Gatsby Modern Serif takes its cues from the "Roaring Twenties" , an era when breaking from the norm was the order of the day, when femininity took on a charming 'boyishness', and a time when anyone who’s anyone, needed to be bold and ever so slightly, or even not so slightly, eccentric. Perfect at any size - Gatsby Modern does well from large eye-catching headlines , to large paragraphs of small text. Great for modern branding, posters, logos, social media projects, headers, advertising and so much more. Gatsby Modern is available in two weights, regular and a heavier set bold to suit your project needs.

M Zhi Hei's design concept comes from M Stiff Hei , where horizontal and vertical strokes (橫、豎) are direct, dots (點) are short but forceful, downstrokes(撇、捺) are straight and sharp - everything bold and straightforward. One big difference between M Zhi Hei and M Stiff Hei, is the similar thickness of horizontal strokes (橫) across all font styles, so that there would be a strong contrast formed by the thin horizontal and thick vertical strokes (橫、豎) in the bold face. Still, remains bright, neat and beautifully crafted, it is a multi-purpose typeface that convince audiences and cater for different needs.

Fluffenhaus is a vintage bold retro-font, the glyphs are soft serve ice cream, sorta Cooper Black after to much party. A fun playful look that suggests the 1960's and 1970s rock posters and cereal box art as well. Fluffenhaus is a fat bold font, apply to projects that need an attention grabbing headline that expresses the fun of the information being convened. Tightly spaced in the metric, suggested uses would be for it to be used BIG and then bigger. Fluffenhaus is a groovy beautiful and tuned into the psycho-fab of the now!

Daylane is a new modern monoline script that suits for watermark, branding, logo, invitations, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, special events, and more. Daylane has three styles for each font, Regular, Light, and Bold. Daylane Font also has a standart Multilingual Support. Files Include : Daylane – Light Daylane – Regular Daylane – Bold Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multi-language Support Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

You're trapped in an endless now... seconds seem to be stretching out interminably... There’s an eternity between every tick, every tock of the clock... Your consciousness is stretched to the limit as time is expanded to fill the void between each microsecond. There’s a signpost up ahead... the letters appear to stretch into infinity. Anyone know the name of the font it’s set in? See the families related to Temporal Shift & Gap Expanded: Temporal Shift & Gap & Temporal Shift & Gap Compressed Features Four fonts (Shift Regular, Shift Bold, Gap Regular & Gap Bold) with upper and lowercase characters.

Bondan is a family of Sans Serif fonts designed with a modern and vintage feel. Strong and dynamic. We set individual letters of medium with medium spacing for perfect typography. Bondan is very versatile. Perfect for brands, magazines, posters, logos, logotype stickers, website titles, packaging, branding, quotes, business cards and more. Bondan is equipped with a full set of uppercase letters, numbers, punctuation and multilingual support. Each font family version is available in the OTF formats for a total of 5 font files. What is included? • Bondan Light • Bondan Regular • Bondan Bold • Bondan Regular Outline • Bondan Bold Outline

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

M Zhi Hei's design concept comes from M Stiff Hei , where horizontal and vertical strokes (橫、豎) are direct, dots (點) are short but forceful, downstrokes(撇、捺) are straight and sharp - everything bold and straightforward. One big difference between M Zhi Hei and M Stiff Hei, is the similar thickness of horizontal strokes (橫) across all font styles, so that there would be a strong contrast formed by the thin horizontal and thick vertical strokes (橫、豎) in the bold face. Still, remains bright, neat and beautifully crafted, it is a multi-purpose typeface that convince audiences and cater for different needs.

Bagusih is the perfect font for anyone who wants to bring their designs to life with a bold, unique look that’s sure to stand out from the crowd. With its retro-inspired design, this font is perfect for those who want to create a 60s-inspired aesthetic, or who want to give their designs a retro feel. And with its bold and geometric design, Bagusih is also perfect for those who want to create a geometric look with lots of impacts. So whether you’re looking for a retro or geometric look, Bagusih is the perfect font for you.

The Dinkle fonts are the creation of a sketchbook artist who spent years refining her craft, Diana Hollingsworth Gessler. She created the Dinkle handwriting fonts for use in her book "Very New Orleans," and now you can use it in four convenient styles: Regular, Bold, Italic and Bold Italic. Each font in this family was drawn individually, capturing nuanced differences of natural penmanship when the weights are paired together. A hand-lettered journal style, the highly legible Dinkle fonts offer tidy text and clear captions. Use it for signage, quotations, or anywhere you need a personal touch in your designs.

Beeching is a family of six typefaces designed to combine extreme legibility with a hint of retrospective character. It is inspired by the lettering used in the Leslie Green designed stations of the London Underground and is as up to date today as it was the day those stations opened. The Beeching faces (Regular, Bold, Small Capitals, Small Capitals Bold, Shadowed and Small Capitals Shadowed) are ideal for use in large scale signage that needs to be seen over long distances. We feel the family provides a clear demonstration that traditional details, such as serifs and ligatures serve to enhance legibility.

Ned Std. is part of a series of typographic experiments from the young Swiss designer Michael Parson. Using a wide, horizontal hexagonal grid, Parson created the system of letters that make up this font. Text set in Ned Regular takes on a modular, honeycomb-like appearance. For an interesting effect, try overlapping individual letters, or use a few letters together as elements in a logo. A great companion face to Ned Std. is Linotype's Hexatype Bold. Both Ned Std. and Hexatype Bold have been included in the Take Type 5 collection, along with eight further constructions from Parson."

Zim is a bold, earthy font, named for the Great Zimbambwe ruins (a World Heritage site). Its solid silhouette represents the timelessness of this ancient structure. The font is very readable, and its bold, rugged shape make it ideal for display purposes, for posters and headlines. Fully professional, it contains a complete set of 255 characters — Upper and Lower case, all numerals, punctuation, symbols and accented characters. It is suitable for layout work in all major European languages — Spanish, Portuguese, German, French, Swedish and Italian (to name a few). The characters are spaced for readability and have been carefully kerned.

Tupã is the Brazilian indigenous word for thunder, that is worshiped like God in their mithology (in Tupi language). The typeface was developed to be strong and with great impact. The UPPERCASE was carefully designed with a lot of different features, and the lowercase is a mix of small caps and traditional forms, which brings a lot of personality and uniqueness to the design. Tupã familly is composed by two weights and four styles: Regular, Italic, Bold and Bold Italic. It’s a project recommended for titles, logos, posters and everything else you think it works. Take a look at the complete Specimen here.

Mitra is a modern Arabic text typeface with two weights: Mitra Light and Mitra Bold. Both of the fonts include Latin glyphs (from Optima Medium and Optima Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Mitra fonts incorporate the Basic Latin character set (Western CP 1252 Latin 1/ANSI and Macintosh US Roman) and the Arabic character set (CP 1256), which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

he Storia Lettering Serif style is absolutely perfect for editorial headings. The full font type upright and italic makes it easy for you to use the 2 styles in many projects. This font is complete with symbols and is multilingual. This font style is bold, bold, and sleek, featuring Swash,n Ligature and Stylistic Alt & Stylistic Set features. making it perfect for editorial, web, posters, t-shirts and magazine covers. . etc. Including: Storia Lettering & Italics Uppercase Letters, Numbers, Punctuation & Symbols. Multilingual Support More about this source text Source text is needed to get additional translation information Send feedback Side panel

BB Casual™ (Std/Pro) is a font family that appears between a contemporary neo and geogrotesque design. The characteristic is formed by the intermediate step of the font classifications on the most relevant shapes: geometry (shape and with), contrast (text and display), white space (initial and terminal) and chiriographic elements (linework, punctuation, style and variant). The character set also has a large selection of matching symbols and superscripts. ● 2 Variants: characterized and simplified ● 20 Stylistic-Sets ● 34 Styles ● 41 OpenType features ● 95 Languages Support ● 41,854 Glyphs (1,231/Style) Designer: Bold Publisher: Bold Design date: 2019-2020 Release date: 2020 Version: 2.0

Introducing this very simple sans serif font that is Paris Van Java, the font Family. I created this font with the inspiration of simplicity and it is very friendly to look at, with four versions, namely regular, italic, bold, bold italic. Very suitable to be applied in various aspects of design, Also it’s perfect for logo, branding, title, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event, magazine, web designs, etc. Features : Symbols multilingual support If you have any questions please don’t hesitate to contact me follow my Instagram: @fkryall Thank you

Grab our new font, Xagetif Groovy font, and start creating your own custom project. Use it to add a little flair to your editorial work or use it for branding or product packaging with a bold and fun character. Time to add some oomph to your next project with this font. This retro-inspired typeface features a psychedelic, bold and fun character ideal for branding and product packaging. This elegant typography is simple and contemporary but with a touch of simplicity that gives it a modern feel. To create your own custom project, start using this font now!

By overwhelming popular demand, this is the wide display companion to Canada Type's Clarendon Text family. It comes in ten styles: regular, medium, bold, with small caps and oldstyle Figures counterparts, as well as stencil and sketch versions of the regular and the bold. All the fonts come equipped with superscripts/numerators, denominators, and scientific inferiors. The OpenType fonts also contain automatic fractions and class-based kerning. The Clarendon Wide fonts are available in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Ds Hand Font Family is a handwritten font designed by Tom Nikosey, based on Danielle Nikosey’s printing style. Tom is an American Graphic Designer specializing in Typographic Design and Illustration. Ds Hand is available in Regular & Bold weights CozyFonts Foundry is Tom's intro into the world of font design. Ds Hand Family is a tribute and gift to his daughter. Ds Hand, at first glance, gives a hand drawn aesthetic feel but on closer inspection, when set as text, this font gives off a cool, organized, legibly organic read. Also available in Bold. This is the 5th Hand Drawn Font Family from CozyFonts!

You're trapped in an endless now... seconds seem to be stretching out interminably... There’s an eternity between every tick, every tock of the clock... Your consciousness is stretched to the limit as time is expanded to fill the void between each microsecond. There’s a signpost up ahead... the letters appear to stretch into infinity. Anyone know the name of the font it’s set in? See the families related to Temporal Shift & Gap Expanded: Temporal Shift & Gap & Temporal Shift & Gap Compressed Features Four fonts (Shift Regular, Shift Bold, Gap Regular & Gap Bold) with upper and lowercase characters.

Say hello to the Editor's Note Family, an editorial serif display that includes 16 fonts, regular and italic, from Hairline weight to Bold, and still has all the clean lines, tight curves, and trendy minimalist vibes! I've been loving the clean, editorial type trend happening in design right now (let's be real, there's always a place for timeless editorial type). Editor's Note is a stunningly crisp upper and lowercase typeface that looks incredible in both large settings as a display text (think big headers, pretty quotes, calls to action, etc.). I've been loving combining the regular and italic, especially in big, bold quotes.

The Tibet Museum fonts are designed for harmonic layouts of multilingual texts, especially for the combination with asian fonts such as Tibetan or Devangari. Tibet Museum is a family of four fonts – Regular, Bold, Regular Italic and Bold Italic – that combines the shapes of Tibetan letters with a contemporary western font. The result is a unique set of characters that allows the design of multilingual applications and adds to an outstanding identity. It is perfect for branding projects as well as editorial and exhibition designs. The fonts contain a set of more than 400 glyphs to support 207 languages.

Ascender Sans was designed by Steve Matteson as an inventive, exhilarating sans serif design that is metrically compatible with Arial. Ascender Sans offers enhanced on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across different platforms. The Ascender Sans Narrow offers enriched on-screen readability characteristics and the pan-European WGL character set and resolve the needs of developers looking for width-compatible fonts to address document portability across platforms. Ascender Sans Narrow contains regular, italic, bold and bold italic fonts.

Praxis® Next has the same robust shapes and proportions as the original 1976 Praxis design. Its large x-height, substantial counters and open apertures guarantee high levels of legibility and reading ease in print and on screen. More weights, condensed designs and true cursive italics differentiate Praxis Next from the older design. Praxis Next shines where space is at a premium. The regular designs are modestly narrow while the condensed typefaces perform with grace in the most crowded of environments. The bold designs create powerful headlines and banners and the lighter weights are ideal for both long and short-form text copy. Because of its many weights and proportions, Praxis Next is also an ideal design to build a brand identity. Praxis Next Variables are font files which are featuring two axis and have a preset instance from Light to Ultra and Condensed to Roman. Pair Praxis Next with old-style designs like Bembo® Book and Stempel Garamond™ to create a dynamic typographic contrast. Or complement the design with its serifed counterpart, Demos® Next . Unger also drew ITC Flora® as an alternative italic design. Looking for something a little different? Pair Praxis Next with Masqualero™ .

Agatized Informal is a rough-edged stencil typeface with chunky letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. The design is something of an enigma, a curious mish-mash of genres – imagine splicing Uncle Buck and Deadpool into a horror movie – it’s big, bold and funny although has a dark side. But what really makes this typeface a joy to drive is its boot full of alternative characters and ligatures. There is a saying: Use sparingly. Not on this street! Make your Glyphs palette burn rubber. Set your OpenType to full throttle: crank up your style and get those liga-tyres screeching. Agatized is a souped-up old campervan spinning doughnuts on the beach. The design started life as a piece of lettering for a book design that didn’t progress past the sketch stage. I liked the rough, dense character shapes, so during some down time I started drawing more characters and the lure of a new typeface pulled me in from there. Although this is a single-weight typeface it has a younger sibling, Agatized Formal, a neater, more dapper brother, smoother round the chops and smartly dressed – certainly no less fun though.

Based on the Albert Auspurg design, circa 1921-27.

Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton. Due to their pure geometric structure, most grotesque typefaces tend to have a rather monotonous and lifeless appearance, thus failing to express the ideals of the modern creed. Das Grotesk on the other hand is a lively design with several distinguishable characteristics which attract attention when set at large sizes, whilst they become subtle and blend evenly at small sizes, fostering a neutral identity. This is a very legible and space-saving typeface with a narrow structure. It was designed with slanted curved ends and sheared terminals applied on several straight strokes. It has two-storey ‘a’ and ‘g’ but includes single-storey alternates. The family consists of 14 weights ranging from Extra Thin to Black (including true-italics). It provides simultaneous support for Latin, Cyrillic and Greek and is loaded with several advanced typographic features such as small caps. Download its complehensive PDF Specimen Manual for further details.

Those who design books for young children should consider the different needs of their readers. When laying out pages for young readers, particular care should be taken over word spacing. Don't forget that justifying short lines disrupts spacing. Justification should be used only when absolutely necessary. In the research undertaken with young readers the importance of consistent spacing was clear. It also appeared that the poorer readers profited from wider word spacing, while spacing that suited the poorest readers, positively annoyed the better readers. These typefaces have built-in letter spacing because of their exit strokes, as well as extra clarity designed into them. Sassoon Primary Medium Condensed is a compact style for headlines combining the right amount of weight, yet in a friendly style. When used at large sizes the friendliness of Sassoon types really shines. Why not use it for headings throughout a book. You can find many other new ways to use this typeface. Ideal perhaps for the masthead or a magazine? Free to download resources: How to access Stylistic Sets of alternative letters in these fonts

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing Marsmila, a luxury beauty calligraphy font inspired by the Victorian era and the Grace of the Roman letterforms as well as modern calligraphic aesthetics. Its graceful, curving lines and elegant swirls are a delight to behold. Marsmila comes with massive number of glyphs and stylistic alternates, including extra beginning and ending swashes. Perfect for your next calligraphy project, or when you want to make your text look fancy! Make your next design projects look like you took them to an expensive calligrapher to be done for hundreds of dollars, but you didn't! You can use it in any design and any way you want. Marsmila typeface works best for logos, posters, styling purposes such as invitations, greeting cards or any design projects which have some elegant vibe to them. A Million Thanks Colllab Studio www.colllabstudio.com

Fast Rewind: A Timeless Handwritten Script Font A handwritten brush script with a versatile, relaxed and nostalgic feel. This illustrative brush script owes its inspiration to the 1950s art direction typical of mainstream magazines and book covers. A relaxed hand-lettered title was often paired with illustrations of handsome couples or escapist scenes, encouraging readers to settle into the latest gripping story from authors such as Ray Bradbury, Donald Westlake or Arthur Miller. Fast Rewind aims to repurpose this vintage look for contemporary designers with two handwritten fonts, drawn in ink and brush, and then digitally mastered to maintain those all-important human imperfections. Included are the Regular and Alternative designs, with a complete set of uppercase and lowercase characters, along with numbers, symbols and language support. Also included are a variety of underlines and illustrations as seen in these visuals. Each style also comes with its own selection of extra glyphs to helps you achieve the perfect flow between characters and avoid tell-tale repetition. Thanks to all the great photographers who provided images for these visuals.

Malou Verlomme designed Madera with graphic designers in mind – drawing on his decade of experience designing bespoke type to create a versatile, easy-to-use geometric sans serif that ticks off a long list of branding requirements. Its sharp apexes add some flavour to the design, which offers an honest, trustworthy tone of voice – but with a twist. “The design doesn’t go out of its way to attract attention, but is still very solid,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. If you’re a large corporation, with a typeface being used in many different environments, you want something that’s easy to use but can sustain such a large amount of visibility.” The Madera typeface family has 32 fonts: Upright, Condensed and Italics. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

Moneymachine is a sans and serif combined display typeface. Inspired by the art of money printing, the typography used for certificate production and classic letterforms, Moneymachine uses a traditional and perfected serif font and blends it together with a modern and clean sans-serif. The result is an original and confident work, which fits perfectly as a logotype or headline in any context that requires that extra touch of coolness. The Moneymachine family consists of six fonts: The Regular that combines sans and serif. Inverted for a white-on-black version. The Serif and Sans for more basic writing. White and Black for a lettering with a banner. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Novel Sans Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Novel Sans Rounded Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection], also containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Rounded Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Pro being a modern humanist. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Rounded Pro [1020 glyphs] comes in 6 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

The typeface Brush Hand Marker is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough sans-serif display typeface with 4 font styles (Italic, Invert, Shadow, 3d) is inspired by handwriting. 348 glyphs incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-Font (with reduced glyph-set) for FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Brush Hand Marker ■ Font Weights: Italic, Invert, Shadow, 3d + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 348 glyphs ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

This typeface incorporates round smooth corners and distinct design elements in several characters like 'a, g, k, m', without compromising legibility. In order to retain its sharpness, inner corners as well as junction points were left steep. This is a balanced typeface which works very well in long texts at small point sizes. Since its first release it has been used in numerous magazines, advertising campaigns and corporate applications. Handbook Pro comes loaded with a number of special features. The family consists of 14 fonts -from black to extra thin- including true italics. It supports 21 special OpenType features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Greek and Cyrillic. There is also a set of very interesting stylistic alternates which can be used to add a refreshing flair to your designs. Finally, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life.

Novel Sans Condensed Pro is the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Condensed Pro has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Condensed Pro being a space saving, modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Condensed Pro [1020 glyphs] comes in 6 weights and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Ever since we started publishing on MyFonts in 2009, we've received requests for a typeface to complement our popular dingbat fonts. So here it is: LiebeErika. Friendly and polite, rather thin, extra narrow, and of course‚ carefully hand-crafted. LiebeErika’s casual and warm style is perfectly suited for invitations and personal correspondence. It’s even in the name: German phrase, Liebe Erika‚ translates to, Dear Erika, the beginning of a personal letter. But LiebeErika is not limited to English or to the German character set. It supports many other languages, too! LiebeErika comes with a stunning variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 500 glyphs, so it’s actually two or three fonts in one. If you like this font, you may want to look at LiebeOrnaments, our perfectly matching set of swashes and curls to complement LiebeErika. By the way: LiebeErika gets along great with our wide range of illustrative fonts such as LiebeCook, LiebeFish, and LiebeTweet.