Comply Slab is inspired by action and extreme sports, Comply gets it's name from the well known skate trick the “No Comply”. This type family doesn't mess about! With 9 weights from thin to black, Comply Slab will give you some great options to use. This font family will “kill it” in both print and digital, in headlines for editorial, posters, banners, websites, apparel, packaging, logos or magazines just to name a few. If you want to make a statement that gets the message across in a slick way with some cool looking glyphs Comply Slab is the font! There is an alternate R and S so you can choose to go with the cool default sharp glyphs or swap them for a more traditional chamfered corner version. Each of the 9 weights has an italic version to add even more action.

Hand-lettered with style, Rothena Script is a must have for all your design needs. Perfect for greeting cards, branding, stationery design, social media, packaging, magazine layouts, prints and more! Utilize all caps for a completely alternate style, or mix and match lowercase script + all caps for creative designs. Rothena Script has a variety of unique, coded features to create compelling, handmade outcomes: 4 stylistic alternates, 5 initial characters, 4 end characters, 1 discretionary ligature and 25 standard ligatures. Multilingual support is included for Western European languages. PUA Encoded. OTF is included for the full, Rothena Script font. Happy Designing! This is the personal license font that can be used for all personal needs. If you want to use this font on items you are going to sell or on anything promoting your business, please purchase the extended license version.

"Love Heart" is a hand lettered font style that is perfect for greeting cards, branding, stationery design, social media, packaging, magazine layouts, prints, logos and more! This unique font features complete lowercase alphabets and uppercase alphabets along with a few other ligatures and stylistic alternates to create a truly handwritten look and feel. "Love Heart" has a variety of unique, coded features to create compelling, handmade outcomes. Multilingual support is included for Western European languages. OTF is included for the full, "Love Heart" font. Including Product : - Love Heart (OTF) - Love Heart Fill (OTF) - Love Heart Sans (OTF) This is the personal license font that can be used for all personal needs. If you want to use this font on items you are going to sell or on anything promoting your business, please purchase the extended license version. Happy Designing! Haksen

It's a bold, It's HOT ROAD! A realistic hand brushed font just raring to get going. HOT ROAD is handwritten made with a wet brush, dynamic spontaneous flow and natural. It's perfect to leave a realistics impression on social media posts, advertisements, posters, products packaging & more. HOT ROAD FONT comes with several alternates character, ligature, punctuation, numerals. Also included is a bonus extras swashes. Use it for magazines, t-shirt, packaging, logos, advertising, quotes, branding, posters, editorials, cover artwork, movies, websites, etc HOT ROAD Font is coded with Unicode PUA, Allows full access to all the extra characters without having special software designing. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor / app. Thanks so much for looking and Enjoy it!

Sublime45-Regular Sublime Revised for 2021. One font in Opentype format as Sublime45. Families and all TT Truetype versions eliminated in this wonderful stand alone. The Spring 1997 original release of Sublime —borne an organic creature of black water soluble ink & digitized by Coniglio Type. Sublime is a fun font to use in commercial layouts. It is soft and fluid as ink. Like the wrinkles of time, it is imperfect. That in itself makes it incredibly attractive, warm and “human factor”. Sublime offers legibility so sorely missed in the current recreational font market. Sublime was inspired by World War II US fighter pilot Donald Alling. He flew missions over Nazi Germany. His squadron also dropped food, medicine and relief supplies over the Netherlands. Known as “the Colonel” to his friends. Don as a civic engineer ruled literally miles of ink letter callout’s with a template device called a LeRoy in peacetime on vellum and mylar across his career as a technical illustrator. You didn't want to screw up inking into a template with wet black permanent ink. You really had to have a steady hand and it was all done by hand. You can say Don worked “unplugged”. And that is cool! He was part of the broad stroke of postwar industrial expansion that helped keep America strong, rendering exploded views on top secret projects. Many of us were not even born yet when all this was going on. Today at over 80 years young Don is like a national treasure, savvy and bright—and the ladies love him! The Colonel remains a dedicated master airbrush man, stand–up man, caricature artist and letterman all without use of a computer! He was lucky enough to retire before a desktop cathode tube was put in his face. Today the Colonel enjoys restoring VW’s, flying and freelance consulting when not being called to supper by his lovely wife Rea.

American Revolution is a unique collection of signatures of 84 key personalities from both sides of the American Revolutionary War, one of the supreme dramas in history. A must-have for autograph collectors, desktop publishers, history buffs, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous Revolionary War figures. This font includes signatures from the following American Revolutionary War personalities, from both sides: Ethan Allen, Charles T. Armand, John Armstrong, Benedict Arnold, Pudhomme de Borre, John Cadwalader, George Rogers Clark, George Clinton, James Clinton, Thomas Conway, William Davidson, Philippe du Coudray, The Chevalier Louis Lebegue dePresle Duportail, Chistopher Gadsden, Horatio Gates, Moses Hazen, John Glover, Mordecai Gist, Nathaniel Greene, William Heath, Edward Hand, John E. Howard, Robert Howe, Isaac Huger, William Irvine, Henry Knox, Baron Johann de Kalb, Tadeusz Kosciuszko, Marquis de Lafayette, Charles Lee, Henry Lee, Andrew Lewis, William Maxwell, Benjamin Lincoln, Francis Marion, James Moore, Daniel Morgan, William Moultrie, Peter Muhlenberg, Alexander McDougall, Lewis Nicola, Lachlan McIntosh, John Nixon, Hugh Mercer, Samuel H. Parsons, Thomas Mifflin, John Paterson, Richard Montgomery, Andrew Pickens, Charles Cotesworth Pinckney, Enoch Poor, Count Casimir Pulaski, Israel Putnam, Joseph Reed, Elisha Sheldon, Arthur St. Clair, William Smallwood, Philip Schuyler, John Stark, Charles Scott, Adam Stephen, John Sullivan, Jethro Sumner, Thomas Sumter, James Varnum, Baron Friedrich Wilhelm August Heinrich Ferdinand von Steuben, Lord Stirling, Artemas Ward, Joseph Warren, George Washington, Anthony Wayne, James Wilkinson, Otho H. Williams, John Paul Jones, William Woodford, David Wooster, John Burgoyne, Sir Guy Carleton, Charles Cornwallis, Sir Henry Clinton, Sir Thomas Gage, Richard, Earl Howe, Sir William Howe, Sir Banastre Tarleton. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

THE SPARK Uniform started as a spark of inspiration one day while I was shopping at the store. I was looking at some typography on a can of dog food and the idea popped into my head, “What if there was a geometric typeface with a circular O that when condensed, the O became straight sided, instead of becoming an oval?” I quickly sketched out the concept of Uniform and liked what I saw, the only problem was I was working full time as a graphic designer, and as a newly married husband, I didn’t have any time to make the extensive typeface. LETDOWN A year and a half later, shortly after the birth of my first child, my boss cut my hours in half. Although stressful, I saw this event as an opportunity to finally have time to complete the typeface I had in my head. I spent a couple months putting together a Kickstarter campaign, thinking it would be a smashing success, and I would be able to live off the donations long enough to complete the typeface. Wrong! The campaign was a flop and I was left discouraged and dejected, thinking that the great idea I had in my head would never become a reality... PERSEVERANCE At the end of the year, in December 2013, I decided to go for it and make this new type family no matter what it took. I began waking up a few hours before work each morning (getting only four hours of sleep each night) carefully crafting each individual glyph day by day. After nine months of hard work (and just about killing myself in the process!) in October 2014, I finally had a finished product ready to be released to the public! THE PINNACLE Fast forward a few years and now Uniform has reached it's pinnacle, Uniform Pro. Uniform Pro now offers extended language support including Cyrillic and Greek character sets, integrated italic styles, additional weights, and additional OpenType features.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

This font is called "Hallen" with modern classic themes, it represents a carefully serif display typeface. Hallen comes with unique swashes alternates and combines every character in good typography. Select regular and smooth style for modern theme, for classic theme you can select rough and texture style. You can type some words and then make yourself the best layout, it will look perfect for professional design taste. You also can use this font in some designs such as the logotype, magazine, poster, packaging, branding, website, quote, invitation and more custom design. Hallen includes : 4 style typefaces (regular, smooth, rough, and texture) Uppercase, lowercase, numeral, punctuation & symbol Ligature and Alternates (ss01 - ss06) Multilingual PUA encoded Thank you for your support and choosing us.

Alhazed – Halloween Display Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Alhazed with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more). There it is. I really hope you enjoy it. Comments & likes are always welcome and accepted. More importantly, don’t hesitate to send a message if you have a problem or question.

Looking for a modern and experimental font to make your designs stand out? Look no further than Banigar font family! Comes with 4 styles including regular, italic, rounded, and rounded italic. Also available in 7 Weights (Light, Regular, Medium, Semi-Bold, Bold, Extra-Bold, Black) and 3 Widths (Condensed, Normal, Expanded) on each style with total 84 fonts. Banigar is perfect for creating designs that are both modern and confident. With consistent letter width and a high contrast between thick and thin strokes, Banigar is sure to grab your audience's attention. Whether you're looking to create something fresh and bold or something experimental and daring, Banigar has got you covered. Don't settle for an ordinary font, upgrade to Banigar today! All Caps font.

HU Ketchup is special headline font that has waving strokes like script font. It can be used to stress out something important, and for any artwork that has retro vibe. It also looks good with food packaging, so it has diverse usage. HU Ketchup - это особый шрифт заголовка, который имеет волнистые штрихи, как шрифт скрипта. Его можно использовать, чтобы подчеркнуть что-то важное, а также для любых произведений искусства в стиле ретро. Он также хорошо смотрится с пищевой упаковкой, поэтому имеет разнообразное применение. Το HU Ketchup είναι μια ειδική γραμματοσειρά επικεφαλίδας που έχει κυματοειδείς πινελιές όπως γραμματοσειρά σεναρίου. Μπορεί να χρησιμοποιηθεί για να τονίσει κάτι σημαντικό και για οποιοδήποτε έργο τέχνης έχει ρετρό ατμόσφαιρα. Φαίνεται επίσης καλό με τη συσκευασία τροφίμων, επομένως έχει διαφορετική χρήση.

Introducing Masterson, the strong slab serif that inspired from cowboy and western style. Masterson has three styles : Regular, Spurs and College that you can combine as a unite in your design project. Masterson is all-caps font, the good choice for your logo, logotype, badges, store front, headline, sub headline, even body text because the shapes already set to keep the readability when it's use in small size. This font is recommended for western style, vintage, retro, pop art or minimalist. 300+ Glyphs included with 27 accents : Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Zulu. Masterson has catchwords to give you more variants in your design.

"Monalliza" comes with an aesthetic style, and its serif-type tagline is Vintage and elegant. "Monalliza" is also equipped with the latest professional characteristics that present a sleek and attractive identity for your company or project for business purposes. It goes well with modern serifs and scripts that depict or stand firm as a title and brand representative for an elegant look. "Monalliza" also comes with multiple languages, making any country and language easy to use. It also comes with alternative Ligatures and styles to make your designs more attractive. "Monalliza" is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc.

The new Comic Style Font is Called " Hurtz " Comic style make your design Pop up, Retro, Stand out. Perfect Reading, Good Readability. What's Included ? Uppercase Lowercase Symbols Numerals Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, 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, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu.

Joaquin Imperial – Blackletter Typeface Font is a display font that is inspired by gothic and horror style because its shape is very unique and is perfect for any project that you will use with this theme. Joaquin Imperial with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : 1.Uppercase & Lowercase 2.Multilingual support 3.Number 4.Symbol 5.Punctuation. 6.Extra Dingbat 7.Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more). There it is. I really hope you enjoy it. Comments & likes are always welcome and accepted. More importantly, don’t hesitate to send a message if you have a problem or question.

Introducing Ivory Coast font is modern and elegant handwritten with a quick stroke pen effect. Comes with regular and italic. With built in Opentype features, this script comes to life as if you were writing it yourself. This font is great for your creative projects such as watermark on photography, and perfect for logos & branding, photography, invitation, watermark, advertisements, product designs, stationery, wedding designs,label, product packaging, social media, movie titles, books titles, a short text even a long text letter and good for your secondary text font with sans or serif. And also for special events or anything that need handwritting taste. Don't hesitate if you have any questions. Thanks for checking out this font. I hope you enjoy it! AminMario

Introducing Walking Broadway - Bold Type, created by ikiiko. Walking Broadway is a serif bold type, that inspired by typography from a vintage movie & newspaper at that era. This typeface is designed to give a formal yet old style look. Walking Broadway has a distinctive bold to light contrast shape. A style commonly used in movie, magazines, and signage in that era. This typeface is perfect for an formal layout, old movie poster, newspaper, magazine cover, and also good for vintage product, food & beverages, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Alternates & Swashes Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Looking for a font that will make your branding stand out? Do you sometimes have an appetite for a bit more wholesome typography? Looking for a fabulous, stylish, and adventure font? We've got what you want. Glowing Midnight-A Script Font Glowing Midnight is a unique script font with retro touch. This font features thick and angular letters that easy on the eyes and nice to look while it’s also easy to read. Glowing Midnight becomes more special with extruding version option. Well suited to titles, poster designs, branding, logos, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Sansterdam is a modern condenced grotesque font family. It's great for titles, posters, logos. Condensed font allows to include more information in one line. Sansterdam has special Deco version with circle uppercase letters and oldstyle numbers for more vintage feeling. Also Sansterdam has signature script font with many ligatures and alternates for more unforgettable combinations! Font looks amazing as alone words and as full text blocks. Also it good for bright captions and logos. Language support more than 30 languages: Afrikaans, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Galician, German, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmal, Portuguese, Romanian, Russian, Slovak, Slovenian, Spanish, Swahili, Swedish, Zulu etc. Download Sansterdam for your next project today! Thank you and have a great day!

Mencap When most of us go about everyday tasks, we take for granted the reading that’s involved, on instructions, labels and so on. For people with learning disabilities, reading is made much harder by certain fonts. FS Me is designed specifically to improve legibility for people with learning disabilities. The font was researched and developed with – and endorsed by – Mencap, the UK’s leading charity and voice for those with learning disabilities. Mencap receive a donation for each font license purchased. Every letter of FS Me was tested for its appeal and readability with a range of learning disability groups across the UK. Inclusive Fontsmith were determined to design a font that was accessible to those with learning disabilities without standing out as such – one that was inclusive of all readers. It should comply with accessibility guidelines and work best at 12pt, but still have a character of its own that was warm and approachable. “So much accessible design is done separately to the main body of brand work,” says Jason Smith. “We wanted to make a typeface that covered both brand tone and neutrality, and that could be used legitimately as a brand font as well as in accessible design.” Me, you, everyone FS Me is about design that doesn’t patronise. People with learning disabilities are often treated as inferior by childlike design. FS Me is designed for adults, not children – a beautifully-designed font for everyone. Its features include very subtle distinguishing elements of each letter to aid the reading and comprehension of texts, and tails, ascenders and descenders that have been extended for extra clarity. What the people said... Here is a sample of comments from the extensive research groups that helped to shape the letterforms of FS Me: “I want something round, clear and friendly.” “We like movement in the letters but don’t want anything childish.” “The ‘b’ and ‘d’ need to be different as they can be confused.” “I prefer the handwriting-style ‘a’.” “It’s important to have an accessible ‘a’ and ‘g’. Teachers sometimes complain that learners cannot read or understand the inaccessible ‘a’ and ‘g’.”

Lilard - Elegant Serif Font Lilard - Elegant Serif Font is a beautiful typeface that exudes sophistication and grace. The font was designed with the idea of creating a classic and elegant look, while still maintaining a modern and clean feel. The result is a font that is versatile and can be used for a variety of projects such as branding, logos, packaging, photography, and more. The design of Lilard font is inspired by the timeless and elegant look of serif fonts, but with a contemporary twist. The designer wanted to create a font that would stand out and be memorable, while also being easy to read and understand. The elegant curves and sharp serifs make Lilard a perfect choice for projects that require a touch of elegance and sophistication. Lilard font is best used for projects that require an elegant and refined look. This font is perfect for use in wedding invitations, business cards, and other high-end print materials. The font works well when paired with other sans-serif fonts, which helps to create a modern and clean feel. Lilard font comes with a variety of features that make it stand out from other fonts. The font includes uppercase and lowercase letters, as well as opentype features such as alternates and ligatures. Additionally, the font includes numbers, punctuation, and symbols, making it a versatile choice for a variety of projects. The font also supports multiple languages, making it a great choice for international projects. If you're looking for a font that is elegant, sophisticated, and versatile, Lilard - Elegant Serif Font is the perfect choice. Its unique design and features make it an ideal choice for a variety of projects. Use this font to add a touch of elegance and refinement to your designs and make them stand out. In summary, Lilard - Elegant Serif Font is a beautiful and elegant font that is perfect for high-end projects. Its unique design, features, and versatility make it a great choice for a variety of projects, including branding, logos, packaging, photography, and more. With its opentype features, multiple language support, and easy-to-use formats, Lilard is sure to become a go-to font for designers looking for an elegant and refined look.

Mencap When most of us go about everyday tasks, we take for granted the reading that’s involved, on instructions, labels and so on. For people with learning disabilities, reading is made much harder by certain fonts. FS Me is designed specifically to improve legibility for people with learning disabilities. The font was researched and developed with – and endorsed by – Mencap, the UK’s leading charity and voice for those with learning disabilities. Mencap receive a donation for each font license purchased. Every letter of FS Me was tested for its appeal and readability with a range of learning disability groups across the UK. Inclusive Fontsmith were determined to design a font that was accessible to those with learning disabilities without standing out as such – one that was inclusive of all readers. It should comply with accessibility guidelines and work best at 12pt, but still have a character of its own that was warm and approachable. “So much accessible design is done separately to the main body of brand work,” says Jason Smith. “We wanted to make a typeface that covered both brand tone and neutrality, and that could be used legitimately as a brand font as well as in accessible design.” Me, you, everyone FS Me is about design that doesn’t patronise. People with learning disabilities are often treated as inferior by childlike design. FS Me is designed for adults, not children – a beautifully-designed font for everyone. Its features include very subtle distinguishing elements of each letter to aid the reading and comprehension of texts, and tails, ascenders and descenders that have been extended for extra clarity. What the people said... Here is a sample of comments from the extensive research groups that helped to shape the letterforms of FS Me: “I want something round, clear and friendly.” “We like movement in the letters but don’t want anything childish.” “The ‘b’ and ‘d’ need to be different as they can be confused.” “I prefer the handwriting-style ‘a’.” “It’s important to have an accessible ‘a’ and ‘g’. Teachers sometimes complain that learners cannot read or understand the inaccessible ‘a’ and ‘g’.”

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. 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.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

MAS AMOR POR FAVOR (1) (more love, please) Fluire means -to flow- in Italian and that’s what this font is all about. The story began when a friend of mine asked for a tattoo with the word -Fluir- (to flow in Spanish). She didn't want a tattoo full of swashes and swirls, like I'm used to doing, but something more fluent, soft and minimal. My very first attempts were more related to copperplate calligraphy but I wasn't even close: I discovered that I needed to forget a little bit about the classic contrast and speed of the engrosser's nib and started playing with a tiny flat metal nib. Letters started to flow, and I immediately thought of turning them into a font. Inspired by the tattoo I created and by other tattoos I saw, I started the journey of what would be a very fun process. The result is a very cute, almost monoline font with a wide range of uses. USES If not used for a tattoo (my first ‘target’), the font delivers amazing results in combination with Fluire Caps: These two need each other, they go together, they talk. I designed Fluire Caps Down and Fluire Caps Up so it’s easier to manage their colors. Also there’s Fluire Caps Down Lines, which has a decorative thin line to add yet another dimension. Use the fonts in magazines, book covers, posters, greeting cards, weddings, lettered walls, storefronts! TIPS Since the font is Open-Type programmed, I strongly recommend using it in applications that support that feature. Also, the font looks way better when -contextual alternates- are activated, but it’s your choice :) Try Fluire, and keep flowing. NOTES (1) The phrase alludes to maybe the most tattooed phrase in Latin America.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Terfens Gothic is the perfect choice for your next project! With its medium contrast and approachable design, this calligraphic sans serif has a classic feel that will never go out of style. Terfens Gothic is the perfect typeface for anyone looking to add a touch of uniqueness to their designs. With its generous x-height and rounded terminals, it's perfect for creating one-of-a-kind designs that are sure to impress. Its large x-height gives it a welcoming, but not too casual vibe. With forty-eight different typefaces, it has the versatility and aesthetic options you need to make your project stand out. Choose from regular, condensed, and extended styles, each with nine different weights and italics. Terfens Gothic has the look you need to make a powerful impression. Terfens is the ideal typeface for any project that has to stand out, thanks to its towering verticality. Terfens may be utilized for a variety of purposes because of its adaptable design. Terfens is a sans unlike any other- it starts with a beautiful calligraphic chancery script and then adds movement and personality. This sans is guaranteed to make your next project more exciting! The Terfens Type System's third typeface, Terfens Gothic, is an amazing addition to any type collection. The Terfens Type System's adaptability is unrivaled, with its vast choice of styles, widths, and weights. This font family has everything you need to create unique, customized designs that will suit your individual needs. Whether you need a narrow or wide font, or a hairline or bold weight, the Terfens Type System has you covered! And, with its Opentype features, the Terfens Type System is perfect for anyone who wants to add a personal touch to their projects.

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

Carrot and Strawberry is a Playful Serif Font. This font describes about fun, cute, easy going, and easy to use. FEATURES - Support Opentype Features - Support Ligatures - Numbering and Punctuations - PUA Encoded Characters - Multilingual Support - Works on PC or Mac USE Carrot and Strawberry works great in craft, any product packaging, book, logotype, magazine, editorial, quotes and any projects that need all about cute and fun taste. Enjoy using! Thanks. HIRO.std

Activity is an energetic hand styled script. It is beautiful for wedding card design, logotype, website headers, fashion design and much more. It includes multi-lingual and swash characters. There it is! I really hope you enjoy it - comments and likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Sheet music for the song “The Little Thing You Used to Do” (from the 1935 motion picture “Go into your Dance” starring Al Jolson and Ruby Keeler) had its title set in what closely resembled Bank Gothic Condensed. [Bank Gothic was originally designed by Morris Fuller Benton for American Type Founders circa 1930.] This reinterpreted version is now known as Stenographer JNL, and is available in both regular and oblique versions.