Looking like gifted jelly and falling in between cushions and cat food, this plump and inviting letter mixes simplicity with organic style for a wide range of uses. Jellybrush's compact cursive forms and robust friendliness draw on artbrush scripts, blending brush effects with synthetic forms. A versatile workhorse suitable for: * Dairy & beverage * Sweets & soft drink * Five minute food & sauces * Pet food & accessories * Bathroom & kitchen * Cushions, pillows, rubber & swimming pool, etc. Jellybrush is designed to take squishing and outline treatments and still look good. Squish it down in your application of choice, the letter proportions withstand horizontal compression easily. Jellybrush italic is a subtly-slanted fully cursive variant with the character width, counter size and hanging figures required for good text performance. Designed for supplementary text for packaging and advertising comps and any application requiring readable text matching the main font. The font packages contain two (2) formats of Jellybrush, in OpenType & TrueType flavors.

To start with one personal fact: I really like to listen Rahsaan Roland Kirk. He was a multi-instrumentalist, real grandmaster and unique jazz virtuoso. The way he improvised and walked through variety of different music influences are admiring. One of things he liked is to modify instruments, so he modified soprano saxophone and got an instrument called manzello. When I was looking for good name for this typeface, it came on my mind that Manzello could be the perfect one. It has the symbolic background from the instrument and theoretically in my head, it's imagined as typeface that rely on stable classic examples, but graphically designed and modified to match modern standards. Manzello contains a dose of characteristics of display typefaces with terminals that aren't perfectly rounded, high contrast between stems and good balanced Italics with elements of fine calligraphy. It's a small font family, something what I was always looking for to have as first text solution in my web and graphic projects.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

The world of graphic design is a vast and diverse space, with an array of tools, techniques, and resources at the disposal of a designer. However, one crucial aspect of any designer’s arsenal is their choice of typography. The right typeface can elevate a design from mediocre to magnificent, and Neuropolitical is a prime example of just that. Neuropolitical is an ultramodern display typeface that exudes a technical appearance, making it the perfect choice for designs that require an industrial edge. The wide, square curves and sharp ends of the letterforms give your message a voice of efficiency, making it ideal for conveying complex concepts and ideas. Inspired by the iconic 1990s techno typeface, Neuropol, Neuropolitical takes things to the next level. With seven weights and italics, this typeface offers a versatile range of options to fit a multitude of design scenarios. The typeface’s wider design allows for a greater emphasis on the individual characters and the space they occupy, enabling designers to create impactful and memorable designs with ease. But Neuropolitical is not just a tool for the masses, it is a statement of its own. Its wider design embodies the spirit of industrialism and precision, giving designers a new level of control over their designs. The carefully crafted letterforms of Neuropolitical are a testament to the dedication and skill of its designers, resulting in a typeface that is both visually stunning and highly functional. So, whether you’re looking to create a poster, a logo, or a website, Neuropolitical is the typeface for you. It will give your message the power and presence it deserves, leaving a lasting impression on your audience. In a world where first impressions are everything, Neuropolitical is the perfect choice for designers looking to make an impact. 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.

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. The years from 1945 to 1960 saw a heightened demand for copperplate faces, due to post-war market optimism, as well as the banking and insurance industries booming like never before, which triggered the need for design elements that express formal elegance and luxury. The name Sterling Script is a tip of our hat to England, the Stephenson Blake foundry's country of origin. It is also a historical hint about copperplate scripts having been used mainly for banking and bonds in the 19th century. Originally we just wanted to resurrect a gorgeous metal type from the ashes of forgotten history. But after the main font was done we saw that the original s really needed an alternate. We made one. But we felt sorry for the original s and didn't want to see it dropped from use altogether, so we saved it by building a set of ligatures that solve the minor connection problem with the s at large sizes. Before the completion of the ligatures, a few different alternates were also drawn, and we were faced by the fact that the single font we set out to do was now a much larger set than we anticipated. While thinking about how to split up our unexpected bundle of large characters, we drew a few more alternates and some swashes. This abundance "problem" reached a certain point where there was no looking back, so we just decided to go all the way with this font. We added many more alternates, swashes, ligatures, and two full sets of each beginning and ending lowercase letter. The result is over 750 characters of sheer elegance. Sterling Script has many features that set it above and beyond other copperplate scripts: - It has 2 beginning and 2 ending alternates for every single lowercase character. The beginning and ending variants on the vowels are also available in accented form in the appropriate cells of the character map. - Sterling Script is the ultimate elegant font choice for luxury design. Very elegant, but not too soft. Its strong and confident shapes convey a message that is real, comforting and assuring. - One of the eventual purposes of expanding Sterling Script this extensively was to create a script that finds the middle ground between formal and informal without compromising either trait, a script where the degree of formality can be gauged, tweaked, cranked up or toned down depending on the layout's needs. Aside from beginnings and endings, there are multiple variations for the majority of the basic characters. This is a formal script on steroids, where twirls and swashes can be set to come out unexpectedly from any place in the word, which is great for reducing the inherent rigidity of words set in copperplate scripts and "humanizing" them whenever needed. This is especially useful for wedding, postcard and invitation design, where not every viewer of the collateral material has something to do with banking or insurance. - With such an extensive character set, a designer can easily set a word or a sentence in 10 or more different ways, and choose the perfect one for the task at hand. This is particularly useful for work where details are of utmost importance, like logos, slogans, or elegant engravings that consist of one to three words. Let those swashes and twirls intertwine for maximum elegance. The Sterling Script complete package consists of 7 fonts: Sterling Script, Alternates, Beginnings, Endings, Swashes, Swash Alternates, and Ligatures. Sterling Script is available in five different purchase options and price ranges. But with such a massive offering of variation, the Sterling Script complete package is definitely the most value-laden set in its class. Once you use Sterling Script, you will never want to go back to other copperplates.

With Antipol Variable, the reversed stress font was supplemented with Wide and Extended cuts in the Hairline weight. The ability to stretch single letters extremely wide is an exclusive goodie of the Variable version. Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more.

If you create a lot of designs for display, then you know how invaluable a good, solid, geometric face is. Wodehouse is here to deliver. It has both a vintage, between-the-wars look and feel and a geometry with superelliptical rounds that embrace later, more modular designs. It's a little Deco, a little Moderne, a little Industrial and a lotta personality. Wodehouse has style. Wodehouse stands out. Right ho, Woodhouse!

Battleground is a very characteristic Display Font with a strong Sports theme and is very suitable for the Esport Logo as well Battleground came with opentype features such stylistic alternates, stylistic sets & ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : -Uppercase & Lowercase -Multilingual support -Number, -Symbol -Punctuation. -Support in Mac and Windows OS -Support in design application (photoshop, illustrator, and more)

Havoks is a Hand-lettered font inspired by the vintage 70's sign board, music, shop and movies, it has a rough stroke outline and then we fill it. Havoks includes opentype features Ligatures. It support multilingual more than 100+ language. This font is good for logo design, Movie Titles, Books Titles and any awesome project you create. Make a stunning work with Havoks Rough sans font. Cheers, Maulana Creative

Introducing Gosthel, a dry Brush typeface, carefully hand-brushed. Comes with natural and organic flowing brush pen, make the letters look cool and classy. Gosthel has a unique style and charming characteristics from the brush texture. Gosthel is a good choice for many different projects such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything.

Yefimov Sans is a sans companion for Yefimov Serif . It is one of the last original faces by Vladimir Yefimov. It has contemporary design, squarish shapes of the round letters and legible proportions. Thanks to open aperture, it works well in small point sizes, and its distinctive letterforms make it good also for display purposes. The typeface was completed by Maria Selezeneva and Alexandra Korolkova. Released by ParaType in 2015.

CoreGaon is a modern sans-serif font. The main characteristics of the typeface are rounded edges of strokes and soft look & feel. Restrained angles of diagonal make text be in good order and it is helpful for legibility and readability. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean consisting of 11,172 Korean letters and Symbols except Chinese. We suggest to use for books, magazines and posters.

Introducing our new font called "Bluehill". Bluehill is a dry marker handwritten font with textured lines and classy style for your signature or design purpose. It comes with dynamic ligatures and alternates to give you a more natural experience. Bluehill is a good choice for many different projects such as logos & branding, invitations, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermark, special events and more.

Glowyts is a modern simply casual handwritten font. Inspired by the peoples handwriting letters in the envelope or their notes. Glowyts includes opentype features Many Ligatures. Glowyts support multilingual more than 100+ language. This font is good for logo design, Movie Titles, Books Titles, a short text even a long text letter and any awesome project you create. Make a stunning work with Glowyts handwritten font. Cheers, Maulana Creative

Developed by Indonesian designer Fadhl Haqq, Ordina is a grotesque-style superfamily with no less than 90 styles to choose from. It supports Latin including Pinyin and Vietnamese, Greek and Cyrillic, complete with Bulgarian alternates. Choose from Ordina’s eight figure sets, fine-tune its appearance with stylistic alternates for key lowercase letters, and put the reliable yet stylish sans-serif workhorse to good use in virtually any typographic application.

Black Bamboo is a beautiful plant. My father in law, who recently passed away, loved it and had a prized specimen growing in his garden. This font was named in his honour. Black Bamboo font is a bold typeface, created using a good brush and quality paint. It is all caps, but upper and lower case differ and can be freely interchanged. Of course, Black Bamboo comes with all diacritics.

Hello, Start good day for new font! present to you, Morgana! A unique modern & classic ligature font that is a mix of old and new. It's soft curves mixed with high contrast glyphs lend it self to both feminine and masculine qualities. Equipped with epic ligature, great in layout design for quotes or body copy, and will be unique to the use of the logo design. And also multilingual support.

Rounded, two was designed with a simple idea in mind: the basis for the majority of the characters is a perfect circle. That circle is then intersected and cropped to make unique, modern and stylish letterforms. Rounded, two is an improved version of my initial experimentation. The font looks good at all sizes, but particularly for large displays where the elegant simplicity of each character can be appreciated.

A robust, mono-weight typeface with gently rounded slab serifs, Mr. Porter harkens back to celebrated roots in late 17th Century England. Not for the meek or faint-of-heart, it lends a nutty, chocolaty, toffee flavor to both a stout and pale variety, with lots of malty goodness. Rich and full-flavored with notes of coffee, licorice and molasses, it promises delightful pairings for an infinite variety of typographic solutions.

Introducing a Beautiful Blossoms - Handwritten Script Font with sharp and beautiful letters that create fonts that are modern, trendy and elegant. Wayfaring came with opentype features such stylistic alternates, stylistic sets & amp; amp; ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate There it is! I really hope you enjoy it

Introducing a Recollect - Handwritten Script Font with sharp and beautiful letters that create fonts that are modern, trendy and elegant. Matsuyama came with opentype features such stylistic alternates, stylistic sets & amp; amp; ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate There it is! I really hope you enjoy it

Core Sans is a simple and modern sans-serif font. Core Sans's Latin alphabet has good legibility and is designed simply. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1, MS Windows 949 Korean(Hangul) consisting of 11,172 letters and KS Symbols (Korean Symbols). We recommend to use for books, web, screen displays and so on.

Introducing a Matsuyama - Modern Script Font with sharp and beautiful letters that create fonts that are modern, trendy and elegant. Matsuyama came with opentype features such stylistic alternates, stylistic sets & amp; amp; ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate There it is! I really hope you enjoy it

Introducing a Workfares - Urban Script Font with sharp and beautiful letters that create fonts that are modern, trendy and elegant. Workfares came with opentype features such stylistic alternates, stylistic sets & amp; amp; ligatures good for logotype, poster, badge, book cover, tshirt design, packaging and any more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Alternate There it is! I really hope you enjoy it !

It's always handy with a good font that helps your design stand out. And if you have a delicious snack while designing, then everything should be in its place. This font is quite handy, and its litterally a designing snack! And it contains zero calories! :) Well, its a comic book kind of font, and comes in Regular, Black and Layer. Mix those 3 versions for great designing results!

Zeebonk (literally 'Sea Chunk') is Dutch for a sailor - in particular, a large, pickled and brined, seven-seas-been-there-done-that specimen. The font itself brings back memories of the outrageous tattoos those same 'zeebonken' used to have. Zeebonk comes with extensive language support, alternates for the upper case (and some lower case letters as well) and a healthy dose of good old fashioned sea dog humor!

PaperCutPeach is unique in that it is a paper cut font but also a SCRIPT FONT. With PaperCutPeach you can create extraordinary lettering that looks effortless, casual and handmade. Each and every glyph is based on a paper letter cut by hand with a pair of scissors by me in my studio. Ideal for packaging for organic products, illustrated goods, book covers, editorial illustrations and other freestyle projects.

Bornholm Sandvig is named after the village, "Sandvig", on the only rocky island in Denmark, Bornholm. It is the second face in a series of rough stone cut typefaces, that shares proportions, but differs in any other aspect like different pieces of rock. It is a powerful face, but still very friendly. Good for very big sizes, but can be used for small texts, movie titles, cartoons, etc.

Banteng is a cool brushed handwritten font, organic and interesting looking. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level. Include OpenType alternates and common ligatures. Ideal for logos, name tag, handwritten quotes, product packaging, merchandise, social media & greeting cards. Try the alternates and ligatures to give your designs looks good, fresh, casual, stylish, and modern.

Tide Sans Condensed is fresh, carefree, and just as good looking as its extended brother, Tide Sans. The Tide Sans family includes beautiful italics and an overall affable look lost somewhere between a humanist and a neo grotesque. Tide Sans does the work for you by providing a ridiculously large stylistic alternates set, fine tuned small caps, and a whole beach of alternate (amper)sands to feel between your toes.

Bladis Night is a font duo between a serif and modern script fonts. Bladis Night is good for logo branding, wedding invitation, typography wedding, quotes text, magazine, or anything you want to do. Bladis Sans Serif includes numbers punctuation, alternates, and it also supports other languages. Bladis Night was built with OpenType features and includes ligatures, beginning and ending swashes , numbers, punctuation, and it also supports other languages. Thank you!