Hello, let me introduce my font called de Floras - 5 Fonts Family. de Floras is a lovely and beautiful script typeface that designs manually by hand and love. de Floras comes with 5 weight, light, regular, semi bold, bold and extra bold. de Floras comes with a beautiful start and end swash that made who look for the first time is falling in love. Very suitable for designing wedding cards, birthday cards, invitation, greeting, and many more.

I'm Andrea, creator at Nirmalagraphics and I want to present my latest font called "Kidszania". I took the name from a children's playground filled with writings posted on the wall. I found a child's writing style that is funny, looks clean and natural. I tried a rough sketch of a font that resembled the writing of the child, then I modified it to become the "Kidszania" font. This font can be used for any needs, especially children-themed designs.

Six Hands is a set of handwritten fonts based on various writing tools, such as pencil, felt-tip pen, ball-point pen, and brush. The character set of each of these fonts supports the Cyrillic alphabet, as well as the extended Latin script for all European languages. Most of the styles also contain additional alternatives that have the capability of automatically interchanging in the setting, which significantly variegates and humanizes the text. Six Hands is quite a rare combination of diverse display fonts that work well together. It is made for talented designers who can use it creatively in packaging, advertising, displays, posters, menus, invitations and so on. The design of Six Hands was a result of collaboration between Alexandra Korolkova, Alexander Lubovenko and all those who assist them in this work. This set of fonts was released by Paratype in 2018.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

TT Knickerbockers useful links: Specimen PDF | Graphic presentation | Customization options About TT Knickerbockers: TT Knickerbockers is a contrasting pair of fonts that continues our project series dedicated to different cities. The new project is dedicated to New York with its multiculturalism, historicity, creativity, energy, and to its inhabitants. TT Knickerbockers Grotesk symbolizes the monumentality of New York expressed in both its traditional historic architecture and skyscrapers. Energy, constant movement and the round-the-clock life of New York—all this is reflected in our TT Knickerbockers Script. TT Knickerbockers Grotesk is a narrow contrast sans-serif with characteristic elements sending us back to the 19th century. There’s also a reference to antiqua fonts to be noticed in the font: where in traditional antiqua there would be serifs, TT Knickerbockers Grotesk features a straight stroke ending, and traditional drops (finals, tails and ears) are substituted with rounded strokes. In TT Knickerbockers Grotesk you will find unusual characters, stylistic alternatives and ligatures. The following OpenType features are implemented: ordn, case, frac, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. TT Knickerbockers Script is a bright and at the same time a little restrained brushpen script with a slight touch of aristocracy. TT Knickerbockers Script consists of 967 characters and also contains a huge number of contextual alternatives and ligatures. For all lowercase and uppercase letters of basic Latin and Cyrillic alphabets we have drawn 236 swashes which, depending on the context, can appear both at the beginning and at the end of a letter. Do not forget to enable OpenType support and enjoy all the opportunities that the typeface provides and its built-in features: ordn, frac, case, sups, sinf, numr, dnom, onum, tnum, pnum, calt, swsh, liga. FOLLOW US: Instagram | Facebook | Website TT Knickerbockers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Introducing Goxac is a boldly shaped font that gives any project a cutting-edge, futuristic feel. Goxac’s slick lines and distinctive letterforms give your text a contemporary appearance, making it ideal for designs with a science fiction or technological theme. Goxac is the perfect tool for designing eye-catching headlines, posters, and social media graphics because of its bold aesthetic and futuristic theme. They are ideal for branding projects, packaging designs, book covers, and more due to their distinctive letter shapes. With a complete set of punctuation and numbers, Goxac is available in both upper- and lowercase letters. This multipurpose font is ideal for designers, marketers, and anyone looking to add a touch of futurism to their work because it has four different variants. With the Goxac font, rest assured that your designs will look unique, stylish, and futuristic. This font is perfect for those who want to stand out in the modern era, and for those who want to give their designs a touch of innovation. Goxac is a must-have for anyone looking to create a plan that really stands out. So don’t wait, make Goxac your font of choice today, and take your design to the next level! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Dolsáb was designed from scratch with uniqueness in mind. The subtle movement from thick to thin and the variants of sharp to rounded make this cutting edge san serif a must have. The inspiration for Dolsab was a simple pairing of a rhombus and calligraphy. While neither of those two elements can be seen in their entirety in any instance, the influence of both is strong. The rhombus can be notice on most ascenders like on the lowercase t & l, for example. And the calligraphy inspiration is most easily captured on the descenders such as the lowercase y & g. The most beautiful characteristics of Dolsab is definitely the calligraphy-influenced movement. These features really stand out on the lowercase a & e. It's almost amusing to let your eye follow the contours of those two letter forms as they travel from thick to thin, sharp to rounded and back again. Users are welcomed to try all font styles of Dolsab in any applique of their choosing. However, it will be quickly noticeable that only Dolsab Air & Demi (the thiner of the styles) will be best suited for body copy. Personally I like to see these letterforms as large as they can be to really showcase the subtle movement, especially in Dolsab Heavy where these movements become much more dramatic. You'll never know what really works best unless you experiment. Dolsab surely isn't the answer to all projects, but it's certainly worth trying. No other typeface moves quite like Dolsáb.

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Loraine was born in London. She was an ordinary, hardworking family person, with nothing to worry about beyond paying the rent at the end of the month or keeping the fridge full. Until in 2009 she came to Barcelona on holiday. Soon after she arrived her passport was stolen from her and she had a series of problems with the British embassy. Somebody had made illegal use of her passport. So Loraine found herself in a strange place, unable to get home. She didn’t know anyone there and her circumstances meant she couldn’t ask for help from England, either. She had to sell all her possessions and, in time, learn to speak Spanish. “Living in the street is a wonderful adventure,” she says. In the street she discovered a new city, a new country and a new culture. “There are lots of people who prefer to sleep under the stars.” She also made lots of friends who helped her in a completely unfamiliar world.

The 1907 Barnhart Brothers & Spindler type specimen catalog called this unique typeface simply "Umbra". Since that name is already taken, it now has another. Due to the highly ornate nature of this face, the font has a limited character set (all accented characters, but no math operators or fractions). The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Badger Valley is an elegant and modern sans-serif font. Fall for its ravishing style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! This font is PUA encoded which means you can access all of the amazing glyphs with ease! Features : Badger Valley Regular, Bold, and Italic versions, sans serif font, Numerals, and more punctuations. Multilingual support for various languages

Introducing our new product called Lamphier a Spooky Playful Serif Font, Lamphier inspired by Playful style with spooky style typography theme. This font is suitable for book covers, children's books, comics, posters, packaging, merchandise, logotypes and much more. We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. Happy Designing!

Hostey is a stylish and very modern script font. It looks amazing on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and any other design that calls for a handwritten touch. Features : Ligatures Stylistic sets Basic Latin A-Z and a-z Numbers International Symbols included Punctuation Ligature This font is PUA coded which means you can access all the glyphs and replace them easily! Thank You.

To celebrate the milestone of our all time bestseller font called Hemera, After four years now we're ready to the next level of it. Please welcome Hemera II. A sophisticated vintage victorian era fonts, inspired from the old advertising and classic sign back in circa 1800 - 1900s. Perfectly fit for your vintage vibes and classic touch on any branding works. Logo, badges, label, headline, retro decoration, you name it.

Millena is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts and much more! This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures and a Monogram style.

Back in 2013 I released an all caps font called Rum Doodle. Rum Doodle is a really nice, really weird font with angular glyphs and a unique look. I decided that it would be nice to tweak this font a bit and design a lower case for it. The result is Chew On This. I chose that name for no apparent reason - so don’t make a fuss about it…

Scoth Brace is an elegant and modern serif font. Fall for its ravishing style and use it to create gorgeous logos, headlines, branding, wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! This font is PUA encoded which means you can access all of the amazing glyphs. Scoth Brace Features : Scoth Brace Regular and Italic Version Uppercase, Lowercase, Numerals, and more punctuations. Multilingual support for various languages

Billyjo is a elegant, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, stationary art, eye-catching social media posts, greeting cards, advertising, packaging, and logo. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Steffinella is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, cute greeting cards, apparel, and logo. This font is PUA encoded which means you can access all of the cute glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

Marvellous Script - A Perfectly Magical bouncy Script hand lettered Creative and Casual, together or apart, make tons of gorgeous typographic designs, just in time for all your Christmas labels, cards, and branding too! Perfect for DIY projects, greeting cards, labels, quotes, posters, invitations, wall art, branding, packaging, websites, photos, photo & photography overlays, signs, window art, tags and so much more! Marvelous has an alternate beginning and ending set as well

Christmas Billy is one unique and creative font. Its beautiful charm makes it look absolutely stunning, easy to read, and, ultimately, incredibly versatile. This will add a fun and friendly touch to any of your projects, especially for the Christmas theme! This font is PUA encoded which means you can access all the glyphs easily. Fall in love with its incredibly versatile style and use it to create spectacular designs!

A touch of spice is often what makes a good meal even better. In Danish, spice is called "krydderi" I chose that particular name for this font because it is the kind of brush font that most likely could spice up your next design. I've added 6 different versions of each letter, and they automatically cycle as you type, leaving the result like authentic brush written text. All Caps Fonts.

The biggest feature of HT Espresso is a mixture of straight line and curve.It is like a cup of espresso with a bite-sized piece of chocolate. You can connect all the letters with thin line and It would attract notice. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Qasengi is a bridge to the cultural wonders of Japan and Southeast Asia in a captivating typographic form. With a strong Japanese theme, this font is the perfect companion for any project that calls for a distinctly Japanese and Southeast Asian touch. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Introducing vintage classic display typeface its called Burnic Typeface. Inspired by antique, mix victorian and art deco period with decorative shapes*. Those all will make you work easily to create : Posters, Logos, Print, Quotes, Headers, Clothing, Labels, Packaging etc. Features : Character Set A-Z Numerals & Punctuations (OpenType Standard) Accents (Multilingual characters) Ligatures Above the description of this font, I hope you're satisfied with what I have created. Thanks and enjoy designing.

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

Pitch or Honey is a hand-lettered font trio with matching ornaments and floral elements. It includes: a faux-calligraphy style script font, with a bonus slant version a cute sans serif font, in roughly the same height as the lowercase script a tall, all-caps sans serif font, in roughly the same height as the uppercase script a set of 52 floral elements, with a bonus filled-in version a set of 52 ornamental swashes All you need for beautiful and easy designs with a hand-lettered, rustic feel, such as postcards and notes, creating logotypes, social media posts, branding and packaging, etc.

The Xegir Retro Condensed Display font is a strong solid display font with tall, dense shapes with a geometric appearance. comes with two styles slab and sans perfect for titles, typography, magazines, brochures, packaging, and many more for your design needs, making your designs more modern and professional What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Romper is a slightly narrow handwritten sans in four weights and it is perfect if you want to convey a casual and friendly feel. It was designed with the idea to be used on comic books, mobile applications and children’s books, thus it has a Dancing Baseline version (Romper DB) and a Slanted version (each of them in four weights as well). The family is equipped with 450+ glyphs, has Latin Extended and Cyrillic Support (both Russian and Bulgarian) and a lovely set of extras. The family includes a lot of discretionary ligatures and alternate letters for more variety in the design. Overall, Romper is cute, amiable and really versatile, so it will fit most applications - think greeting cards, menus, merchandise, books, packaging, websites, etc.

Prêt-à-porter is a project developed as part of a series of type experiments appearing on the blog ‘Letritas’. Prêt-à-porter is a very expressive friendly font with a handwritten look, smooth curves and strong identity. Its counterforms make it a carefree, wild, cheerful, light and highly readable typeface. This type system consists of two Script families—Contrast and Linear—and a Slab family. The Contrast set works as a complement, providing more elegance and formal refinement. Both Linear and Contrast come in 5 weights plus Ornaments, which can be used as initial and terminal forms since they have been designed for connecting with each letter. Linear and Contrast families include ligatures and the whole font family supports 208 different languages.

Introducing NEWGATE, a trendy font that is both retro and contemporary, is now available. Its thick curves give it a 70s groovy vibe, while the serifs return it to tradition. NEWGATE fits right in with those vintage moodboards and logos. It has separate lower and uppercase letters, as well as numbers, punctuation, and multilingual letters. The Ligature fonts will come in handy for anything your imagination can dream up! 5 Weights (Light, Regular, Semibold, Bold, Black) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it. Check out Leonardo Sans which is a great pair for Newgate.