It could be such frustrating work to find an attractive display font in accordance with your design project. Moreover, a wrong display font will only result in the failure of your design leaving your customers uninterested. However, you should feel no worry as we have the best answer to your problems. Blessed Dreams is a visually attractive display font with soft, gentle nuances caused by the swinging end of the wipes and curves. Each of the letters is interconnected as in the cursive font and the proportions are relatively similar for a legibility reason. Furthermore, you can apply this font, which also provides you with a clipart as a bonus, for big text sizes to be legible. In addition, you may make use of the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Blessed Dreams fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. 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 the "Northnoh Metal Modern Typeface" – where the raw power of brutalism meets the modern edge of dead metal aesthetics. Unleash the untamed spirit of your designs with this bold and brave font that boasts a prickly character, exuding strength and attitude. Designed for those who dare to be different, this typeface is a true representation of fearless creativity. With 862 meticulously crafted glyphs, the "Northnoh Metal Modern Typeface" ensures a comprehensive arsenal for your typographic adventures. Explore a world of possibilities with included ligatures and alternatives, allowing you to customize and enhance your text with a touch of unique flair. The font's distinctive personality is perfect for projects that demand an unconventional and daring approach. Whether you're working on album covers, posters, branding, or any other design where a fierce statement is required, the "Northnoh Metal Modern Typeface" rises to the occasion. Embrace the rebellious spirit of dead metal while enjoying the ease of use and versatility this typeface offers. Its multilingual support broadens the horizons of your creativity, making it a global tool for expression. Unleash the brutal beauty of "Northnoh Metal Modern Typeface" and let your designs scream with individuality. Elevate your projects to new heights with a font that challenges the norm and breaks free from the conventional boundaries of typography.

Introducing Tumbasan - Modern Minimalist Sans Serif by Look Minus Today. Tumbasan is designed with a modern and minimalist aesthetic in mind. This versatile font is perfect for all design needs, from print materials to digital media. Geometric shapes give it a contemporary feel that will add a touch of sophistication to any project. The font's design is based on a simple and legible sans serif style, with just the right balance of thickness and spacing to ensure clarity and ease of reading. Its simple, elegant lines and smooth curves make it a great choice for a variety of design applications, including branding, advertising, packaging, and editorial design. Our modern and minimalist sans serif font is a versatile and stylish choice for any design project. Its clean lines, geometric shapes, and legibility make it an excellent choice for a wide range of applications, while its modern aesthetic ensures it will stand out and make a bold statement in any design. 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 at look.minus.today@gmail.com Thank you and have a nice day!

-INTRODUCE- Syakila Script is a modern calligraphy font. Here you will find beautiful script fonts. This font is available with several modern swirls that can make your work look elegant, sweet and flawless. It can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges etc. Syakila Script features alternatives to OpenType styles, binders, and International support for most of the included Western Languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Syakila Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you have any questions, feel free to contact me. Thank you very much for viewing and Enjoying it!

Florako is a mesmerizing serif font designed with an elegant and modern touch. With its lightweight, this typeface exudes a sense of delicacy and refinement, adding a touch of sophistication to your creative projects. The slender letterforms with precise lines and graceful curves embodies the perfect balance between elegance and modernity. The clean and refined serifs lend a classic touch to the font, while the contemporary styling infuses it with a fresh and current vibe. This harmonious fusion creates a captivating aesthetic that is both timeless and on-trend. The light weight of Florako adds to its graceful and delicate appearance, making it ideal for projects that require a subtle and refined typography while maintaining its legibility. You can also enjoy the available features here. Features: Alternates Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Florako 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.

John Seddon (1644-1700), was a famous english writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - YES (that is the title of the book) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, animal and human kingdon inspired penmanship forms in the Bestiario font. On the other hand, his highly ornamented animal kingdon inspired capitals and alphabets in the Seddon Penmans Paradise Capitals typeface. The “SeddonsFleurons” completes the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Senada is a lovely bouncy script font with a natural & stylish flow. Perfect for making elegant stylish statements - or adding a touch of class to your designs. This script has a multitude of lovely alternates character in its OpenType features - making the font look a beautiful Senada is perfect for many different projects such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything. What you get: Senada includes capital and lowercase letters, alternates, and Ligatures Numbers + punctuation Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. Senada is encoded with Unicode PUA, which allows full access to all additional characters without having special design 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. I hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me.

Parkour Brush Font takes the repertoire of moves and free spirit of this modern sport and bring it to a graphic definition. Handwritten with authentic dry brush imperfections and a bouncy baseline to evoke the energy of this urban sport discipline which emphasizes the athlete to be strong and flexible as to be able to move quickly and efficiently through any given environment. Sounds like a fun game, right? This font comes with a full set of upper and lower case characters - giving you the extra freedom to turn your text into authentic custom-made hand lettering. Parkour Marker font Includes a large range of glyphs including numerals, punctuation & multilingual support. It comes with a perfectly paired handy set of bonus Swashes and extras perfect to complete and customize your layout. Perfect for branding, social media, stationery, advertising, logos, handwritten quotes, product packaging, header, poster, merchandise & greeting cards. Features: - OTF Font file - Punctuation & numbers - Splashes & Splatters - Alternate letters - Uppercase letters - Multi Language To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Lovely Morentia is lovely script calligraphy made with a touch of sweet, lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, sublimation, wedding invitation, branding materials, business cards, quotes, posters, aheadings, signature, logos, t-shirt, letterhead, signage, lable, news, posters, badges and more What is interesting? Imagine you get a beautiful and very charming font in the design you make. that would be the answer you wanted right now. Lovely Morentia has a script typeface and extra letters that allows you to be more free in designing. Lovely Morentia come as OTF Files, and requires no special software to use or access the alternate letters. You can even use Lovely Morentia in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Lovely Morentia also comes with Opentype features such as access to all the alternate letters and double letter ligatures. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Don't forget to check out other cool fonts on our store and wait for new fonts.

ZT Bros Oskon 90s is a captivating typographic creation that seamlessly blends the aesthetic charm of the 1990s retro era with a modern touch. With unmatched serif elegance and a unique 90s style, this font offers 72 variations, including sharp Condensed forms, graceful Expanded, and captivating italic styles. Every character in ZT Bros Oskon 90s is meticulously crafted, creating a vintage ambiance that is truly enchanting. Featuring 6 font weights ranging from Extra Light to Bold, this font provides you with the flexibility to create a wide range of striking and memorable designs. Features of ZT Bros Oskon 90s: 72 Unique Variations Aesthetic Retro Vibes from the 1990s Elegant Serif Style Condensed, Expanded, and Italic Forms 6 Font Weights: Extra Light, Light, Regular, Medium, Semi-Bold, Bold Exceptional Creative Versatility ZT Bros Oskon 90s is the perfect choice for graphic design projects, branding, posters, and other promotional materials that require a captivating retro touch. Unleash limitless creativity with this font and infuse a nostalgic 1990s vibe into every one of your creations. ZT Bros Oskon 90s has 6 free styles, you can get them on my GUMROAD I hope you have fun using ZT Bros Oskon 90s. Thanks for using this font ~ Zelowtype

Austral Slab is a hand-drawn layered font designed by Antipixel, with unique textures & styles that combine giving your work a distinctive impression. This font comes in three weights, Regular, Light & Thin, with irregular outlines and uneven/crooked strokes, giving your work more personality and making it exclusive and powerful. For this same reason it can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Slab has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Slab offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use!

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was completely redesigned by the Zetafonts Team, expanding the original character set to include cyrillic and greek glyphs and adding four extra weights and italics to the original weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allow for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in display, logo and editorial use. A complementary set of free icons in the same range of weights of the font is provided to help designers build consistent branding through pictograms in infographics, interfaces and editorial products.

Do you want a handwriting style font in consistent, professional displays? Well, finding such fonts can be tough and time-consuming work. Therefore, Rough Hearts is here for your perfect choice. Rough Hearts is a font in a handwriting style with different, more natural shapes looking like spontaneously written letters. Each letter detail is made in swinging styles and this font also has high letter contrast, which means the thickness and thinness differences of the lines on each letter can be clearly seen. This font produces personal and creative impressions resulting in its legibility and attractiveness to apply for simply interesting design projects. You can use this font for big text sizes to be greatly legible and also enjoy the available features here. Features: Alternates Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Rough Hearts fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, invitations, greeting cards, name cards, merchandise, social media, etc. 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.

Designed in The Hague amongst the canals and flowering lime trees, Node Display represents the best of organic curves with sharp modern edges. Sophisticated and edgy, it's everything you want out of a display font. It looks amazing at large sizes and, also, small sizes. 16 Fonts. Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Outline, Outline Italic. 17 Languages. Basque, Catalan, Danish, Dutch, English, Estonian, Finnish, French, Frisian, Galician, German, Irish, Italian, Norwegian, Portuguese, Spanish and Swedish. 185 Glyphs. 36 Punctuation Marks, 57 Uppercase Letters, 60 Lowercase Letters, Full Number Set. Looks great packaged on wrapping, bottles and jars or digitally on websites, social and apps or printed on newspapers, magazines and flyers.

Christmas Chances - Christmas Font is a captivating display typeface designed to evoke the festive spirit of Christmas. With its elegant serif letterforms, this font adds a touch of sophistication to your holiday-themed designs. It comes with ligatures and six unique alternative decorations, including Santa hats, Christmas trees, Santa Claus, festive ornaments, Christmas cakes, and more. These decorative elements allow you to infuse the holiday spirit into your projects, making it perfect for various Christmas-themed designs. This font is specifically crafted for Christmas-themed projects, making it a versatile choice for a wide range of applications, including t-shirt designs, invitation cards, greeting cards, mugs, gift designs, Christmas ornaments, and much more. Christmas Chances - Christmas Font is your go-to choice for spreading holiday cheer and warmth in your creative endeavors.

Designed in Spain amongst the orange trees, Pulp Display represents the best of modern circular aesthetic with an air of friendliness. Wholesome, full and juicy, it's everything you want out of a display font. It looks amazing at large sizes and, also, small sizes. 16 Fonts. Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Outline, Outline Italic. 17 Languages. Basque, Catalan, Danish, Dutch, English, Estonian, Finnish, French, Frisian, Galician, German, Irish, Italian, Norwegian, Portuguese, Spanish and Swedish. 185 Glyphs. 36 Punctuation Marks, 57 Uppercase Letters, 60 Lowercase Letters, Full Number Set. Looks great packaged on wrapping, bottles and jars or digitally on websites, social and apps or printed on newspapers, magazines and flyers.

The Killegar family is inspired by one of the great houses of Ireland...Killegar—which is on the grand Estate of Killegar. I lived there for many years. It is a quiet and peaceful place surrounded by lakes and trees and is inspirational in so many ways. All of my creative talents were boosted by this amazing two hundred year old building with all of it's secrets and heritage. Time stood still in Killegar....except for me and my modern day computers, cell phones and fax machines. This twist of fate, with me living both a rural and hi-tech life, living in an environment of the early 18th century, with the friendliest local people on the Earth, played it's part in the origin of the Killegar family of fonts. Tony Fahy

The single-named, multi-talented designer Joluvian now lives in Madrid. But he grew up in the “Caribe” of Venezuela, where thick jungles meet endless beaches, and fecund trees bear juicy fruit – a tropical paradise where music and dance vibrate in the humid air. The Tropical pack, designed by Joluvian and digitized by Ale Paul, echoes the spirit of his birthplace. Its three faces are casually stylish – a bold, wet-looking display script, an inky, textured brush script, and hand-penned capitals with a felt-tip look. Like a fruit cocktail, each ingredient is tasty on its own, but they combine even more deliciously. Sprinkle the included catchwords, shapes, and bursts in your layout to complete the easygoing, Carribbean vibe. Each face includes alternates and support for multiple Latin languages.

Aure Declare officiates with dignity and dispassion. These traditional serif forms engage the reader with a no-nonsense subtext of reliability. Declare’s capacity to showcase the message rather than the medium brings a welcome legibility to extended text and a formal assertion to astrological expressions and chartwheels. Declare is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Declare’s versatility as a text font, Declare pairs well as a no-nonsense foil to any decorative design. Aure Sable, for example, will shine all the more beside Declare’s practicality. Aure Declare pairs especially well with its close cousin, Aure Wye. Wye’s decorative forms provide elegant titles and drop-caps for Declare’s extended text. Give Aure Declare a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

When you go traveling you always fall in love with something… At this time, it is the inscription of Holland America Line which is sparkling on ‘New York Hotel’, Rotterdam-Holland. Based on the letters I had at my disposal from the Holland America Line inscription at ‘Hotel New York,’ I started to complete the alphabet in the same style as the original text. Eventually, I digitized everything in order to acquire a usable and modern font to be able to use it for all graphic purposes. The font is ideal for head text, posters, logos, editorial, branding, signage, web applications, modern design, etc... Don't hesitate to use this unique historical font! It will give your work that glamour that you will find in this extraordinary font. Enjoy the New York Line. The Holland America Line was founded in 1873 as the Dutch-America Steamship, a shipping, and passenger line. Because it was headquartered in Rotterdam and provided service to the Americas, it became known as Holland America Line (HAL). From 1901 the iconic building on the Kop van Zuid shines. It previously housed the Holland America Line; now it houses the hotel-restaurant, Hotel New York. A building with a great history. Hotel New York has a beautiful history. Built in 1901, many ships sailing away and opened in 1993 as a hotel and restaurant. The New York Line Font comes with uppercase, lowercase, numerals, punctuations so you can use it to customize all your designs. Perfect for Logos, Letterhead, Poster, Apparel Design, Package design, Label design etc. The New York Line Font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. Enjoy your journey with the New york Line!

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with Grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

Introducing "Beachy," the ultimate summer display font that effortlessly blends elegance with nostalgic 90's and 00's vibes. Uniquely crafted, this multilingual typeface captures the essence of beachy aesthetics, offering both regular and outline variations. Whether you're designing posters, marketing materials, T-shirts, or headlines, "Beachy" infuses your projects with a touch of sophistication. Its versatility shines through, reflecting the sun-soaked days and gentle coastal breezes. What sets "Beachy" apart is its ability to evoke a sense of timeless charm while embracing the retro styles of the past. It pays homage to the bygone era while remaining relevant in modern design trends. Pairing "Beachy" with other related font families or typefaces further enhances its appeal. Consider combining it with complementary styles to create harmonious typographic compositions that exude a cohesive visual experience. Apart from its aesthetic appeal, "Beachy" boasts a wide range of functional aspects. Its character set includes support for multiple languages, allowing you to communicate your message effectively across various cultures and regions. The regular and outline variations offer flexibility, empowering you to experiment and create eye-catching designs that suit your specific needs. The design concept behind "Beachy" was born out of a deep appreciation for the carefree spirit and timeless beauty of coastal living. It aims to encapsulate the feeling of warm sand between your toes, the sound of crashing waves, and the nostalgia associated with 90's and 00's aesthetics. We created "Beachy" because we believe that design should not only be visually captivating but also evoke emotions and memories. By using this font, you can transport your audience to a place where summer never ends, allowing your creativity to flourish in a world of endless possibilities. Let "Beachy" be your gateway to capturing the magic of sun-soaked days and embracing the allure of the coastal lifestyle.

Magola is a creamy flavor font family whose purpose is to season with emotions the reading of words and phrases formed by puffy glyphs coated with a caramel of empty spaces external and internal. Independently or in groups, members of the family serve to decorate and organize packaging or advertising material in letters apparently crafted for food or entertainment contexts. Its starting point was to draw letters like a ballon fish evolved into a black version with empty areas and microscopic contrasted with colorful inflated and filled areas. Then the challenge was based on the sum transferred between full and empty into a lighter caliber. In that vein, its overall design adapted skeletons of italics and Roman calligraphy. Therefore, its regular, bold and black files have great height "x" with upwards and downwards extremely short and large internal counterblocks to facilitate reading. In this regard, to strengthen its objective and capture the reader's attention, its kind of contrast and simulated auctions flat tip brush strokes, and amount of contrast between thick and thin in the black version is slightly inverted. Its sizes, smooth strokes and irregular lines reinforce its traditional spirit, so it is favorable to shine the information on posters or large-format media. In short, its optical conformation based on a non-literal way, in metrics similar in all family members to be easily exchanged without changing the ìxî height. It is therefore a striking and versatile tool, that besides being useful in large sizes, can be used in small sizes as well. And more importantly, its general concept is more profitable when its members are mixed to nest headings, subheadings and short paragraphs, designed according to size, position, color and location in logos, covers, posters, ads and flyers.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

URW Geometric Condensed is the matching complement for the URW Geometric. Including 20 additional condensed styles the URW Geometric Condensed is the space-saving alternative in the URW Geometric family. URW Geometric is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric. These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for today’s needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The number sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric is perfectly designed for today’s requirements. Please have a look at the URW Geometric Type Specimen (PDF) for further information.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Slab-like sibling Why stop at sans? Rather than leave FS Silas Sans as an only child, the team wanted to extend the family, and create a complete system for brands and editorial. Unsure what the result would be, the team started experimenting with a slab serif version. ‘We didn’t know how it would turn out, but we really liked it and wanted to take it further. A fresh angle ‘We stuck with the angular theme of the sans by drawing angled slab serifs,’ says Phil Garnham, ‘as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.’ These crafted touches include details such as the angled ascenders on the ‘i’ and ‘l’, while characters such as the ‘y’, with its abruptly-ending descender, add a mark of distinction. A perfect pair Silas Slab, like its sibling, offers a clear-cut range of five weights, from the elegant Thin to the monumental ExtraBold. Put it together with Silas Sans and you have the full complement, capable of performing the full range of tasks, above the line and below, in headlines, body copy and logotypes, B2B and B2C. Keep them together; they don’t like it when they’re apart.

The origin of Quirky lay in the Duke Ellington number It don't mean a thing if it ain't got that swing. For some time I had wanted to create a font from expanded stroked lines. I wanted to produce a light-hearted font, but with some classic touches. One day, whilst doodling in Adobe Illustrator, Quirky’s letterforms just appeared on screen as if from nowhere. First I drew the test word ‘hamburgefonts’ and then just kept going, unable to stop. Character after character appeared as if by magic. From the start, Quirky had a life of its own. The letterforms are rather more sophisticated than merely outlined stroked lines. Subtle adjustments to compensate for optical effects have been been incorporated. For example, horizontal stems have thicknesses slightly less than vertical stems and where stems join together, the thickening effect has been reduced by cutting into the joint. Being almost monoline, Quirky works well reversed out of a solid background and for TV credits. The Quirky fonts are fun fonts, so set, laugh and enjoy! I hope Quirky will give you as much pleasure in using it as I got in creating it! Shortly after the roman version was born, an italic version and then a thin version were created to form a family of three fonts.

Introducing Breadley Sans, a modern, elegant tagline sans serif type look. This font equipped with 5 levels of thickness, from thin to black suits your needs. Pairs well with modern san serifs and scripts as pictured, or stands strongly on its own as a heading and brand representative for an elegant look. This Breadley Sans overcome with the professional modern characteristic font which could bring elegant and appealing identity to your company for business utilities use like business card, name tag, uniform as brand elevation Advertising usage? sure! This modern Breadley Sans Serif typeface obviously fit to embossed as a letter signboard or even splash it along your office with an elegant look cutting sticker. The type shape of this elegant Breadley Sans, also stunning for books cover or magazine writing You can view all of the available characters in the screenshots above, and you can try out the modern & elegant of Breadley Sans now for any design matter Breadley Sans is also equipped with many languages, so it is easy to use for any country and language usage, and also equipped with Ligatures and alternative stylistic to make your design more attractive. A guide to accessing all alternatives Adobe Photoshop go to Window – glyphs Adobe Illustrator go to Type – glyphs Thank you and have a nice day

I’d been thinking for a while about making a serif font with ball terminals: big fun round ends to the letters anywhere I can squeeze them in. So I made Breakfast Pastry! I started with a hand-drawn set of basic letters, then went hog-wild making alternates and ligatures galore with fun swirls, curls, and even more balls! I’ve cleaned the letters up significantly to make them smooth and easy for any cutting or printing you may want to do, but I’ve also left in some of the hand-drawn character so that the letters are warmer and not too formal. Then I took the first font, and made a second solid version without the cutouts. After that I thought: I tend to make plumper fonts ... why not make an even thinner version? So I did! All three versions have the same character set (over 700 glyphs total), which means they all have the same extras and alternates. All three fonts have over 300 extended Latin characters for language support, as well as over 200 bonus items: alternate letters, letters with swashes, two-letter ligatures, small caps, catchwords, and even some bonus ornaments and elements to make the fonts even more flexible. (After all, if one swash on a letter is good, two or three might be great!)

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

Studio Neon is an all-caps display font constructed with three rounded-end strokes; the lowercase set is included as a repeat of the uppercase to make setting type just that little bit easier. It’s a modern rendition of neon sign lettering, with a decidedly art deco pedigree, and is intended for use in larger sizes of type, upwards of 36 pt. It’s perfect for a design that wants to imitate neon — use Photoshop layer effects to light it up! I originally started this font with only a few letters, since I could not find a neon-style font made with 3 strokes that looked modern. (Once I started, I found out why. It's a LOT of work!) Most traditional neon fonts include a “bent tube” element in the design; however, not all modern neon signage is constructed with the tubes bent. I also wanted to design a fun font that would have more life than just as an imitation of signage — something to inspire designers who love the geometry of art-deco type. So I made all the corners consistent, with no references to bent tubes. Use this font for any application that needs a bold and decorative look. Studio Neon should work well for sign production and even vinyl cut applications at larger sizes.

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert