Puppy Love Brush is a new font inspired by a couple who is in love, and it illustrates the power of love that radiates strongly. It is completely perfect for Valentine’s Day designs, and more! What’s included: 1. Works both on Mac & PC 2. Simple installations 3. With Extras 4. Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even work on Microsoft Word. 5. Support multilingual; ä ö ü Ä Ö Ü ß ¿ ¡ 6. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and CorelDraw. More information about how to access alternate glyphs, check out this link (http://goo.gl/ZT7PqK) To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

This is the Viking font that I developed based on the letters in the Irk Bitig book, which is written with the brush line of the old Turkish runic alphabet, the information below. It was interesting work. Irk Bitig or Irq Bitig (Old Turkic: 𐰃𐰺𐰴 𐰋𐰃𐱅𐰃𐰏‎), known as the Book of Omens or Book of Divination in English, is a 9th-century manuscript book on divination that was discovered in the "Library Cave" of the Mogao Caves in Dunhuang, China, by Aurel Stein in 1907, and is now in the collection of the British Library in London, England. The book is written in Old Turkic using the Old Turkic script (also known as "Orkhon" or "Turkic runes"); it is the only known complete manuscript text written in the Old Turkic script. It is also an important source for early Turkic mythology.

Maithe is an incredibly sweet and delicious handwritten script with a lovely feel. Whether it’s Valentine’s Day or Christmas, this the ultimate font for turning any romantic crafts idea into a stunning piece of art! Maithe works both on Mac & PC and it simple to install. This family contains Swashes , Titling, and Ligatures. Multilingual Support (ä ö ü Ä Ö Ü ß ¿ ¡). Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, CorelDraw, even work on Microsoft Word. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and CorelDraw. More information about how to access alternate glyphs, check out this link (http://goo.gl/ZT7PqK) To stay up to date for my latest releases, follow me and let’s be friends because there will be many promos.

35-FTR was custom drawn specifically for the book Analogue Photography which required the timeless elegance of Futura and the compact utilitarian typesetting of Helvetica. It combines the best of both with the foundation of a geometric sans but the proportions and rhythm of the Swiss classic. The result is a versatile font that bridges the gap between information design and high-end sophistication. 35-FTR can effortlessly traverse the spectrum of friendly and approachable to aspirational exclusivity. This functional elegance excels in the bolder weights and is perfect for setting display and readable body copy. Version 2.1 includes refinements to the two-story "a" and "g", new superior and inferior figures and improved kerning for German text. Original features: 7 weights with obliques, open type features, European characters, symbols, transit icons, circled figures, old style figures, tabular figures, proportional figures fractions, arrows.

The Seol Sans design offers a fresh palette for designers working with the Korean alphabet, particularly those looking to pair Latin and Korean alphabet (or Hangul) forms without creating typographic friction. The choices for Hangul fonts that work well with humanist Latin typefaces are limited. As Monotype’s first original Korean design, the Seol Sans typeface is a humanist take on the traditional rigid and hard designs of Hangul characters. The Seol Sans design more closely resembles the natural curve of hand-written characters. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and M XiangHe Hei (Chinese). Seol Sans is a great choice for global brands using a Sans Serif design looking to maintain their visual identity, and communicate with a consistent tone of voice in the Korean market.¶

Cyber ​​Graph is a rounded futuristic font with 2 styles light and regular. This font is very suitable for headlines, logos, movie titles, game titles, labels, sci-fi magazines, packaging, or all kinds of advertising purposes. This font is equipped with PUA Encoded so that the OpenType feature (ligatures & Stylistic alternates) can be accessed on design software such as Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. To access all characters in Microsoft Word "click Insert-Symbol-More Symbols" If you have any questions, don't hesitate to contact us; we will be happy to help. Support for 82 languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

Blomma is a hand-lettered all-caps display font with intricate botanical details. It includes full support for 201 languages, plus a full set of punctuation, numerals, and more, all drawn in the same botanical style. The uppercase and lowercase versions of each letter were drawn independently of one another, so that means you get two versions of each letter to play with. This is so helpful if you want to give a more authentic hand-lettered look to type with repeating letters. Blomma is perfect for monograms, logos, headlines, editorial design, branding, poster design, and more. Blomma includes approximately 390 glyphs.

Lota Grotesque was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida and Latinotype Team in digital editing. The family comes in 7 weights with matching italics and includes alternative versions that provide high versatility and functionality. The whole font family is composed of 4 subfamilies that share exactly the same number of characters and styles but with differences in programming and default characters. Lota Grotesque contains a 760-character set that supports 219 languages and includes alternative characters, discretionary ligatures, small caps, and a variety of figures and fractions—a wide range of typographic tools to meet different design needs.

Kröwn is a ruthless display font family. It is presented in three styles that can be used stacked to create beveling and dimensional effects. Kröwn’s most distinctive feature is the absence of counter shapes, or at least its minimum impact. All counter shapes width is the same as the separation between characters, this creates a blocky, strong and hardcore rhythm. Use it with precaution to build strong titling, powerful logotypes or short letterings. With Kröwn, the less is more, the bigger the better. Its visual style draws inspiration from sword and sorcery fantasy genre and historical periods as the middle age.

Food Doodles Too is a 31-picture clipart font of food. Use them as dingbats or enlarge the small pictures and use them as clipart. Lots to choose from… from soup to nuts OK no nuts. But there is pizza, pasta, soup, eggs, sushi, sandwich, hot dog, hamburger, fish, kabobs, toast, breads, cheese, pickles, shrimp, soufflé, and desserts galore… cake, pie, cookie, cupcake, trifle, sundae, banana split, milk, tea and more. Food Doodles Too works nicely with Coffee & Tea Doodles. If you need some fancy cakes check out Party Doodles. All in the same line drawing style to mix and match.

This all caps display font is defined by its close spacing and thick serifs for a distinct appearance. Inspiration came from old movies set in the Wild West. The characters are tall in stature so works well in spots with limited space. Use Durango Western for a wanted poster, social media, or team logo. Basic/Extended Latin, European accents, punctuation, diacritics, kerning, and Cyrillic characters are included. The eroded version features varying levels of distress between the uppercase/lowercase and contains a few alternates. NOTE: Due to the level of detail in the eroded version temporary computer slowdown may occur.

Plantain Stencil is based on Plantain which in turn is my interpretation of Plantin Adweight, which was one of my first commissioned projects (by Smarter Image, long before they went bankrupt). Plantin Adweight is one of the most beautiful designs of the Plantin family, which is a modern revival typeface, cut under the direction of F. H. Pierpont in 1913, who based the design on that of a famous 16th century printer, Christophe Plantin, for whom Pierpont’s font was named. The stencil cut of Plantain adds a bit of sparkle to the design. Supports most European languages that use the Latin alphabet.

New Millennium Linear is one of three font families that share a common name, a common design philosophy, a common x-height, and basic character shapes. (The others are New Millennium and New Millennium Sans; all three work well together.) New Millennium Linear is a "monotone" newer version of the Sans face whose smooth, geometric, "Gothic" look gives it a completely different personality. The typeface comes with regular, bold, italic, and bold italic styles, each with a complete character set. New Millennium Linear might best be used in captions, callouts, labels, titles, and similar display situations.

Some words from the designer... Like a tree rooted in ancient philosophy with branches reaching into the new age, ITC Holistics encompasses 82 pictographs of astrology, healing, magic, nature and spirituality. In an illustration style that originates from hand-carved rubber stamps, west coast designer Teri Kahan shines new light on these timeless symbols. ITC Holistics is functional collectively and individually for graphics and logos. As with Teri's companion font ITC Connectivities, ITC Holistics can also be used as a divining tool. Just type your name in caps and lower case and see what the images tell you!

Kyoto Northern is a great choice for a brand identity, suitable for packaging, web banners, headlines and business cards, very unique and natural. This font is handwritten using a marker pen, equipped with a ligature following the habit of writing quickly, so you can feel the sensation of handwriting which is very natural. When you write in a relaxed and calm state, your writing will look very good and the writing flows well. Kyoto is the name of the city that we chose as a representative of calm and natural. Type and feel the amazing handwriting.

Originally I called this font YearInYearOutYoureInUrine, but I was told that that name was too long and maybe not in good taste. I settled for WaterCloset when it was first released, but then renamed it with a more appropriate title. It is caps only but the letters on the lower-case keys differ from those on the upper-case keys. It comes with a large assortment of accented letters to support most European languages. Although you certainly would not want to use it for formal invitations, when bad taste is called for, it might be ideal.

Realgar is a generic and neutral typeface but with enough personality to be different, but not as much to be unfamiliar. The name refers to an ancient natural pigment, known for its vivid orange colour. It is a multipurpose typeface in an eclectic style that combines geometric and grotesque with some humanist touches. Some of its main features are the wide proportions, closed apertures and idiosyncratic numbers that make Realgar stand out. In addition, the rounded dots convey a friendly and contemporary look. A Variable Font version is included with the family or as a separate style.

Neue Frutiger Arabic was created by Nadine Chahine and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. The family is available in 10 weights from Ultra Light to Extra Black. Neue Frutiger Arabic embodies the same warmth and clarity as Adrian Frutiger's original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. It is part of the Neue Frutiger World collection, offering linguistic versatility across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments.

Lempicka is a ligature-rich typeface duo with support for Latin and Greek. Lempicka Display and Small Caps are a pair of light, clean fonts with strong Art Deco character. Lempicka Display has over 150 ligatures and alternates (in Greek, too!), so it's extremely customizable and versatile. Lempicka Small Caps is Display's little sister: the perfect complement for creating hierarchy in a layout.⁠⠀ This is a beautiful typeface for wedding invitations and personal stationery, as well as unique logo design and branding projects. The name of this type family is an homage to Art Deco painter Tamara de Lempicka.

Kidyzen is a sans handwritten typeface. Inspired from the character of kids writing in their book. Kidyzen have unique style because it like same with typing of children. Kidyzen is perfect for comic, illustration, cartoon, kids design and very suitable for speech bubble text. It have very fun, cute, easy communication, easy reading and unique styles. You can use it for kids t-shirt, cover book, tagline, poster, branding, advertising, wall painting letter and graphic designs that use kids character . Kidyzen have 6 styles, there are regular, italic, bold, bold italic, thin and thin italic. Be enjoy it with my fonts.

A one-time co-worker of mine sometimes used a fanciful inkpen-style script in display-lettering situations. I liked it a lot. "Phil," I says, "why not do the whole alphabet, maybe a few little dingbats, and I'll make a font." Well, one day he presented me with a stack of posterboard; he'd done some letters, all right -- hundreds of 'em. I managed to boil these down into a typeface called Treefrog, a name that seems to match its organic jumble, its tall x-height, its left- and right-leaning stems, its thick and thin strokes. Full release has many dingbats.

Please Note: as this is a picture-only font, there are no latin alpha/numeric glyphs. Each wood type manufacturer had their own selection of original Logotypes or Catchwords designs. These are taken right from the original source material, an extremely rare 1910 catalog of an English wood type maker called Day & Collins in London. As the name says it, these words are intended to attract attention, to spice up posters, packaging or advertisement designs. I made these available for the digital age, leaving the original texture of printed wood type at the highest detail possible.

The other day I had to login to a page several times, and as security I had to check the "I am not a robot" box. Actually, I think I did a login at that particular page like 30 times that day...and in the end I was thinking "Come on, you should know by now that I am not a robot" And even though I thought it was a repetitious hassle I figured that I needed to name a font "I am not a robot" - and not a robotic-like one, but a sweet and funny cartoonish one! :)

This unicase typeface, with alternate characters in several of the lowercase positions, is patterned after Mosaik, designed by Martin Kausche for Schriftgeißerei Stempel in 1954. A stencil treatment has been employed, and the outlines have been roughened to enhance its ancient feel. The typeface is named for a king of England, Æðelred the Unready, who ruled over a millenium ago. Unlike its namesake, this typeface is quite ready to do yeoman's duty on your next project. The Opentype, Truetype and Windows Postscript versions of this font contain both the Windows 1252/ANSI character set and the 1250/Central European character set.

Rama Gothic Rounded is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800's as a model. Be sure to check out the slab serif style of this Rama series named Rama Slab.

Drop Caps happen. They started off life as decorated initials way back when in the days of illuminated manuscripts. Then printing came and they became the work of the rubricators and then somewhere soon after printing began, at least by the 1490’s, they were printed directly into the text. This then is a collection of over a hundred glyphs from that closing decade of the Incunabula period. All of them are based on examples found in the works printed by Michael Wenssler in Basel. This font also contains a few useful pointing hands and a set of spacing characters.

I bought a pineapple the other day, because my kids really like pineapples. Ok, ok, it may not sound like something special to you - but keep in mind that pineapples in Holland are an expensive fruit. We mostly get the canned ones (which I don’t like too much). Anyway, when I was slicing up the pineapple, I thought I should name a font after this bizarre, but tasty, fruit. And so I did. Pineapple Daydream is a handmade serif. I am not sure how to classify it, but I am sure you’ll figure that out. Comes with a plantation of diacritics.

Rahaf is my little daughter's name; the word 'Rahaf' means kindness, sensitive and loving in Arabic. Thus, HS Rahaf is an Arabic display and text typeface. It is useful for headlines, books cover and other graphic projects. It gives the feeling and impression of hand-lettering. So it can be used for text when hand writing is needed, like in caricature texts and children stories and books. HS Rahaf is characterized by simplicity, clarity of reading and beautiful flaunt. It contains many ligatures which increase and modify its beauty. The font supports Arabic, Persian, Urdu, Kurdish and Pashto languages.

Nibbles is a linear dingbat typeface inspired by the theme of food and food trucks. With symbols ranging from burgers, pancakes, or desserts, to food trucks and toilet signs, this font aims to cover all your hungry design needs! To help with its application, each pictogram can either be found through its glyph placement or by simply typing out the name of the food item. Type burger and presto, your burger pictogram will appear! With its simple application and extensive symbols, Nibbles can be used for branding, menus, editorial layouts, posters, and any food related projects.

Linked Now is so named because this Typeface has Multiple Discreationary Ligatures that unite two different letters to make a striking shape. Is a powerful grotesque typeface designed to be versatile in a wide range of contexts. Having more than 50 stylish Dsicreationary Ligatures on Uppercase letters and unique Alternate on certain letters makes it seem like they have various shapes, so they are great to use as display fonts. To complete it, Linked Now typeface is equipped with 8 weights from Extralight to black and each includes italic. More than 485 glyphs on each and support most European languages .

A ‘Brochette’ in French is a skewer. I used to be a tour guide and some years ago, I guided a couple of tours in Mali. Every night at dinner we had the choice of a ‘Brochette de Capitaine’ (grilled Nile perch on a skewer) or a ‘Brochette de Bœuf’ (grilled beef on a skewer). Of course, every night the Brochette came with French fries and ‘petits pois’ (peas). It was really nice, but after 4 months of eating Brochettes, I longed for something different! Brochette is a very nice rounded font. It comes with curls, swirls and swashes.

Rachele is a mono line based script thin font. Inspired on the cute “Italian Bella Scrittura” handwriting but influenced by Spencerian. Ornaments and ligatures make this hand more expressive offering round stroke endings and a flowing shape. Rachele is a big family, its stroke expand into extra light till medium and passing through a calligraphic/ribbon effect. At the same time the width varies, that’s make this script even more flexible, from Ultra Condensed to Super Extended. Enjoy it. Check out also Check out also ‘Mentha’ based on Rachele’s skeleton. We recommend to combine Rachele with: Turquoise

Introducing Noricks, the handy bold serif typeface. Designed with satisfying large serif, and inspired by the newspaper headline and classy fashion logos. In this font, you can find strong and mild looks at the same time that makes Noricks can be used for many purposes. Work perfectly for logo, headline, title, or any design which needs emphasis from typography. Noricks is more complete with ligatures and a lot of special characters that you can apply and get the classy looks. What you’ll get : Uppercase Lowercase Numbers & symbols Punctuation Stylistic alternates Stylistic set Ligatures Accented characters Enjoy!

HS Future Sans is the sans serif version of HS Future. It has three weights and was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The smoothing of this font and the combination of straight and curved parts without the serif gave the user additional option beside HS Future family. It made it a beautiful typeface appropriate to the titles, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Here is a script font with a bold and cool style. Can be applied in various media such as vintage logos / logos, clothing, food packaging, brand names, posters, broadcasts or youtube thumbnails, even album covers! No, you can also execute and explore easily for your project because it contains lots of very cool alternative characters! see details of some preview above for reference. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate -Swash Note : Open with a program that supports the Opentype feature and an glyphs panel is available to see more alternative characters. Sample programs like Adobe Illustrator and the like!

If you thought you heard someone callin' your name just now, you might have caught the firm but soft spoken tones of Comicraft's classy balloon lettering font, HushHush. Created in the style of the newspaper strips of the 30s and 40s, HushHush captures the slick movements of the skilled hand letterers of that era. Gracing the pages of Jeph Loeb and Jim Lee's chart-topping BATMAN storyline -- which by a staggering coincidence was also called "Hush" -- these characters have brought to life the words of Two Face, The Joker, Scarecrow, Catwoman, Batman and Robin -- from every whisper to every scream.

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau family consists of two subfamilies - Neubau Sans and Neubau Serif, each of them in three weights - light, regular and bold. Neubau typeface is recommended for use as a display font, and has been generated in a single OpenType format with Western CP1252 character set.