I was working at Bozell Worldwide, an advertising agency, on their yearly promotional pitch. An art director was looking for a condensed informal headline treatment to be used on one of the new ad campaigns. I took several different font designs and started to condense and scale the proportions in the hopes of finding several good solutions. They finally settled on a version of Times Roman, scaled horizontally to about 50 percent proportions. I liked the look so much that I later went back to the drawing board and refined the concept by adding slanted serifs and a varying alignment on all the letter forms giving the typeface a very casual and informal appearance. At about that time, I was reading a book by Jack Kerouac, and was so inspired by his writings on the ‘beat generation’ that I decided to name the font ‘Beatnik’. Afterwards, I added a set of true small capitals and old style figures. I'm currently working on additional weights and variations to expand this ‘hip’ new font series. Groovin' baby.

The original Jessen typeface, named in reminiscence of the great supporter of the printing art at the end of the 19th century, Peter Jessen, was designed in the years of 1924 until 1930. Bible Gothic was created by the famous German designer Rudolf Koch. Ralph M. Unger digitized this font exclusively for profonts in 2005, keeping his digitization as close as possible to the original design of Koch in order to preserve the distinguished character and the partly unconventional, original forms. The concept of a Bible Gothic was developing for years in Koch's mind and drove the direction of his work, but only after the experience with his Neuland design could he start the creation of his Peter Jessen typeface. Produced quite like Neuland, Jessen, however, is much more refined and more accurate in detail than Neuland. At first glance, it seems to look plain and simple, but if you look closer, the richness of its distinguished upper case forms unfold to a perfectly clear flow of text

Geometrical drawing of Fenomen Sans typeface goes back to the roots of the Bauhaus aesthetics and the entire architectural and design avant-garde of the 20th century. It is still a symbol of functional rationality, clean aesthetics in relation to shape, and of progressive thinking. Its popularity is timeless and permanent. The set contains eight basic alphabets of a square pattern, eight semicondensed, eight condensed and eight extremely condensed alphabets, all in Latin and Cyrillic alphabets. Every font of the family has four types of numerals, small caps and variant letters. The typesetting can fluently use all fonts simultaneously. The typeface originated between the years 2011–2014 and was subjected to a series of tests for the fluent legibility of narrow fonts even in extreme conditions. Narrow fonts provide this set with the maximum use also for newspaper typesetting. The typeface has an elegant, delicate design in thin fonts and sufficient legibility in bold. Mutual contrast produces creative tension. Font name acronyms described: SCN = SemiCondensed CN = Condensed XCN = ExtraCondensed

The typeface Hand Stamp Wood is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on original old wood letter, stamps, DIY and is inspired in the past and present. 4 font-styles (Rough, Mix, Circle, CircleMix) with 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, 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: Hand Stamp Wood ■ Font Weights: 4 (Rough, Mix, Circle, CircleMix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

An isolated letters display typeface design which emphasizes the vertical stems and has an overall Arabian tales and oriental look and feel. All letters start with a prominent vertical stem shaped as pirate sword and ends in very narrow stroke. Banan font family has two members, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Banan employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Banan includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

Like a lovechild of American Typewriter and Cooper Black, typewritten in melted chocolate, this is Margot. A bold single weight display typeface in roman and italic styles, Margot is boisterous but cuddly; warm but impactful. Margot comes fully loaded with a bunch of esoteric dingbats (grouped in the ornament feature), four figure styles (proportional- and tabular- lining, and proportional- and tabular- oldstyle), a spattering of swash capitals (K, Q and R), stylistic alternates and one discretionary gi ligature in the Roman. Stylistic alternates are split into stylistic sets thus: SS01 - alternate forms for ampersand and asterisk, and # changes to an attractive numero symbol. SS02 - in the Roman, a and g change to single storey versions; in the italic, the ae digraph changes to a less ambiguous double storey version. SS03 - the lining figure 3 gets changed to its alternate form. SS04 - the lining figure 4 gets changed to its alternate form. Margot is perfect for friendly headlines, logos, T-shirts (I love New York, perhaps?), food packaging and videogame apps. Margot gets its name from my equally boisterous and cuddly cat. Enjoy!

Ravensara Stencil - elegant high contrast classic serif. Ravensara family was born from the idea of taking the Didone concept to weight extremes. In light and medium weights Ravensara transmits a very elegant and high fashion style attitude, but stays readable in small sizes and can even be used as a text font. That makes it an ideal solution for projects, that needs an injection of contemporary sophistication. Heavy weights perfectly complement light and medium ones and also works great by their own in large sizes. It is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Serif. Ravensara Stencil is available in 9 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black and ExtaBlack. Ravensara font family, combining its classic origins and contemporary elegance, is a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, posters, advertising, etc. Ravensara Stencil extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

A handmade font is a creative designing way to catch attention. That is what this pretty font does. White Birds is a script font in handmade cursive styles with decorative and the dancing basic line characteristics showing the fun, elegant, modern nuances. To be visually attractive, its letter heights are made uneven for a purpose. In addition, White Birds gives you a special bonus called the clipart. Use this font for any text sizes due to its legibility and make use of the available interesting features to beautify your designs. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations White Birds fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, 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 experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Alecko is a distinctive didone-style typeface, which is strongly influenced by calligraphy, but is at the same time drawn with mathematical precision. Its advantages are summarized in its slogan: “One typeface, many possibilities”. Once you decide to use it, you can alter its look in a variety of ways: Should the contrast between the horizontal and vertical strokes of the glyphs be high or low? Is it appropriate to apply engraving to the letters (and what color?). Should the glyphs be connected to one another? Alecko is equipped with a lot of alternative characters, which are automatically inserted as you type, in order to achieve a “handwritten” look, however, it can also work without them. Each of these options is appropriate depending on the design context and we want to encourage you to explore every one of them, which is why we sell the whole family for a considerably smaller price, than the combined price of all weights. And If you don't feel like spending money at all, just download the free weight. Have fun.

Sign Helpers JNL is a collection of silhouette images carefully redrawn from two distinct sources. Prior to their bankruptcy in 1984, the Holes-Webway Company of St. Cloud, MN produced thousands of their "Webway" sign kits that were utilized by merchants, libraries and schools throughout the country. At one point they included in their sales catalog a selection of die-cut images for embellishing sign work. In the late 50s and throughout the 60s, the Joseph Struhl Company (now known as Magic Master Industries) produced cling vinyl sign kits for business, and a home movie titling set for do-it-yourself film makers. This set also featured die-cut embellishments. A generous selection of designs from both kits have been faithfully re-drawn in digital form to pay tribute to two innovative companies. Other fonts based on products from these companies are Sign Kit JNL (Webway® Sign Kit), Cling Vinyl JNL, and Sign Maker JNL (Magic Master® Sign Kits). Trademarked names are used purely for reference purposes.

The typeface Anti Atom is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz as a political statement #antiatom #atomkraftneindanke The display font based on the original Anti Atom Sonne from Anne Lund. Thanks to Stefan Bergmeier for the Input. 4 font-styles (Sun, Cap, Mirror, Outline) with 375 glyphs (Adobe Latin 2) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for or #SMILE for as OpenType-Feature dlig) and stylistic alternates (3 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: Anti Atom ■ Font Styles: 4 (Sun, Cap, Mirror, Outline) + Icons + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 374 glyphs (Adobe Latin 2) incl. 100+ icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

The font Marcel is named in honor of Marcel Heuzé, a Frenchman who was conscripted into labor during World War II. During the months Marcel was in Germany, he wrote letters to his beloved wife and daughters back home in rural France. Marcel’s letters contain rare first-person testimony of day-to-day survival within a labor camp, along with the most beautiful expressions of love imaginable. The letters — stained and scarred with censor marks — were the original source documents used by designer Carolyn Porter to create a script font that retains the expressive character of Marcel Heuzé’s original handwriting. The result of years of research and design work, P22 Marcel Script features more than 1300 glyphs. The font is a highly readable running script that includes textural details that capture the look of ink on paper. The font Marcel Caps is a hand-lettered titling face intended as a companion to the Script. Marcel EuroPost One and Two each feature more than 200 postmarks, cancellation and censor marks, and other embellishments found on historical letters and documents.

Goodnight London is a Duo Font with a blend of 2 fonts, namely the Sans & Script font. A luxurious font, with thick and thin sizes with a combination of handwritten script fonts, so that it adds an elegant, luxurious and classy impression. This typeface is perfect for logos, branding, travel promotions, social media posts, magazine layouts, product packaging, quotes, or simply as a stylish text overlay onto any background image. 5 Style Font : Regular Sans Italic Sans Bold Sans Bold Italic Sans Regular Script Goodnight London Features : Uppercase Lowercase Numbers & Punctuation Alternates Ligatures Multilingual Support Simple installation All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported. Please comment us if you have any questions Thank you and have a nice day. thank you

To describe what inspired Magneta would be to add a little Dwiggins, throw in some Benton with a hint of Austin, wrap it up in a crisp, contemporary package and serve. The skeleton of the family is a Garalde (like my earlier Epic) but with a desire to produce something much more transitional and contemporary, I sought to simplify, simplify, simplify. Cap and ascenders share the same height, the x-height is slightly larger than expected which should make a functional typeface for editorial, headlines or where more visually complex systems are needed. The modulation is much more intentional than historical and creates some interesting interactions between the various weights. There are both Normal and Condensed widths available with 6 different weights and matching italics, small caps, oldstyle figures, swashes, stylistic and discretionary ligatures (that includes some fun majuscule ligatures in the roman styles), there is no lack of typographic goodness for the designer. To add some spice, a set of Decorative Ornaments have been created that include geometric, floral, curvilinear patterns and much more.

An isolated letters typeface design with a comic feel. All letters start with a prominent circular dot. All final shape letters end with a smaller dot, in addition. The Nuqat (Arabic for dots) font family has four members which include two weights, normal and bold, and comes in regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. The Nuqat font family employs variable x-height values. Nuqat includes only Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Nuqat includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Shackle One is a geometric Sans Serif with a twist. As a modern classic that does not wear out visually it is suitable, for example, for luxury items, leather goods, watches and jewelry, high-class sports, documentation of historical technology or graphics in the field of art and design. It works excellently for huge headlines, but can also show particular strengths in continuous text – its gray value is almost flawlessly uniform. All line connections and terminations are perpendicular, which means that slopes or curves have a light bend at their ends, similar to the lordosis of the cervical spine. This makes the font look upright and straight and at the same time agile and dynamic, like an athlete with good posture – a typeface that is powerful and confident without appearing steely or violent. Shackle One is a classic but casual looking font with sophisticated details. It has a classy appearance without being pretentious. It can appear stern and serious as well as playful and humorous. Its strong character also makes it an excellent corporate font for certain branches. You will love it.

Internacional, inspired by the International Style, is a Latin American-flavored neo-grotesque sans serif typeface made with organic ingredients and sweetened with organic sugar and chocolate. Internacional is well-suited for corporate identity, branding, publishing projects, logotypes, magazines and advertising. Its large x-height and small difference between x-height and cap-height make it a high-impact font, ideal for powerful headings, while providing legibility. Internacional was designed for use with short and mid-length paragraphs that require a balanced type color. Internacional is an extended width font with rounded forms and angled terminal ends, in characters such as “c” or “a”, which make it suitable for use in advertising and branding. The proportional relation in height between uppercase and lowercase letters may be useful when composing text in German language. The Internacional font family comes in 7 weights with matching italics and includes an alternative version, with the same number of styles, yet it tastes differently. Special thanks to everyone in the Latinotype Team (especially to Rodrigo Fuenzalida) for their support, help with corrections and digital editing.

Dorothy Clark Script is a stylish script comes with 3 styles, regular script, signature script and ink script. This typeface has unique opentype feature as you can see the explanation at 2nd preview image. This font perfectly made to be applied especially in logo, 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. This font comes with 3 style, Regular script that gives you the weight of calligraphy feel, Signature that gives you a consistent stroke with the same weight, and ink to add handfcrafted inky feel. All of them just in one font! Features : uppercase & lowercase numbers and punctuation multilingual ligatures alternates swashes PUA encoded contextual alternate 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. Email us to letterhend@gmail.com if you need something! Happy Designing!

My latest typeface is a formal, copperplate script named Glade. Beginning as a project for a client who wanted several widths of a formal script style, the project never saw fruition. However, it did get me excited about the idea of a width family of steel nib scripts, ranging from extra narrow to extra wide, and the result is the Glade family. To give Glade a minor modern makeover from the original intent, the lowercase has been scaled up, and the Capitals scaled down for a more friendly personality. The character set has been expanded, and OpenType support has been added for unlimited fractions, ordinals, superiors and inferiors. So if you have the need for a formal connecting script, but are short on space, try Glade Narrow or Glade Extra Narrow. If space is not an issue, then the Regular, Wide or the generously gracious Extra Wide should do nicely. And if you get the whole family, well then you are set for anything that comes your way.

Futura is a classic geometric sans serif, one of the crucial typefaces of the 20th century. It remains relevant today and is widely used in logos, headings, web and print. Futura was designed by Paul Renner for Bauersche Gießerei (Bauer) in 1927. The typeface is based on simple geometric forms and is close in the aesthetics to 1920s-30s constructivism and the Bauhaus. Futura PT is the most complete Cyrillic version of Futura. It’s a type system of 25 styles: 16 regular and 9 narrow, from Thin to Extrabold. Futura PT has linear and old style figures, subscripts and fractions. The typeface supports more than 100 languages: Western and Central European Latin and the Cyrillic-extended. The Cyrillic version of Futura was designed by Vladimir Yefimov in 1991–1995. He partially redesigned the typeface in 2007, making it a wholesome consistent system, and Isabella Chaeva added new styles. The typeface was released under the name Futura PT. Isabella Chaeva returned to work on Futura in 2022. The typeface has three new styles, old style figures and extended Cyrillic support.

Enamela (rhymes with Pamela) is a monoline square sans that is available in normal width and condensed versions. Although rooted in the early years of sans serif type, the Enamela fonts have a timeless quality that is practical and unpretentious. The letterforms derive from vitreous enamel signage dating from the Victorian era and widely used in Britain for street nameplates, Post Office signs, the plates on James Ludlow wall postboxes, railway signs and direction signs, as well as for circular Automobile Association wayfinding plaques throughout the first half of the twentieth century. The quirky terminals, stemming from the compression of geometric type, invite comparison with the Charles Wright fonts used for UK vehicle registration plates. Enamela and Enamela Condensed are both available in three weights – regular, medium and bold – and as italics (optically corrected obliques). A commonly used alternative M with a vertex that touches the baseline is provided at the Alt-M (µ) keystroke on a Mac, or Alt-0181 on Windows. A commonly used G with a plain vertical throat, no crosspiece, is assigned Unicode FF27 (full width capital G).

Lotter blackletter with Drop caps One fine day I found a vintage book, it called “A treatise by the Dominican friar-writer Marcus von Weida on the Brotherhood of the Holy Rosary”. It was printed in 1515 by Melchior Lotter in Leipzig. The text was illustrated by hand-colored engravings on religious and liturgical themes and beautiful initials I like. Lotter was the last name of a family of German printers, intimately connected with the Reformation. An innovation by the elder Lotter was his use of Roman types for Latin, reserving the Gothic types for German. I'm happy to present to you my new font family. Lotter font family has Drop cap and Regular styles. It's all you need to precisely imitate medieval style text. Use Drop cap style as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in Regular style. You’ll get: * Drop cap & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Grabnika Unix is a unicase style typeface with a straight and a bit tall look and it has a residual influence of monospaced fonts. One of the major characteristics of this typeface are those sharp cuted ears and joints that appears repeating at some of the letters and gives him a distinctive personality and a minimalist design approach on other group of letters that creates an alternative interesting fill of the spaces. It is suitable for signage purpose and headlines or relatively short body texts and also for logo design and branding. It is a loud and fresh display that could give a certain distinctive and young personality to your designs. As a fun fact, the name of this font comes from the romanian word “grabnic” that means “fast” and I developed this font by chance as a custom lettering for a logo design project, so I saw it proper as an alternative in the actual wide font markets and I decide to finishing it as a multilingual support typeface. Enjoy!

The name of the font is chosen to suggest its main purpose—setting multiple pages of text. All the features in this family were made with that in mind—legibility, distinct italics, small caps and various OpenType features, all make this font a useful tool for typographers. On the other hand, for packaging, posters, logotypes, etc. setting heavier weights in large size brings out its display qualities. Pagewalker is very legible and appears to be larger than other text typefaces. That is because the lower-case characters are made large compared to the capital letters. This means it can be used for setting text in, e.g. 9 pt size—while appearing to be 10 pt, but occupying less space. Pagewalker has a character set to support Western and Central European languages, and an extended set for monetary symbols which, in combination with tabular numbers, is perfect for financial reports. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

After the success of our best-selling Mr Black, we decided to once more use my grandfather’s dry transfer lettering sheets. My grandfather was a Polish military cartographer and he left us some used-up sheets. The letters didn't transfer so well but we liked the way they were damaged. Mr Tiger has upper- and lowercase characters with up to four alternate glyphs. First three variations are only slightly damaged but the fourth one is usually more distorted. All of the glyphs have a very high resolution so they can be used in a large scale and they will still look great. One of the best things in Mr Tiger is the OpenType Contextual Alternates feature. It will automatically set alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand.

Compita is a Neo-Grotesk(ish) typeface that started life as a love-letter to Berthold's classic. But for every rigid, Neue-Haasism, there exists an equal and opposite amount of humanist attributes – along with a deliberate dose of creative license. It has some over-emphasised features and terminal endings which help to create its friendly personality, but sits them on a slightly condensed overall width. Together they help balance each other out, creating a face that feels both affable and professional. Aff-essional perhaps? The character set contains everything the modern day designer needs, including diacritic support for over 30 languages. And It’s packed full of the usual opentype features (that most will probably ignore) – Small caps, multiple number sets, and discretionary ligatures, to name just a few. Whether it’s deployed as a display face, or as the dependable choice for text, Compita is useable across multiple disciplines. Set in online, on screen or in print – it’s proof that not everything has to be Montserrat or Raleway...

Ragnala is a smooth, elegant and flowing handwritten font. It has a beautifully balanced character, goes well with many designs. Ragnala features varied baselines, smooth lines, beautiful glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant such as branding, web and editorial designs, prints, crafts, quotes, It's great for logo types, wedding invitations, romantic cards, labels, packaging, name spelling and other . Add to your most creative ideas and see how they make it happen! Ragnala includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative, you need a supporting program such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Ragnala 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 any additional characters to paste into your favorite text editor/application.

Tamba Sans has strong geometric frames. Somewhat condensed and somewhat squarish letterforms can create a powerful atmosphere. At the same time, the very clear, neutral and distinguishable letterforms make it legible and readable. With the spread of the internet, the digital world is overflowing with “designed” stuff. To survive this chaotic world as a designer, you should use a strong typeface to catch the eyes of an unspecified large number of visitors/customers. This is why it is so important to be strong and powerful. One more important thing is the legibility, but the eye-catching design has a tendency to be unusual. Those two things conflict with each other. Tamba Sans solved this problem with an exquisite balance. Tamba Sans consists of 7 weights and their matching Italics for a wide range of usages. Farther, Tamba Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also CSS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works.

GarciaToons is a dingbats type family integrated by 3 styles: GarciaToons Bunny, GarciaToons Cat, and GarciaToons Mouse. GarciaToons can be defined as a type cartoon to read some text situations at a glance. It is a contemporary type tool for seasoning texts in a way that simple words are insufficient to express. GarciaToons is about funny and fresh real-life communication needs, the ones we facing anytime anywhere in our daily writing issues. Aim: To design an easy-to-understand and user-friendly symbol type code, able to combine with –or even to replace– words in a text. Idea: To develop a comic's faces dingbats series starting from the same pattern for the whole variants. The challenge was to represent different cartoon characters with minimal design changes. Designs are framed into a straight and geometric visual structure, just as logotypes themselves are. Face expressions are inspired on the worldwide understandable cartoons aesthetic. The result combines logo sharpness with cartoons flexibility. As it's said: A picture is worth more than a thousand words.

Flexion developed out of design philosophy and ambigramatic artwork of John Langdon. Based on the contents in John’s book Wordplay, author Dan Brown hired John to create ambigrams for his forthcoming novel Angels & Demons. Mr. Brown was so impressed with his work he even named the main character Robert Langdon after John. After the success of Angels & Demons, Dan Brown wrote The Da Vinci Code. When the movie adaptation of that book was in the works, Dan suggested that John create titles for the movie based on ambigrams. John contacted Hal Taylor to create a font based on the lettering treatment to be used for the credits at the end of the movie. Unfortunately, it was decided that the film was running long and the original title concept was scrapped. By this time, Hal was well into developing a full type family, including small caps, alternate characters, lining and ranging figures. John was impressed with the way the design was turning out and decided that it had enough merit to be released as Flexion.

HS Sondos is an Arabic display typeface designed specifically for titles and graphic projects. Drawing inspiration from Modern Kufi calligraphy, the font features a harmonious fusion of sharp and curved lines, resulting in a visually captivating and innovative take on square shapes and geometric structures. The distinctive sharp endings at the bottom of each character add an extra touch of aesthetic appeal. With three available weights -regular, bold, and black- HS Sondos offers versatility and variety. The black weight introduces a novel concept by maintaining the same horizontal dimensions as the regular weight but expanding the vertical dimensions, creating a uniquely bold appearance. Supporting Arabic, Persian, and English languages, HS Sondos opens up a world of possibilities for designers looking to enhance their Arabic typography. Its visually striking and flexible nature makes it an excellent choice for projects that demand attention and creativity. Overall, HS Sondos stands as a testament to the beauty and adaptability of Arabic typography, empowering designers to bring their visions to life with a captivating and versatile typeface.

Cactus majestically blooming in the desert is truly a wondrous event! As the landscape cools, nature blossoms into a beautiful rainbow of colors. These same harmonies and contours, plus a dash of ruggedness and legibility, help to make Cactus Flower Open a superb choice for display work. This cowboy boot style is an old Speedball favorite originated by lettering artist Ross F. George. It’s especially useful for creating distinctive headlines and titles where a Tuscan look is desired. The engraved appearance of the open style adds a delightful touch to this Old West typeface. A solid version is also available. You will find small caps, petite figures, and various alternates included for your convenience. Cactus Flower Open is also available in the OpenType format. Some new characters have been added to this OpenType version including stylistic alternates, discretionary f-ligatures, and initials. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L. NO:8 Font's Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer. But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font. The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

Rooted Rooted in 1960s Brit modernism and infused with a fresh, contemporary spirit, FS Elliot is a future-proof, workhorse sans serif, well-suited to any assignment. Open and harmonious, its clear, fluid shapes lend words a distinctive and optimistic bounce. Britishness FS Elliot came out of a desire to create something squarely in the British modernist tradition, drawing on influences such as Design Research Unit’s portfolio of type for famous British brands and products, and Margaret Calvert and Jock Kinneir’s work on the British road sign system. Nick Job took the openness and simplicity of that style and injected warmth and wide appeal, coming up with a highly practical, multi-purpose family of faces. Enduring appeal “The great thing about having an eye on the future,” says designer Nick Job, “is that most of it is unknown. It’s what encourages us to take risks. And it leaves an uncertainty which, I believe, gives the best work its enduring appeal.” FS Elliot is available in a Pro version with full language support and a full range of Roman, Cyrillic and Greek weights.

Introducing our newest font Yegufet its name made in original handwriting that has a young, powerful and energetic character, of course it is very suitable for use for modern and vintage projects, the beautiful and beautiful letterforms make this font look charming for you to use in any of your design projects. This magical font also offers the beauty of abstract typography harmony for a wide variety of design projects, including natural handwriting in digital form for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

I would like to present a font that I named after "Amily's Diary". This font was inspired by the handwriting in a beautiful woman's diary. So don't hesitate to use this font for a loving design! Diary Amily Script is perfect for branding, wedding invitations, magazines, mugs, business cards, quotes, posters, and many more that you can use on your big project will be very beautiful. Diary Amily Script is equipped with the OpenType features and has many glyphs. With so many glyphs, you will be able to choose letters to your liking. There are lots of variations and choices for each letter, so you can customize your design choices and also support other languages. This font is very suitable for use with programs that support OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign, and Corel Draw and many more programs that support OpenType. If you have any questions, don't hesitate to contact me via email: hello.mrletters@gmail.com

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

OMG! I never thought I'd finish this font! Actually, the idea came to me in the late 1990-ies, but the sketches lied at the bottom of the "fonts I will complete one day In the future" pile ... also called "fonts I most likely won't complete...EVER" pile! :) Anyway, I started up with letters for both upper and lowercase, no numbers or punctuation. I figured if people ever purchased this font, all they would need were upper- or lowercase letters. But the rest of the glyphs seemed to miss out, so I made the numbers and some punctuation. But I still found the font incomplete...therefore I redid all the punctuation (from "standard" punctuation to "picturish" punctuation) and added two additional sets of letters. Meaning that there is 4 different versions of letters to choose from: 2 different lowercase, and 2 different lowercase. I had a lot of fun drawing this font, and some fun doing the detective work finding out how the MANY lettershapes should look! I hop you too have fun using this font! :)