Hello Everyone, introduce our new product Font Shilling - Handmade Script Font with a natural handwritten feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes. photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is has charming, authentic and relaxed characteristic more natural look to your text You can activate 6Ligatures glyphs OpenType panel.

Decour Soft is the rounded-edged version of Decour. It is a slab serif humanist low contrast typeface. The overall design also features strong curves, making it a very friendly face. The font retains the original elegant features of Decour—based on Art Deco design—such as high contrast between upper and lower case characters. Decour Soft is a suitable font for logotypes and packaging. Its design also allows it to be used with certain elegance in book titles and magazines subheadings.

Roxfranks is a Fancy Brush Script font. With rough brush stroke, slant and fun character with a bit of ligatures and bit of alt lowercase. To give you an extra creative work. Roxfranks font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Roxfranks font. Cheers, MaulanaCreative

Occasionally a type design is started - then set aside for whatever reason - before eventually being completed. More often than not, the original source material is forgotten, so proper attribution cannot be made. Such is the case for a hand lettered Art Nouveau alphabet likely found within the pages of an early Speedball lettering book from around the 1920s. This playful and casual design is now digitally reproduced as Nouveau Signage JNL, and is available in both regular and oblique versions.

Toony Line is a comic font that feels like a delightful throwback to the golden age of cartoons. Funny and loony, the font channels playful tunes while its sharp, sans-serif characters dance on the page with a joy reminiscent of our favorite animated classics. There's a hint of Mickey's magic, a dash of Disney dreaminess, and the unapologetic boldness of comic strips and street art. But what sets Toony Line apart is its intricate overlapping effect, made possible by sophisticated OpenType.

Sick to death of buying an entire dingbat font just for the ONE symbol you really want? Are you a closet Goth? Do you think Halloween should be a national holiday? If so, then you need Crania, the all skull font. No poorly drawn bats, no gay pumpkins, no goofy looking Frankenstein monsters or grinning mummies, no lame-ass puns carved into headstones... JUST SKULLS. Crania contains 52 different skulls and a PDF guide so you know what the hell you're doing.

What's so funny 'bout peace love & understanding? Nothing really. Love and Peace is an Art Nouveau style typeface inspired by Eckmann-Schrift by Otto Eckmann in 1900. Love and Peace is filled with ethereal elegance and it's great for posters, magazines and psychedelic LP covers. Love and Peace is equipped with few Contextual Alternates and Standard Ligatures to prevent characters from colliding. In addition it has Stylistic Alternates for lowercase a, k, r and s, and Swash Alternates for ampersand and dollar sign.

In a career spanning the early 1900s through 1940, George M. Cohan wrote and produced over 50 plays, 300 songs and was also an actor, singer and dancer. Many of his works honored his Irish roots, and the cover of one piece of sheet music called “The Irish American” (1905) had its title hand lettered in a condensed Art Nouveau type design with tiny spurred serifs. This is now available digitally as Dress Rehearsal JNL, in both regular and oblique versions.

Princess Kimberli is a modern handwritten font with an incredibly friendly feel. It features gorgeous swashes and ligatures that make this script incredibly versatile. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, Kimberli will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

The flashy font is a fun, cool, and retro style. Come with a fun alt glyph, it can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! This font is perfect for headings, flyers, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Hello Everyone, introduce our new product Smooky is Funny Playful Font. Use it for any project that needs a cheerful and playful look! Perfect for labels, quotes, posters, DIY projects, branding, packaging, greeting cards, websites, photos, photography kids,child,window art, scrapbooking, tags and so much more! Smooky is font with Unique and challenging nuances. very suitable for the title, typography, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

Samuel Welo was a sign painter who had published in the 1920s and again in 1960 editions of his “Studio Handbook – Letter and Design for Artists and Advertisers”. In-between, in 1930 Welo also published “Lettering - Practical and Foreign”. Within the pages is an Art Deco outline slab serif design using multiple thin lines to create an “incised” or “engraved” look within the characters. This intriguing type style is now available as Guest Invitation JNL, in both regular and oblique versions.

Linotype Grafilone is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. In creating his font, Bo Berndal combined elements of the constructed and Art Deco styles. Slender and angular, Grafilone is mechanically exact and coolly resesrved. A distinguishing characteristic is the combination of angular and sloping strokes, which give the font a dynamic feel. Grafilone is particular good as a headline font and for initials when combined with constructed sans serif fonts.

Fox Heart is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Promethium is an elegant vintage-style condensed font with lots of ornate detailing. Ideal for western, cowboy and rodeo graphics, as well as circus & carnival themes. Additionally, Promethium can trace some of its design roots to the well established Argentine graphic style known as Fileteado, as well as to Victorian poster and book arts. The stacking & layering of the 4 different versions of the font can yield a great range of eye-catching diverse looks and color schemes that can fit many purposes.

Christmas lights is a modern handwritten font with an incredibly friendly feel. It features gorgeous swashes and ligatures that make this script incredibly versatile. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, Christmas lights will turn any creative idea into a true piece of art! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Taking inspiration from an attempt to marry art with industry of Bauhaus (1919), Brueul Grotesk is classic and straightforward, cutting back superfluous elements. A Sans Serif type, it’s like a design from the Machine Age. It comes in A and B sets to offer end variations—choose the bulbous terminals set if you need a less stern impression. It is then suitable for diverse demands. Brueul Grotesk has A and B sets with 16 weights each, giving you an all-purpose usage typeface.

Kalela Slab is Condensed Slab Serif Font a Modern Condensed Slab serif with solid font files. Suitable for branding, name card, stationary, design title, blog header, Logo, greeting cards, quotes, posters, art quote, typography. Kalela Slab Condensed Slab Serif Font also suitable for your any projects. Iclude: Kalela Slab With 4 Weight; Thin, Light, Regular and Bold Features : – Upper Case & Lowercase (All Caps) – Numerals & Punctuations (OpenType Standard) – Accents (Multilingual characters) No special software is required to use Kalela Slab Condensed Slab Serif Font

Pontiac Inline is a layered Art Deco font designed by Fanny Coulez and Julien Saurin in Paris. This finely balanced inline font can be enhanced to improve your designs and bring an unusual and modern feeling. You could change the inside color, then add a 3D or shadow effect. To do so, you can simply superimpose the elements in compatible softwares (Photoshop, Illustrator...) ; The Regular above, the Inside line below, for example. We hope you will enjoy our work. Merci beaucoup!

Cyberank techno display typeface is a bold geometric with sharp angles typeface to unleash creativity and transform your designs! Strong and impactful characters with a futuristic look create a powerful visual impact that will leave a lasting impression on your audience. Features : Bold, Unique & Strong Techno Display Typeface Futuristic Character Design Alternates, Ligatures & Multilingual Support with PUA Encoded Note : To be able to access ligatures and the alternate letters, please make sure the software you are using can support opentype features.

Baseball Dynasty™ is an all-caps Art Nouveau font with authentic, classy, turn-of-the-century styling that recalls the early days of baseball. It can be used for historical purposes such as documentaries, but it also lends itself to nostalgic marketing & packaging with its down home, good-old-days kind of vibe. Let Baseball Dynasty™ help you knock your project out of the park! Digitized by John Bomparte. **Breauhare’s Elephant Party™ font also appears in the “Granny’s” poster

Rasteroids Monospace is a typographic flashback to computing of the mid 1980s, when 9-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Because of its fixed character width, Rasteroids Monospace is intended for use in accents or small areas of copy rather than long documents.

Cherrious is a soft and sweet handwritten font. Fall in love with the original feel and love-shaped swash character. This font is perfect for creating beautiful wedding invitations, beautiful stationery art, eye-catching social media posts, Logos, Brands, and cute greeting cards. This display font is the perfect choice for creating original and extraordinary designs. This font is PUA coded which means you can easily access all the heart themed glyphs ! It also features many special features including glyphs and alternate ligatures.

Wieldy crafted character Wieldy is a prime quality typeface rooted in the tradition of good craftsmanship, full of character and reach in details. Extended serifs, connected with dots, are just some design features this artisanal font can offer. Wieldy is based on the ahistoric forms developed by Central European Arts and Crafts movement. It is suitable for visual identities, packaging or book headings. The typeface’s x-height is around 72% of its capitals. The font is endowed with details, ligatures and special characters.

Six Sided Monogram Font is a perfect shaped monogram font consisting of 78 letters and 1 basic frame. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Six Sided Monogram Font comes with font file in OTF format. It features all the modern advanced font features such as Contextual Alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

About this font family Afons Infant has been designed for children’s storybooks; using round, single-decker letter forms to create simple, clear and readable stories that children are familiar. Features 5 weights (from thin to bold) Multi language Lowercase Numerals to blend with text Ligatures To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw and other applications. Designed and published by Andy Peat. Released April 2022

Morgalina Vintage Is a Serif Display Font With a Retro Vintage Style Bold Typeface, Modern Classic Yet Decorative. It Comes in 2 (Two) Styles (Regular and Italic) Including Slants, and Is Created With Stylistic Alternatives and Ligatures. Featured With Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features. Perfect for Your Design Projects Like Logos, Branding, Advertising, Product Designs, Stationery, Magazine Designs, Book/Cover Title Designs, Photography, Art Quotes, Wedding Designs, Fashion Designs, Special Events, Labels, Product Packaging, and More.

Thrillington is font duo with modern vintage look design styles, available on script and Display Sans serif typeface. These two lovely fonts would be perfect to combine in your design. Brand new stylish textured fonts and Make it easy for made logotype hand lettering Style. It will be great for Logotypes, Posters, Digital Lettering Arts, Clean Design, Branding Design, Sign, Merchandise and Social Media Posts. This font contain of Uppercase, Lowercase, Number, Symbol, Punctuation, also support multilingual and already PUA encoded.

Beauty Balichot is a Modern Serif Display Font combined with decorative ornaments that make it unique, luxurious, elegant, and versatile. Come in 2 (two) styles (regular & italic) and is created with glyph variations like alternates and ligatures. Featured with Uppercase and Lowercase, Numeral and Punctuation, Multilingual Support, and Opentype Features. Perfect for your design projects like logos, branding, advertising, product designs, stationery, magazine designs, book/cover title designs, photography, art quotes, wedding designs, fashion designs, special events, labels, product packaging, and more.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

When I first approached this design back in 2003 I wrote myself a design brief that called for a simple sans serif "avec serifs" (with serifs). Its emphasis needed to be on text usage but to be at home in display sizes. A range of weights with a controlled step from one weight to the next, uniform character sets, spacing and kerning throughout the range. Attention to openness of counter spaces would be paramount to work in text sizes. Matching italics should be true italics not merely slanted - with a cursive feel. During extensive testing I decided to include a suite of ligatures to eliminate the hairline gaps that occur between slab serifs at display sizes. The user may activate "Discretionary Ligatures" or "Stylistic Set 1" for ligatures that are not included in the Standard Ligatures (ff, fi, fl, ffi and ffl). A concise User Guide can be downloaded at this link.

Ligatures FS Rufus is an outgoing, likable sort of font with an eccentric streak. Wide letterforms and curious ink-traps make for an engaging personality, and a set of discretionary ligatures make FS Rufus irresistible to designers wanting to play. Not a small set, either: there are some 80 different options available. Wide The decision was made early on to make the letterforms of FS Rufus luxuriously wide. This generates a distinctive visual texture when the font is used for text. With other weights available for headlines, FS Rufus brings a curiously engaging look to editorial, magazine covers and advertising. Just look at my ink traps Ink traps are normally the preserve of fonts intended for printing at small sizes, in newspapers or directories – extra notches necessary to prevent ink from pooling. FS Rufus turns the ink trap into a beautiful eccentricity, flaunting it in both its lowercase and capitals. Take a look at the “h”, “a” and “k”, and the “B” and “N”. Attention-seeking? Moi?

Marlin Soft is a rounded corner version of our Marlin Geo font family and like its parent font also includes two sets of italics. The standard italic is set at twelve degrees and the slant version set at six degrees, the slant version is perfect for signage and headlines where you may want the look of an italic but are limited on horizontal space. Marlin Soft includes many alternates which may be accessed using opentype aware applications, with over three hundred alternates to choose from your creative possibilities are great. Whether you're looking for a round dot or a square dot Marlin Soft is one font family that delivers both set up as two separate fonts so you may change a whole page of text at one time. Your projects are sure to look nice and cozy with the warm feeling Marlin Soft will bring to your product label or page design. Three free sample basic fonts are available which are fully functional minus the alternates.

Hipster Script is another of my habitual attempts at trying to reduce the divide between manual and digital. In this case, I try to articulate brush lettering, try to get the computer to emulate continuous painting. The process wasn't that different from my work with Feel Script's shot at computerized commercial lettering, though here we have a more casual contrast, rather than the high seriousness of the Copperplate script. Swashes, alternates, ligatures — too many of them, all trying to make the interplay between the tool’s two extreme widths remain faithful to hand movement subtleties. I also toyed with ligatures containing apostrophes, something I've never seen before. With this typeface I think I've become more balanced in uniting the spontaneity of post-war ad lettering with the current trends in illustration and design. Hipster Script received a Judge’s choice Certificate of Excellence at the Type Directors of New York and was selected to be part of the Bienal Tipos Latinos 2012.

Handsome was the first digital typeface to resemble nice, ordinary, fully cursive handwriting. Or neon. In 2005, Handsome Pro was one of the first script typefaces to utilize the OpenType format to simulate the natural quality of writing, by automatically substituting alternate contextual glyphs. The effect follows the conventional “joining rules” of calligraphy, which are a formalization of the way in which letter forms are modified in cursive handwriting for the sake of speed and efficiency—and also perhaps to make life more interesting. For the look of real handwriting, Handsome is most convincing at around 15 pts. At much smaller or larger sizes it works differently. At display size, the feel of the non-nib styles is very slick, more like a speedball Kauffman, owing to the smoothness of the finish. As script fonts go, Handsome has a relatively large x-height, which can be useful if you don't want the “writing” to look too small.

The starter point of the Wienerin typeface is based on the work of Austrian designer and artist Carl Otto Czeschka who was part of The Wiener Werkstätte, an early twentieth century association of designers, architects, craftsmen, ceramists, jewelers and other graphic arts in his country. This collective of artists was influential for both Bauhaus, art deco and Scandinavian design. Wienerin is a revision and expansion of the Olympia typeface designed almost 100 years ago by Czeschka but adapted for contemporary use with the inclusion of numerous alternative signs and ligatures. Variable font technology allows a greater variety of weights to be achieved. One of the features of the original design was the inclusion of "eifassungen" or modules to create frames. Wienerin presents a repertoire of 500 in 3 weights. With an upward elongated design we have decided to also create a version of the typeface with a larger x-box that allows for a wider use of the typeface family. Because of its contrast it is ideal for use in delicate design pieces such as editorial design, elegant labels, stationery and fashion. All styles of the Wienerin typeface family cover most Latin languages.

EXPRESO was inspired by the extinct art and craft of urban Lettering applied to buses and other kind of cars for public service of transportation. Since the mid of last century, main cities of Colombia - as Bogotá, Medellín and others - were growing in population and brought urban area expansion with it and serious traffic problems due to the lack of political will and urban planning. The problem of urban transport in Colombia's largest cities has not yet been resolved, despite adopting some examples of mass transit system in other cities in the region. Before these actions, public transport in cities such as Bogotá was quite varied, leaving space for popular culture that survived for a couple of decades, until the massive dieback of these old buses early this decade, either by practices associated with Lettering it was displaced by some technological, some expressions of art street and city that evolved or disappeared. EXPRESO can be used mainly in titles and display texts. You have a multitude of options using combination of layers from the basics of the font family to the various textures and shades. Supports East Europe languages.