees, spiders and webs, as well as calligraphic ornaments with a decidedly creepy bent. Most of the characters in this font were drawn on a napkin with a felt marker, and the resulting ragged texture was very suitable to the Halloween subject matter. Where the same stroke is repeated in one glyph, the contours have been edited to minimize obvious repetition. Use it for your Halloween party invitations and posters. Combines well with: PR Bramble Wood 1, PR Bramble Wood 2, PR Hallow Doodles 02, PR Cauldron, PR Swirlies 01, PR Swirlies 05.

Lovers is a romantic, elegant handwritten calligraphic script, with well over 300 additional characters, including standard and discretionary ligatures, swashes and stylistic alternatives. Use of its extensive OpenType features enable the designer to create text that constantly changes, giving the impression of genuine handwriting, but handwriting that has all the flair and styling of hand-done calligraphy produced towards the end of the twentieth century. Lovers is based on traditional calligraphic ideals, but I've combined these with my own brand of relaxed, handwritten spontaneity, to design a font that is formal yet free and accidental, traditional yet contemporary. The font’s extravagant curves and swashes make it perfect for valentine’s day and wedding media, book covers, greeting cards, and certificates, in fact for any design work that requires a romantic or opulently elegant look. The range of stylistic alternatives and swashes enable users to create a wide range of moods in their work. In many ways it is a calligraphy toolkit. Lovers contains the accented characters used in the major European languages. What sets it apart from most other calligraphic fonts is that it appears so genuinely handwritten and avoids the uptight formality that characterizes so many of the fonts in this genre. Try Lovers, enjoy its wealth of OpenType features and let its vigorous yet elegant exuberance delight you and enhance your creativity!

Miranda Wright is a captivating serif font designed in an exquisite and elegant style. Each letter is meticulously crafted with fine details, evoking a sense of sophistication and grace. What sets Miranda Wright apart are the last few letters, which feature graceful circular swings that add a touch of charm and uniqueness to the font.. The circular swings at the end of certain letters infuse this serif with a delightful flair. These subtle and graceful details add an air of playfulness and individuality to the font, setting it apart from conventional serif typefaces. The circular swings give the font a distinctive personality, making it ideal for creative projects that seek to stand out. Its legible and elegant letterforms make it suitable for both body text and headings, while the circular swings add a touch of character that enhances the overall visual appeal. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Miranda Wright fits in headlines, logos, posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Termit is a striking display font designed with a game theme, featuring large letters with a fairly thick weight and a rectangular shape with sharp corners. This font shows large letters that demand attention and create a bold statement. The rectangular shape with sharp corners in Termit adds a sense of structure and stability to the font. The clean lines and defined angles create a visually bold and impactful appearance. This unique feature evokes a sense of strength and resilience, reflecting the competitive and strategic nature of the gaming world. Each character shares the same height and width, creating a cohesive and pleasing visual experience. With its low-contrast design, it offers a subtle and understated look. The minimal variation in stroke width adds a sense of uniformity and simplicity to the font, allowing the overall design to take center stage. This feature ensures that the focus remains on the content while still maintaining a strong visual impact. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Termit fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

First March is a captivating display serif font designed with elegance and a touch of modernity. This typeface combines classic serif elements with a contemporary twist, offering a unique and refined look to your creative projects. The elegant letterforms with clean lines and balanced proportions adding a sense of sophistication and grace to your typography. The serif details provide a timeless appeal, while the modern twist brings a fresh and current vibe to the font. This combination creates a harmonious balance between tradition and innovation. What sets First March apart are its swinging endings in select letters. These graceful and subtle flourishes add a touch of dynamism and playfulness to the font, creating an engaging visual experience. The swinging endings bring a sense of movement and fluidity to the letterforms, enhancing the overall elegance of the typeface. Because of its legibility you can use this font in a variation of text sizes. Enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations First March fits in headlines, logos, posters, titles, invitations, branding materials, print media, editorial layouts, website headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Spaclar is a captivating display font with a game-themed design, featuring uppercase letters with consistent proportions and rectangular shapes with sharp corners. This font shows uppercase letters with uniform proportions, ensuring a clean and balanced visual experience. Each character maintains the same size and shape, resulting in a cohesive and harmonious composition. This design choice creates a sense of order and precision, reflecting the strategic nature of gaming. The rectangular shapes with sharp corners in Spaclar add a modern and futuristic touch to the font. The clean lines and defined angles exude a sense of sleekness and sophistication, reminiscent of advanced technology and sci-fi aesthetics. This unique feature adds an element of visual intrigue, making this font the perfect choice for game-related designs that embrace a cutting-edge atmosphere. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Spaclar fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Better Times, a handmade brush font! This bold, free-flowing and confident brush font is designed to be easily customisable with 2 sets of each letter and a bonus set of 20 swashes! Oh, and not to mention it looks great in both all-caps as well as lowercase - all of this together providing you with a huge range of layout options. Better Times is a brush font which you can use and enjoy again and again, for anything from promotional material and handwritten quotes, to product packaging, merchandise and branding projects. The Better Times family consists of 3 fonts; 1. Better Times • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Better Times Alt • This is a second version of Better Times, with a completely new set of lowercase and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Better Times Swash • A set of 20 hand-drawn swashes, the perfect finishing touch to underline your Better Times text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay

Arcade King is an exciting display font inspired by classic arcade games. Designed in uppercase, this typeface captures the nostalgic essence of retro gaming with its playful style. With consistent letter proportions and high contrast, this font ensures easy readability while immersing you in a world of gaming fun. The consistent letter proportions of Arcade King create a sense of harmony and balance throughout the font. Each uppercase letter is carefully crafted to maintain visual cohesion, ensuring a smooth and enjoyable reading experience. This design choice guarantees that every character complements the others, resulting in a visually appealing and cohesive typographic composition. The stark difference between thick and thin strokes enhances the visibility of each letter, making them easily distinguishable even at smaller sizes. The high contrast design adds a touch of boldness and excitement to the font, capturing the essence of the arcade gaming experience. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Arcade King fits in headlines, logos, posters, product packaging, branding materials, print media, editorial layouts, website headers, and any projects that aim to evoke a sense of fun and adventure. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

While DIN Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit. It has been used successfully in magazines, corporate applications and packaging in fields such as music, fashion, technology, visual arts. The ‘Pro’ series has been enhanced with more weights, multilingual support and opentype features in all different styles. Specifically, this superfamily supports simultaneously Latin, Greek and Cyrillic, while each one of its 15 weights contains 1197 glyphs and 20 opentype features. Additionally, every font in this superfamily has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations. This is a set of very useful daily symbols for packaging, branding and advertising. Symbols for public areas, environment, transportation, computers, fabric care and urban life.

Introducing Silver Queen - Serif Typeface Silver Queen is luxury, vintage typeface with 6 weights loaded alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Silver Queen is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol 6 weights Hairline Light Regular Bold Extra Bold Black Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

New from Black Studio, presenting Aistoria is a typeface that is feminine, adaptable, aesthetically contemporary and creates limitless variety for your creative needs. Its striking contrasts and subtle details, together with luxurious strokes and voluptuous curves, create a beautiful and powerful statement for any typographic composition, blending glamor with contemporary aesthetics. Aistoria really helps you create unlimited variations for your creative needs in making your project titles: such as Books, fashion, magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. WHAT IS INCLUDED; • Aistoria – Regular This typeface of has become the work of true love, making it as easy and fun as possible. I can't wait to see what you do with Aistoria! Feel free to use the #Black Studio tag and the #Aistoria font to show what you've done, I really hope you enjoy it! Thank you!

The first plain weight of Cutoff was designed in 2005 to be used in Miele, an independent Italian free magazine. The need was for an elegant, unusual and legible semi-serif with contemporary flavour. I was fascinated by the deconstructivist work of Jeff Keedy (Hard Times Thick), Phil Baines (Can You, You Can) and Otl Aicher (Rotis), so my aim was to get the feeling of a cut transitional typeface; at the same time felt the exigence to work on the whole shape of the glyphs, in order to soften the “90s deconstructivist” effect and obtain a more balanced and readable design. In the last years I further worked on the typeface adding the other styles, extending the character set and refining the letterforms. Finally the precious collaboration with URW++ brought in 2010 to a complete OpenType Pro font family, with multilingual and advanced typographic features. Fulvio Bisca, July 2010

A mix between tradition and innovation, Basil is a unique humanist slab serif well suitable for broad range of design projects - editorial, logotype, poster, etc. With its tall x-height and generous internal spaces, the type family was especially designed with legibility in mind and is well suitable for body text at small sizes. In the same time Basil is equally able as titling and headline font due to numerous distinctive visual features that shape its attractive appearance. A true workhorse, packed with lots of OpenType features and full multilingual support, the type family consisting of six weights, with Regular available for free! Basil type family received Special Mention in Cyrillic text Typeface category at 7th International Type Design Competition for non-Latin typefaces - Granshan 2014. It also was exhibited at New Bulgarian Typography exhibition part of Sofia Design week 2013 and then took part in several travelling exhibitions.