Looking to add a touch of elegance and luxury to your message? Meet Honfleur, the typeface that’s guaranteed to take your design to the next level. Inspired by the beautiful lettering on an antique perfume poster, Honfleur boasts a stylish design that exudes sophistication and refinement. Its exceptionally wide alphabet is perfect for making a bold statement, and is sure to grab the attention of anyone who lays eyes on it. Whether you’re designing a high-end fashion brand, a luxury product, or just want to add a touch of class to your next project, Honfleur is the perfect choice. With its distinctive charm and luxurious feel, this typeface is sure to make a lasting impression and elevate your message to the next level. So why settle for an ordinary font when you can have the beauty and elegance of Honfleur? Try it out today and see for yourself just how much of a difference it can make in your designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Update November 2022: ULGA Grid now features an oblique variant. It’s also been expanded into a family of different but related designs with the addition of ULGA Grid Solid and ULGA Grid Rounded typeface families. All variants and new designs are monospaced, sharing the same width as the original ULGA Grid font and matching character sets. The character set has also been enlarged and now supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian. ULGA Grid is a modular, monospaced typeface reminiscent of the old Letraset LCD & Quartz typefaces from the 1970/80s with lots of alternative characters and ornaments to bring a fresh twist to the genre. The idea’s seed germinated while I was going through a phase of binge watching my favourite 1980/90s sci-fi movies (classics such as Terminator, Total Recall and RoboCop). However, perception and reality don’t always align. Thirty years later, when compared to today’s technology, some visual elements look kind of outdated, almost Retro Futuristic. The initial design process started out in Adobe Illustrator when I constructed letters from a few geometric shapes within a square block. Just playing around with different shapes was so engrossing that it wasn’t long before there were enough characters for a basic typeface. The project grew again as I experimented with designs within the shapes and set paragraphs of text in patterns, resulting in over a hundred alternative characters and ornaments, some of which double up as border designs. This typeface may be square but it’s anything but boring. What it lacks in legibility ULGA Grid makes up for in style and the end result is a surprisingly versatile typeface that you'll have fun using for a wide range of display purposes including CD covers, posters, packaging, advertising, brochures and film titles. Ironically, the fixed grid structure frees the characters to create patterns of text not possible with variable widths.

Introducing Disassembler—the ultimate simulated bitmap typeface that will transport your message straight back to the 8-bit era. With its distinctive letterforms and retro computer theme, Disassembler will add an extra level of authenticity to your designs, giving them that low-resolution voice that was so iconic of the time. The unique effects available with Disassembler mean that your text will stand out like never before. Whether you want to create a glitch effect, add a bit of distortion, or just give your letters a more vibrant color scheme, Disassembler has you covered. But it’s not just the effects that make Disassembler so special—it’s the attention to detail. To achieve the original pixel font look, kerning is limited to full pixel increments. This means that each letter is placed perfectly to give your text that authentic, vintage feel. So if you’re looking to take your design projects back to the good old days of low-res graphics and 8-bit soundtracks, Disassembler is the typeface for you. Don’t settle for ordinary—make your designs extraordinary with Disassembler. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Crox™ is a sans-serif professional typeface inspired by crude geometry, creativity, and art. In the font family, there are 19 styles, including upright and italic, It is constructed of big lowercase letters with a maximum x-height for excellent optical reading. English letters are supported as a numerator and denominator set, this feature may aid in the creation of fractions using letters and numbers, as well as for sophisticated scripting and various scientific fractions forms. All weights support over 25 professional OpenType features within each style, with extensive coverage of western languages. These features were originally planned for personal and professional use, including multi-alternative characters in Styles: 1, 2, 4, 10, 11. Operational styles 6, 7 are enhanced with some scientific forms, to write the fit derived (SI units' expressions). Otherwise, it supports a wide range of professional factory pricing styles for business and marketing, as well as retail pricing styles in Sets 5, 8, and 9, with ligatures, old-style numerals, ordinals, swashes... Crox™ is enhanced with a poster weight like the fantastical type to fulfill your creative needs in three styles: poster, poster oblique, and poster italic for ADS and web design, branding, or product design. Glyphs: More than 970 glyphs, including those accessible with OpenType features. Powerful OpenType features: Standard Ligature, Alternate access, Automatic ordinals (English, French...), Case sensitive, localized forms, Numerator set, Denominator set, Subscript, Superscript, Swash, Stylistic alternate, Styles 1,2,3,4,5(Pricing style 1), 6(Derived Units),7(Advanced Fractions for Scientific units, Derived Units Vulgar Form), Set 8 (Pricing Style 2), Set (Pricing Style 3), Proportional Old-style, Tabular Old-style, Proportional Lining, Tabular Lining, Zero with slash, Fractions (Default, Automatic). Suitable for: logo and modern branding, web design, packaging, Product packaging, Articles, scientific document, Product user guides, multiple works in the Media, Design, ADS... Specimen Crox™ is a trademark of Yassine Abdi.

What's Included : • Ligatures • Works for PC and Mac • Simple installation • 7 styles: 1 undistressed, 6 distressed • 500+ glyphs in each type • More than 75 languages are supported, including extended Latin. • Each style includes 12 OpenType features, including stylistic alternatives, ligatures, old-fashioned figures, and other helpful elements. • Two different swash ending varieties. • Non connected forms • All connected forms, including caps • Randomly selected character forms for organic looking textures. Sophima exudes languorous luxury. The writing glides around, changing elevation above and below the standard x-height, giving it a lively and raucous vibe. Sophima is designed for 3D printing. I required a contemporary script with technical elements that could be printed using a 3D printer. This necessitates the use of quite thick linking characters. Another result of this technology was the need that all letters, including caps, be linked. Such letters are included in optional Opentype style sets. The unusual technological limitation gave the design a new and distinct vibe. Sophima may be used for a variety of purposes, including headlines, weddings, social media, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signage, gift/post cards, cafés, and weddings. Designers have a plethora of alternatives from which to pick, giving them greater variety, power, and creative flexibility. Automatic ligatures for best character connections are supplied, as are alternate ending characters that appear at the end of words that lack connectors or have lengthy swash endings. Sophima is made up of five fonts: one standard and five texture variants that change the tone of the typeface. Each design has 500 characters and is available in more than 75 languages. The typeface has 15 OpenType features, such as stylistic alternates that change the look of characters, ligatures, and more. Constraints and a desire to solve challenges breed the finest creativity. And there's no question that Sophima came up with a solution to the situation. Now use Sophima to create your own designs.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back to the maturity of the Industrial Age and early Hollywood film titling, runs through the prosperous times of interwar print publications, sees mass flourishing during the various media propagations of the film type era, and solidifies itself as arguably the most common design element in the latter years of the century. Fun, bouncy, playful, and highly exciting, the casual sans serif is now all over game packaging, film and animation titles, book covers, food boxes, concert posters, and pretty much everywhere design aims to induce excitement about a product or an event. The casual sans is the natural high pill of typesetting. We figured it was high time for the casual sans to adapt to 21st century technology, gain more versatility, and become as much fun to use as the emotions it triggers. So we’re quite excited to issue Bananas, a fun sans serif family in 6 weights and 3 widths that can be used anywhere your designer’s imagination can take you. Rather than being based on a single design, Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners’ Catalina and its very similar cousin, Letter Graphics’ Carmel, served as initial study points. Then a few Dave West designs informed the design development and weighting process, before narrow and wide takes were sketched out and included in the family. The entire development process happened in a highly precise interpolative environment. All Bananas fonts come with a full glyph complement supporting the majority of Latin languages, as well as five sets of figures, automatic fractions, quite a few ligatures, biform/unicase shapes and other stylistic alternates.

Introducing Ethnocentric, the typeface of the future. With its sleek, ultramodern design, Ethnocentric is perfect for those looking to inject a high-tech feel into their projects. The outstretched pod forms of this accelerated font suggest rapid horizontal movement, making it the ideal choice for anything from tech blogs to cutting-edge product labels. But what sets Ethnocentric apart from other typefaces is its non-traditional, scientific sensibility. Sharp diagonal cuts and anomalistic gaps inject your words with a sense of experimentation and innovation, perfect for companies on the cutting edge of technology. If you prefer a more rounded style, be sure to check out Ethnocentric’s sister typeface, Quadrillion. But if you’re looking for something with a bit more edge, Ethnocentric is the perfect choice. With six weights and italics available, you’ll have all the versatility you need to make your project stand out from the crowd. Don’t settle for anything less than the best. Choose Ethnocentric, and take your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The spirits have spoken! Introducing Gurkner—the bouncy, round display typeface with two distinct personalities. Say hello to well-behaved Gurkner—the ghost that always follows the rules and marches in a straight line like a row of obedient Caspers. But beware, because there’s also a mischievous side to Gurkner – a poltergeist on crack that loves to play pranks and bounce around like there’s no tomorrow! What sets Gurkner apart is its customizable pairings that automatically swap to create unique combinations for a more natural, springy look. It’s like having your very own ghostly friend who’s always up for a good time. Whether you’re designing for Halloween or just want to add some spooky fun to your project, Gurkner is the perfect typeface for adding a playful touch. So don’t be afraid to let loose and embrace the silly side of Gurkner. After all, who doesn’t love a font that’s equal parts mischievous and well-behaved? Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Located in the Valencian Community, Spain, Manises is very famous for its pottery. In the Middle Ages and the Renaissance, Manises was the most important production center for Spanish-Moresca ceramics, which was exported throughout Europe. At the beginning of the 16th century, Manises tiles were very commercially successful, especially of the heraldic type. Much appreciated by the Aragonese crown, Manises ceramics was also exported to France, Italy, and especially to Naples. As a big fan of Paterna and Manises ceramics, Naples influenced other Italian courts. Calixto III and Alejandro VI continuously commissioned Valencian pieces and tiles for the halls of the Vatican. The export also extended to Sicily, Venice, Turkey, Cyprus and even Flanders and the Baltic countries. The palaces of all the courts of Europe were enriched with this art. Many painters reproduced it in his paintings. It can be seen in the work of Hubert and Jan Van Eyck, and in the central panel of a triptych by Hugo Van der Goes (Uffizi Gallery, Florence). In this city there are also some frescoes by Domenico Ghirlandaio in which the Arabic-Valencian earthenware appears. Manises font is inspired by a text written on a 16th century tile, but adapting it to our times and giving it a very modern air. It is characterised by being able to combine uppercase and lowercase letters in a conventional manner, or use only capitals, or only lowercase letters, or, a random combination of both. It comes with an extra of many ligatures, stylistic alternates, and a set of very useful catchwords, to give more modernity to your text. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Manises looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, children's material, in ink or water-colour based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

Larabiefont isn’t your average typeface. It’s a beautiful blend of retro inspiration and modern design. The manual typewriter that inspired it may have been designed in the early 1970s, but this techno typeface has a contemporary feel that makes it perfect for today’s digital world. With its well-defined shapes and rounded edges, Larabiefont exudes a sophisticated personality that sets it apart from other typefaces. The uniform stem widths give it a sleek, streamlined look that’s perfect for technical designs. And with four widths, two weights, and italics, it’s incredibly versatile, whether you’re designing a logo, a website, or a print layout. So if you’re looking for a font that’s both retro and modern, sophisticated and streamlined, look no further than Larabiefont. It’s the perfect choice for any designer who wants to make a bold statement with their typography. Try it today and see the difference it can make in your designs! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Hirosaki Japanese Typeface Style inspired by Japanese letters, which have uniqueness and very thick characteristics that make all designs look unique and have a modern Japanese feel. Hirosaki has its charm, so it will be very suitable to be combined with any style. Have ligatures to add an excellent interactive feel to each design. Hirosaki is also equipped with multilingual support and is very easy to use. Hirosaki is exciting to use in formats such as books, film posters, logos, branding, business cards, and many more that can be combined with Hirosaki. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Igbo, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Metaʼ, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Wolof, Yoruba, Zulu Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you, and have a nice day

Crabs Slab Comes with a Slab Serif style typical of sturdy and elegant typography, which gives a modern, retro, and classic style but has a unique and elegant style that gives an extraordinary impression. Crabs Slab also comes with multiple languages enabling Crabs Slab to be used in all your projects. Crabs Slab is very suitable for use in various purposes or projects, including Sports, Posters, Products, Logos, Branding, and many more that you can apply with this Crabs Slab Typeface. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Igbo, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Metaʼ, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Wolof, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window – glyphs Adobe Illustrator go to Type – glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Hope Sans™ takes the jaunty style of 1950s and 60s lettering and melds it with the jubilant 1970s swashes of Bookman. The result is a sans serif family that is lively, inviting and deeply customizable. Its basic sans serif forms create engaging text, while a roaring collection of swash designs, alternate characters and ligatures make it a natural for attention-grabbing display typography. Hope Sans has been selected by the judges of the 22nd Annual TDC Typeface Design Competition to receive the Certificate of Typographic Excellence. The middle weights of the family are easy on the eyes and shine at smaller sizes and in blocks of text copy. Their friendly vibe also translates well to web and interactive design projects. Spacing is open, counters are large and Hope Sans’ range of six weights can provide just the right design for virtually any need. Headlines, subheads, banners and navigational links are naturals for its lightest and boldest weights – either with, or without, the swash letters. “Hope Sans is a paint box,” says its designer, Charles Nix. “In its basic form, it’s a sturdy grotesque, capable of setting text in a cool and relaxed way. But a bit of accenting with the alternate forms easily creates an entirely different mood and meaning. And for those that are willing to really mix with it, the variety of alternate characters can build truly unique typographic statements.”

Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.
 No matter how you use Workhorse it always looks and reads well.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

Floro is a typographic family with 3 members designed by Carlos Fabian Camargo. Its idea combines medieval ideas, grotesque, stencil and grunge for T-shirts, stickers, advertising material design. More specifically the concept of Floro join several DNAís coordinating X height, ascendant, descendant and wide, in which proportions and adaptive optics were determined to inject great visual impact when composing titles. Its forms and counter forms have imperfections controlled with vitality and consistency. Floro is useful for ranking words and phrases with corroded edges and creases between the lines of his letters. In that vein, Floro refers to improvised design, deletion and copying. For that reason, its determinants seem stencil patterns that attract the attention of the reader. Its inaccurate decisions were planned that way, in which the type of contrast seems made with a flat tip and the amount of contrast between thick and thin is medium. Its sizes, regular and italic shine by their systematic wear and terminations sometimes in pointed forms resembling medieval darkness. In short, we can say that Floro comes from the miscegenation of Gothic calligraphy texture, foundational calligraphy and some refinements of gothic writings with italic sans-serif ideas of late 19th century. Even with the blur appearance, floro has ideal proportions to pile for horizontal and vertical areas when composing titles with striking looks and robust. And finally, floro dingbats are related shields and stamps, to accompany the written resulting useful at the level of visual support and hierarchical.

The Camunic language is an extinct language that was spoken in the 1st millennium BC in the Valcamonica and the Valtellina in Northern Italy, both in the Central Alps. The language is sparsely attested to an extent that makes any classification attempt uncertain - even the discussion of whether it should be considered a pre–Indo-European or an Indo-European language has remained indecisive. Among several suggestions, it has been hypothesized that Camunic is related to the Raetic language from the Tyrsenian language family, or to the Celtic languages. The extant corpus is carved on rock. There are at least 170 known inscriptions, the majority of which are only a few words long. The writing system used is a variant of the north-Etruscan alphabet, known as the Camunian alphabet or alphabet of Sondrio. Longer inscriptions show that Camunic writing used boustrophedon. Its name derives from the people of the Camunni, who lived during the Iron Age in Valcamonica and were the creators of many of the stone carvings in the area. Abecedariums found in Nadro and Piancogno have been dated to between 500 BC and 50 AD. The amount of material is insufficient to fully decipher the language. Some scholars think it may be related to Raetic and to Etruscan, but it is considered premature to make such affiliation. Other scholars suggest that Camunic could be a Celtic or another unknown Indo-European language.

Thanks for checking my font’s work, Neiva Flowers typeface. It’s postmodern script font. Neiva Flowers have a feminism styles and ethnic curves. Very perfect for adding unique and slegant character to your branding project. Also, Neiva Flowers font is suitable for wedding lettering, beautiful touch in your all graphic design. This font have two styles, regular and italic. It contains a full set of lowercase, uppercase, punctuation, numeral and multilingual support. Neiva Flowers typeface also can support your design to be more better. You can use it in lettering, wall painting, cover, advertising, invitation, card, feminism design, script lettering design and more.

El Grosa, this is an amazing work. Why? ... because this is not just talking about fonts, but more than that, with the spirit of Spain, el grosa invites you to explore with your wild ideas, I'm sure this will really make you feel happy in creating the work that you will wake up to the front. Supported by 3 font choices that are very sweet and also strong, el grosa answers all your difficulties in choosing font support that suits your taste. What are you waiting for, have el grosa as soon as possible. Bella Ciao !!

Proudly present, Artes groovy layered display font. Inspired by bubble letters in graffiti art and retro style design, it produces a display font with a fun style that is perfect for the design needs of posters, flyers, covers, titles, logos, packaging, t-shirts, branding and various needs that require a unique display font. Activate the Contextual Alternates feature so that the shape of the character changes according to the shape of the character in front of it, and Activate the Stylistic Alternates feature to change the number characters into bubbles that you can use as additional elements in your design.

Blue Pastel - Display Font is a bold and retro-inspired font that exudes uniqueness and groovy charm. Its display style makes it a perfect choice for various design applications. Whether you need a font for logos, branding, headlines, titles, posters, or a modern twist on retro designs, Blue Pastel is the ideal font to add a touch of nostalgia and contemporary flair to your projects. The bold display style of Blue Pastel immediately captures attention and adds a strong visual impact to your designs. Its retro-inspired elements evoke a sense of nostalgia, taking your audience on a trip down memory lane. The font's unique and groovy appearance sets it apart from traditional serif fonts, making it a great choice for those seeking a distinctive typographic solution. Whether you're creating a vintage-inspired logo, designing a groovy poster, or adding a retro twist to modern branding, Blue Pastel - Display Serif Font offers the versatility and character needed to elevate your designs to new heights.

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Graffiti Bomerang is a bold display font that captures the rebellious spirit of street art. Its thick, uppercase letters feature jagged edges and unique embellishments that evoke the look of spray-painted graffiti. This font is perfect for creating eye-catching titles and headlines for urban-inspired designs, music posters, and other projects that require an edgy and daring style. The font’s bold and unapologetic personality is sure to make a statement.

Introducing our latest font, which features fluid and flowy curves reminiscent of liquid. This font's contemporary style makes it perfect for use in headers and futuristic designs, adding a creative touch that's sure to catch the eye. Its elegant and modern appearance creates a striking impression, making it ideal for designs that need to stand out. With this font, you can create a unique and eye-catching look that's perfect for any project.

Lesthone is a display font that seamlessly merges vintage aesthetics with modern elegance. The rounded shapes of Lesthone contribute to its friendly looks. Each letter has its own personality, and this contributes to the font's handcrafted appeal. On the other hand, the most standout characteristic of Lesthone is its slightly rough texture that add a rustic charm. This font includes beautiful ornaments as a bonus. Lesthone fits in headlines, logos, branding materials, and many more.

Happy Ramadan is a delightful display font that captures the spirit of the sacred month with a touch of playfulness and warmth. Happy Ramadan is not just a font; it's a celebration of the Ramadan spirit with a playful twist. It's a versatile choice to convey cultural richness, joy, and a welcoming atmosphere. The characters in Happy Ramadan are crafted with soft, rounded shapes that evoke a sense of joy and friendliness. The font's letterforms resemble bubbles, creating a unique and whimsical appearance that adds an element of fun to your text. In addition, you can also enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Happy Ramadan fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Featherful, a handwritten brush font that embraces the bold and vibrant strokes of a paintbrush. With Featherful, you have a handwritten brush font that speaks the language of artistry. The characters in Featherful boast generous proportions, ensuring a visually striking impact in any design. The thick weight enhances the font's presence, making it suitable for various creative applications. What sets Featherful apart is its rounded letter shapes, creating a friendly and approachable vibe. The details within each letter mimic the expressive strokes of a paintbrush, adding an authentic and artistic touch. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Featherful fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Rome Ionic is a serif display font inspired by architectural features in ancient Roman building columns. The Ionic columns are taller and slender compared to 'Doric and Corinthian' columns. On the Ionic Capitol column, there is a geometric spiral like a paper roll. We used those elements in this roman style font. The base of this font is serif shaped, more slender and towering, and equipped with 8-18 stylistic set alternates. This is the development of the basic shape on which we added spiral ornaments to the left and right. This serif font's characteristic is soft and simple, not sharp and complicated like Doric and Corinthian. The composition of the softness of the basic and alternate fonts does not reduce the splendor of this font. We complemented this font with support for the Latin extend as an analogy to the Roman region. Rome Ionic is perfect for 'impressive luxury and power' designs. With this font, your branding will show the robustness and refute the splendor of other products.

Introducing “Hefuma Font” – Where Playfulness Meets Typography! Dive into the world of creativity with Hefuma Font, a playful display font that’s set to infuse charm and imagination into your designs. Hefuma Font adds a delightful twist to your projects, making it ideal for anything from children’s books to eye-catching posters. Its whimsical style captures attention and brings a sense of joy to your work. Crafted with meticulous detail, Hefuma Font’s unique design invites readers to explore your content with curiosity. Its playful appearance radiates creativity, making it the perfect choice for projects that aim to stand out. With Hefuma Font, the possibilities are endless. Use it to inject a sense of fun into your designs and watch as your creations come to life with personality and flair. No matter the creative endeavor, Hefuma Font is your trusted companion for adding a playful touch to your work. Embrace the world of creativity, and let Hefuma Font elevate your designs to new heights. – PUA Encoded Characters – Fully accessible without additional design software.

Are you planning to do an amazing piece of work to make lots of people smile happily while taking your hat off every time? If so, this is the right time to give your work a little touch with a sincere and elegant writing. Introducing Billiboldy- A New Bold Script Font Billiboldy is a cursive and thick lettered handwritten bold script font, crafted to give your headlines and logotype projects a stylish touch. This font reads as strong, dynamic and can add tons of nostalgic character to your designs. This font includes Multilingual Options to make your branding globally acceptable. Features: - Ligatures - Stylistic Sets - Multilingual Support - PUA Encoded - Numerals and Punctuation - Special underscore character 7 style - Special doodles for front and back of letters or sentences Thank you for your visit and downloading premium fonts from Gie Studio

UXB Stencil and its companion UXB Spray contain both the stencil and the sprayed letters in two fonts. The font is a headline display uppercase only character set, which is duplicated in the lowercase keys, identical in form (except for an alternate “Z”). No need to remember to hit the caps lock, the font will work with lowercase key strokes. UXB Spray is also a headline display uppercase only character set but, includes a few “drip” characters (find them in the lowercase key positions) these apply when you have held the spraycan over the stencil too long and made a mess. Use separately or together for a maximum design explosion. The fonts used together with color can create many nice design effects- by offsetting characters and putting one font in front of the other for a second effect. UXB it’s an emergency.

Introduction to Bages – Bubble Font Bages – Bubble Font is a dynamic and cheerful display font, inspired by the playful shapes of bubbles and balloons. Ideal for catchy displays, this font captures attention instantly, making it perfect for creative and fun-filled projects. Design Features Every character in Bages – Bubble Font mimics the round, buoyant nature of bubbles. The design incorporates smooth, rounded edges, giving a floating effect akin to balloons. This unique style brings a joyful and lively flair to any design, ensuring it stands out with its playful aesthetics. Versatile Applications This font’s versatility is noteworthy, suitable for a variety of design purposes. It’s excellent for party invitations, children’s books, and marketing materials, adding a fun twist to traditional text. Moreover, its engaging style is ideal for educational content, making learning more appealing to young audiences.

Stay Drips is an interesting, unique font in capital letters with uneven edge lines and ink drop details to give lovely, dynamic visual effects. The letters have soft brush wipes, and the ink drop details on some letter parts show a unique nuance of organic and artistic touch. The font’s unique, flexible characteristics can carry on various design styles such as formal, creative, and experimental ones. Designs with this font will express strong, amazing, unique impressions. In addition, bright and contrast colors will outstand this dynamic font that is more applicable for big text sizes to be greatly legible. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Stay Drips fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.