Seindah Cinttya results out of a stunning pairing of a brush pen that makes it look incredibly endearing and authentic. Use this gorgeous and unique script font to bring any DIY project to life!

Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the ‘New objectivity’ architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau, which is related to the ‘New Objectivity’. Words as stately, angular, linear, stylish, artful, playful and frolic came to mind. It should be a design with a hint of the past and a flirt with the future. This house numbering is the root wherefrom Jazmo arises. The name Jazmo cites to the Jazz scene, which was a new and very popular artistic influence that time and age and is still a vibrant source of musical renewal. Mo stands for my Name Marit Otto. Together with my intern Arie Blok I created the missing characters and completed the font. Welcome Jazmo!

Protest is inspired by protest posters and the power of the people! Each glyph is written by hand with a Sharpie® Magnum marker on big sheets of paper. It is designed to fit more into the poster and still be legible for the media from a block away. It's bold, slightly condensed, and neatly drawn with love and conviction, with the warm imperfection that comes from being hand drawn. Protest consists of over 1,430 glyphs. This includes 300 alphanumeric glyphs with 3 contextual alternates each, 20 stylistic alternate glyphs, and 20 protest themed dingbats. Contextual alternates will rotate through automatically when OpenType features are enabled, giving it more human irregularity. Protest supports 219 latin-based languages, using Underware’s Latin Plus glyph set.

Please welcome Palomino Clean - a carefully digitized brother (or sister?) of Palomino calligraphy font family created using amazing Palomino Blackwing 602 pencils. Palomino clean can be safely used on the web - no need to worry about file size! - as well as in all desktop applications. All features are identical to Palomino Original - the script font is loaded with initial, medial and terminal alternates and swashes. Along with a help of three other fonts - condensed sans, simple sans and design elements font - you’ll be able to create stunning designs with a click of a mouse. This versatile font family will work perfectly for fashion, e-commerce brands, wedding boutiques, photography, quotes design and a lot more. It has extensive language support and fully unicode mapped.

Thertole is a dramatic display font with a strong background. Because of its rock-inspired design, this typeface is dashing and bold for individuals who dare to be distinctive. If you use this font for a variety of outdoor events, you will get an exquisite and unique look. Standard ligatures, character choices, and international language support are also included in this typeface. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

In 1980, Peter Malutzki, Heidi Hübner-Prochotta and Manfred Prochotta founded the FlugBlatt-Presse and began producing broadsheets, which they called FlugBlätter and which also gave their press its name. They were mostly woodcuts or linocuts, combined with hand-set typography. When they finished the series in 1984 there were 67 FlugBlätter. During a Frankfurt Book Fair in the 1980s the collector Rob Saunders acquired FlugBlatt No. 37 along with other prints. Later they became part Letterform Archive, a non-profit museum and special collection library in San Francisco, which Rob Saunders founded in 2014. In 2021, Letterform Archive posted the FlugBlatt No. 37 on social media, where type designer Lena Schmidt saw it, immediately fell in love with it, and developed the plan to bring it into the digital world. After contacting Peter Malutzki – who is still working as a book artist today – and in close consultation with him, Schmidt translated the letterforms into a font series, Malutzki Initials. The three fonts can be used for black (single-color) text using the Regular style, or for multicolor text by applying different colors to the Letter Layer and Figure Layer styles.

Meet the new TT Trailers! The first version of TT Trailers was conceived as a font suitable for the film industry. The font harmoniously looks in posters, it is ideally suited for setting titles. However, the font has gained wide popularity among designers, and now you can find TT Trailers on the covers of magazines, on restaurant signs and on the main pages of websites. TT Trailers useful links: Specimen | Graphic presentation | Customization options Since 2019 when we released the first version, the TypeType studio team has released dozens of fonts, constantly improving our skills. In 2022, we decided to look at TT Trailers again, improving and expanding the font. In the new TT Trailers, we expanded the character set, corrected the contours, and improved the technical content. We have added extended Latin and Cyrillic characters, new symbols, and additional sets of numbers. The number of glyphs in one style has increased from 1081 to 1242. The inclined styles were long-awaited. The italics in TT Trailers are as eccentric as the upright fonts. The 15-degree tilt looks absolutely harmonious, complementing the character of the font family. We added italics to the variable font, so the new font changes along two axes at once, weight and slant. From the technical point of view, TT Trailers has become more modern and correct, and the number of OpenType features has increased from 29 to 42. We have added new alternative versions of glyphs and created a large number of localized features. The font retained all the qualities thanks to which designers fell in love with it, but became even more convenient. TT Trailers in the new version is suitable for titles and posters, for websites and printed materials. The font will embellish in restaurant and cafe signs and look beautiful in posters. There are 19 styles in TT Trailers: 9 upright, 9 italic and 1 variable font.

Brown Amsonia is a lovely script font of which letters are in handwriting to express unique, personal nuances in your designs. Such a handwriting font is available in high contrasts having noticeable differences between the bright and the dark letter parts to produce clear, firm displays making the designs look professional and modern. Besides, Brown Amsonia can express personal, artistic displays to create more interesting, noticeable designs. The letters are interconnected and their details show sharp, curvy scratches on the edges. Due to the complex font style details, this font is better to apply for big text sizes. In addition, you may enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Brown Amsonia fits best for various design projects, such as brandings, invitations, greeting cards, name cards, 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.

Presenting a proud and tall font! The ability to express emotion through typography is one that is very much needed. Thus, the idea of emotional typography to communicate feelings was born. The emotion of Egoism is primarily one that is self serving and personal. While appearing to be deceptively simple, it is designed to have a handmade effect. The center point of the letters has been raised, giving the letters and glyphs a taller appearance. This reflects the feeling of having an inflated Ego. The handmade aspect of this font is what makes it great for giving any design a personal touch. Pair it with a bold Sans Serif font which also has a hand made appearance. Create designs with this Egoism font that enhances your hand made looking pieces!

Omnibus is one of my absolute favourites. My intention was to design a typeface as easy to read as Baskerville, without being a copy of it. It is easy to see that I was influenced by Baskerville, e.g. in the open lowercase g. I had in mind to design a Baskerville with the looks of the Baskervilles used in earlier typesetting. I put aside those plans for a while (but fulfilled them later on) and dedicated myself to Omnibus. In both cases my aim was to achieve a typeface with darker looks than the most used Baskerville. The name has nothing to do with buses, it is Latin with the meaning of for all". It is also in the name of Omnibus Typografi. Omnibus was released in 1993.

About the Product Badgear is an organic font duo consist of a bold monoline script paired with a sans serif with a touch of vintage look and feel. This type of font perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Badgear script and sans serif uppercase & lowercase numbers and punctuation multilingual alternates / swashes and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

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.

Addictive font duo is a sophisticated & contemporary, hand-made script font. With personal charms and character. allow you to create flowing hand-lettering.Addictive fonts are designed to be a winning combination. this font will perfect for many different project, Designed to feel comfortable with variety projects including advertising, campaigns, poster design, wedding, branding, logo, fashion, magazines, social media. Here is what you get in the Addictive package: 1. Addictive • A hand-made High quality script font containing upper & lowercase characters, numerals and a large range of punctuation + OpenType features (Ligatures&Alternates). 2. Addictive Caps • A bold hand-made brush font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Addictive Script Both fonts Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya. TTF and OTF files are included for both fonts. Access all OpenType features alternates&Ligatures, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, Microsoft word and Etc.. Thanks for looking If you have any questions about license or anything else,feel free to leave a comment or send me a message. I'm always more than happy to help:) hope you enjoy! Michael

This design is characterized by its futuristic and modern aesthetic. The clean lines and minimalist approach create a sleek and sophisticated look, while the unique touches and use of the MGN Debris font give it a bold and edgy vibe. It is a perfect example of how a modern design can also be unique and innovative, with elements that set it apart from traditional designs. This style is perfect for businesses and organizations that want to convey a sense of innovation and cutting-edge technology. The MGN Debris font used in this design adds to its modern and futuristic feel. The font is bold and sharp, with a unique style that makes it stand out. It complements the overall design perfectly and adds to the edgy and unique vibe. This font is perfect for businesses and organizations that want to convey a sense of innovation and forward-thinking, and it pairs well with modern designs. Overall, this design is a great example of how a modern and futuristic style can be unique and captivating, with the use of the MGN Debris font adding an extra element of boldness and edge.

HS Alhuda is a display typeface. It can be used for titles and graphic projects, which support Arabic, Persian Urdu and Kurdish. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. The sharp endings in the bottom of character also give an aesthetic addition to the character. (8) Weights has been created for this typeface between the heariline weight and heavy weight. Besides, those six additional weights which can be used in headline, has baseline parts are more thicker than the vertical parts. One has a regular form and the others has a stencil form in the middle using various styles. This typeface with its diversity of (14) weights is intended to be an attempt for a good addition to Arabic typography.

Finador Slab is a soft slab-serif family. It has a strong character and can be used for a lot of cases, especially for editorial, branding, packaging and logos. The Slab version is based on the Finador Sans version. It matches perfectly and can be used easily together. The Finador Slab family includes 8 weights, from thin to heavy + their matching italics. With 900+ glyphs per style it supports over 200+ latin based languages, includes an extended currency symbol set and a lot of Open Type Features like small caps, ligatures, fractions, alternates and many more. The lightest and boldest weights are good for display usage, while the middle weights can be also used for body text. Finador Slab supports almost every of your needs. It meets all the requirements to become your next favorite workhorse family. So just give it a try. The Medium weight is for free.

"Welcome to the distinctive world of typography! A genuinely distinctive sans-serif display typeface is Egovu. Egovu is the ideal option if you want a bold and distinctive style for your many different visual design tasks. What is so unique about Egovu? has incredible characteristics. Egovu allows you to be as creative as you like with its selection of ligatures and alternatives. Every project may simply be given a distinctive, personalized touch by using different letter combinations. Since we understand how crucial it is to communicate with a worldwide audience, Egovu supports numerous languages. Your message will be efficiently and clearly heard by individuals all across the world. Are you prepared to advance your design, then? Egovu is prepared to advance your initiatives. Egovu is ready to take your projects to the next level. Get this font now and see how Egovu turns every design into an unforgettable work of art.

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

The Mancho Font was completely created by graphic tablet. This font family comes in two weights; regular and bold. They're all capital but lowercase and capital letters are different from each other. The name “Mancho” comes from Turkish Rock Music Singer "Barış Manço". The Mancho font can be a part of your stylish designs with its free and powerful outlook.

This font is created specifically for the purpose of creating logos for Progressive Rock bands. Such bands oftentimes have their logos designed by Fantasy artists such as Roger Dean and Rodney Matthews. The capitals and lower case are distinct enough from each other to be completely separate fonts. I decided, however, to combined them as one font. http://homepage.mac.com/baronvoncruzer/cyberiankhatru/byrningbridgez.htm

Stop is a heavy futuristic sans serif display font, designed by the famed Italian type designer Aldo Novarese. Stop's forms are vaguely stencil-like, and some of them only read as letters when used in combination with each other. Nevertheless, Stop has a real computer-technology" feel to its design. It should be used exclusively for headlines or logo work."

Gift Wrap JNL takes a classic wood type display font and cuts it into diagonal striped lines to emulate package wrapping paper. An interesting side effect of the lettering is that at first glance you might perceive the style as being an oblique, but the letters are actually vertical. This typeface is perfect for holidays, birthdays and special events featuring a festive theme.

Balthasar is a very distinctive, stencil-type display font. Its letterforms originally appeared on a lettered book jacket by Michael Harvey. Its highly condensed letterforms being very economic in the use of space. The augmented, Balthasar Plus version has many alternative characters and ligatures, together with Opentype features for their automatic substitution where the application in which they are used permits.

Magnadens is a typography with thick, stylish lines that can be particularly suitable for headlines, posters and logos. The main peculiarity of this typography are the slightly arched stems on the edges, which gives it a solid base while maintaining a certain elegance. Some glyphs like the "h" and the alternative "n" or "m" bring a medieval connotation while remaining modern.

Go grab this rock’n’roll display typeface especially suited for posters and headlines in general. This typeface also has many banner dingbats which can be combined in many ways, but there are also finished banner dingbats ready to use. The quality doesn’t stop there, as you can also make use of Central European characters, adjusted Scandinavian characters and fine ligatures. Enjoy!

Varvara is a new display typefaces family create as a tribute to the work of Barbara Stepanova (1894-1958). Varvara family has light, medium and bold weights in 6 differents versions (normal, rough, screen, inline, shadow and star), all with alternates letters. All versions are provided in latin, cyrillic and greek alphabets. It can be use for text as for titling applications.

The Speakons are made out of 500 icons in three different styles. They change automatically into icons by typing the right words through its OpenType feature. It was specially designed to break down our language barriers. To be understood internationally. It’s also perfect if you just need a huge icon family. Give it a try! You don’t want to miss it.

Angelle is a serif type. Inside there are two options, namely Regular and Bold. In addition, this font also comes with Ligature and Stylistic Alternates features. The font has an elegant, delicate and luxurious character. Very lucky for those of you who can have it. This font can be used to create wedding invitations, presentations, web, magazines, covers, and various other designs.

'HU Retroround' is a font that captures the feel of the retro typefaces used on signboards during Korea's modernization era. This font has a variable function, allowing users to fine-tune the thickness they want. (Available only in Adobe programs.) Six basic weights are provided so that they can be used even in programs that do not apply the variable function.

Vincente is a contemporary but Didone-look serif with condensed proportion. Inspired by vintage iron works and antique botanical pictorial book. Very simple and orthodox letter forms with some charming accent such as can be seen in "y". Sophisticated curves but they have human warmth as if they are hand-crafted. Consists of six weights and supporting almost all latin languages.

Inspired by vintage sportswear. The Courage Union font is designed in slab serif style with a vintage athletic feel. There are six varieties: regular, rough, halftone, outline, outline rough, and outline halftone. Ensuring carefully crafted styles result from the use of this font. This font can be used for anything from logos to social media content to cheering for your favorite sports team.

Gitenn - is a font that you can use in your projects and features both Latin and Russian alphabets. I did it cheap enough that anyone with a couple bucks could buy it. I think that anyone who wants to buy a font wants it to be unique, and most fonts are of the same type, so I made it extraordinary and beautiful.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

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, like this highly ornamented animal kingdom inspired capitals and alphabets: the Seddon Penmans Paradise Capitals typeface. And, on the other hand, you can get the animal and human kingdon inspired penmanship forms in the Bestiario font. The “SeddonsFleurons” will complete the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

Developed from the STP Display, the STP Stencil Typeface follows the same characteristic premise as its sister, in addition to composing the same number of Latin characters. What distinguishes them it’s that the STP Stencil can be applied more easily anytime, anywhere, increasing the possibility of being used in a more craft and artistic way. Since it has characteristics of a stencil font, it brings a more urban and contemporary look, which makes ideal to use it in public spaces with large circulation of people. In addition, wayfinding, architectural, advertising, packaging, posters, among others projects, are a good request for STP Stencil show its vigor and all its beauty. The STP Stencil is a modular feature source, perfect to use it in major event signaling projects or similar. It can also be useful in any demands that requires improvisation and quick solutions. The STP Stencil has very expressive forms and counterforms, but still counts with the practicality of a stencil source and its infinite possibilities of use. With a complete Latin alphabet, STP Stencil covers over 90% of the supported languages, covering the entire American continent, East and West Europe and most of the countries of Africa, Asia and Oceania.

Wood Type Catalogs of the 19th century often offered tools and accessories alongside alphabets of wood type. Probably the most closely related was wood type borders and ornaments. Decorative Borders were often sold by the foot and accompanied by corner pieces that matched the designs. These borders could be assembled in almost any size dimensions as needed. The digital version uses the same principals of modular assembly to create the exact size border that is needed. Along with the borders, included in this font are a selection of "streamers". These banners would have been made to order with the font designs reversed out along a horizontal banner with decorative end caps. The digital version allows for a modular assembly by selecting choice of end caps and then typing the = as many times as needed to achieve the desired length. 10 styles of 9 piece borders can be created in any size variations as well as 8 styles of streamers in any desired length. Some of the designs can be mixed and matched for unusual contemporary design interpretations of these historic styles. It is recommended that the line height (leading) is set to the same size as the point size setting, this will visually lock all elements together.