“Feverish” was a font borne out of perceived need in the marketplace. Hallmark retired font designer and master letter designer Myron McVay first approached Bill LaFever to collaborate on a project to design a semiformal calligraphic script that could be set as text copy with a large variety of swash and alternative characters and small caps. Bill penned the initial forms and Myron did the digital conversions and initial technical work. After Myron passed away, Terry Lee, a protégé of Myron’s at Hallmark, also retired, took over and the project was completed. “Feverish” is a semi-formal italic which can be used in a wide variety of commercial and advertising applications. The font family is large which can accommodate a variety of unique applications.

Alexander Quill was originally designed in the early 1980s to be cut in 14 point for casting into foundry type for the setting and printing of limited edition books at Pie Tree Press, Jim Rimmer's private sanctum. This alphabet exhibits traditional calligraphic tension, which helps its simple, somewhat octagonal forms play well together for an easy read. Its setting expresses a dramatic sense of history or fantasy. Alexander Quill was updated and remastered for the latest technologies in 2012. It comes with plenty of built-in alternates, a glyphset of over 410 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

Esca is a display typeface designed by Jim Ford with highly compressed proportions yet with a subtle calligraphic touch. This Lite version of the typeface was designed as part of a font marathon over the course of 3.5 days in Monotype’s NY office. The design started with the aim of fitting 4 letters onto one sheet of paper and the resulting typeface keeps that tight proportion. The Esca design is mixed case and is ideally suited for logos, short headlines, and album covers. It has a great architectural feel to it that makes it suitable in signage applications and large scale settings. Monotype is proud to support Room to Read’s work in literacy and girls’ education through our font marathon initiative.

Lina sans is an Arabic typeface from Lina type family, it expresses modern vigor based on simplicity and clarity. It's Strong, Bold, legible, clear, simple, Modern. With a handful set of OpenType features and alternatives. Lina type family consists of Lina soft, Lina sans, Lina round. the design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Lina sans was highly crafted in order to perform well both on screen and in print. The large x-height and open counters make it function well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Lina sans consists of 7-weight versions from thin to bold.

Niccolo Niccoli (1364-1437) was a wealthy bibliophile and an acclaimed scribe, in Florence (Italy). He was one of the most important Italian calligrapher in this early time of rediscovering Roman script. Of rare accomplishment was his adaptation of the so called Italian humanistic minuscule script. We were inspired from his late work to create this present Font. We have added a lot of accented and other characters (U/V, I/J...) who was not existing in the original and replacing "long s" by a small "s" for a modern use. The OTF encoding was used for intelligent alternates, permitting to use different forms of the same lower case or capital in a single word, reproducing easily the charming variety of a real manual scripture.

Occam is an informal calligraphic script face. The letter forms were drawn and constructed rather than penned or brushed but reflect a definite flat pen influence. The ascenders and descenders incorporate an abstract implied loop form. Some curves that would normally be round are pointed and some transitions that would normally be sharp and pointed have been made round. A few exit strokes curve back instead of moving up and out for a little different look. This font could be put to good use as a contrasting style combined with sans and serif faces in applications such as newsletters, brochures, invitations and annual reports. It could be used for heads, subheads, pull quotes, drop caps and as a title font for covers.

A calligraphic script font Millettre is the last member of the trilogy of types designed by Lyudmila Mikhailova. First two fonts Milanette and Milafleur were released earlier. The font is based on author's lettering artworks which she did for many years for companies who produced greeting cards. The characters of the font have rough contours simulating lettering by a pointed pen on a rough paper. The character set covers standard Western, Central European and Cyrillic code pages. The default version of the font is presented by disconnected script, but connected variant is also included and organized as an alternative stylistic set. The font also contains some initial, finial and alternative forms of letters. Recommended for use in advertising and display typography. Released by ParaType in 2011.

Lina soft is an Arabic typeface from Lina-type family, with a warm and humane feeling. It's legible, soft, clear, flexible, simple, and contemporary. With a handful set of OpenType features and alternatives. Lina type family consists of Lina soft, Lina sans, Lina round. The design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Lina soft was highly crafted in order to perform well both on screen and in print. The large x-height and open counters make it function well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Lina Soft consists of 7-weight versions from thin to bold.

Hartwell is a Neo-humanist sans serif type family. Its strokes and terminal are related to the calligraphic shapes from humanist typefaces in sets with geometric touches. This combination results in a versatile postmodern type family ready to use with many possibilities. Hartwell comes in 18 weights from thin to heavy plus its matching italics. Moreover, this family has OpenType features such as arrows, ligatures, fractions, special numbers, alternate glyphs, extended language support and many more. Hartwell has the ability to blend perfectly in all sort of projects like editorial design, branding, advertising, headlines and short texts. Finally, I would like to thank the entire W team and their collaborators for the months of learning, goodwill and make this project possible.

Lotus is a traditional-style Arabic text face derived from foundry types cut earlier in the 20th Century, based on the calligraphic models in the Ottoman Naskh style (the traditional style of Arabic script for use in printing). Its graceful finials and elegant logotypes contribute to the classic look of the face making it particularly suitable for serious book and journal work. The conversion of the PostScript versions of these fonts to OpenType format has taken full advantage of the latest digital technology, allowing accurate positioning of diacriticals and kerning refinements. The Lotus typeface is available in two weights: Lotus Light and Lotus Bold. These two fonts incorporate the Arabic codepage (CP 1256), and support Arabic and Persian. They also include both tabular Arabic and Persian numerals.

Jugo Script is a Koziupa/Paul near-parody of the soft and speedy late-1980s, early-1990s display scripts. Though it essentially is one of the usual exhibits of Koziupa's calligraphic skill, its individual shapes and overall construct show a mischievous wink at Oz Cooper and the hundreds of lens-blurred film types he inspired in the 1970s and 80s. Koziupa's unique sense of letterform and proportion is on full display in the uppercase and the figures, while the lowercase is an eccentric exercise in single stroke lettering, complete with quick and subtle wrist bends, minimal pausing, and hurried exits. Jugo Script's softness and internal call-and-answer structure make it a natural for comfort food packaging, especially the sweet stuff.

Mondish is an elegant sans serif family that comes in five weights with matching Italics. Commonly recognized as fashionable font by its design and main purpose, Mondish is actually much more than that. Characteristic by high contrasted stems, gentle calligraphic endings of lowercase letters, slightly condensed Italics and slanted letter axis through the entire family, it leaves an impression as a designer's charming partner for a wide variety of projects. Mondish is equipped with OpenType features such as Stylistic and Contextual Alternates, Oldstyle Figures, Ordinals, Subscript and Superscript, Initial Forms, Denominator, Numerator and Fractions with Standard and Discretionary Ligatures followed with Small Caps. Beside basic and extended Latin character set, Mondish comes with Cyrillic support. Exactly 700 glyphs in total.

Falling is an exquisite handwritten font, masterfully designed to become a true favorite. It maintains its classy calligraphic influences while feeling contemporary and fresh. Fall in love with it and bring your projects to the highest levels! Provide Ligatures and alternates with special character make the design letters looks incredible. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirt and much more. Font Features : Regular Version Character set A-Z in Uppercase and Lowercase Ligatures in lowercase and special Alternate option Numerals and Punctuation Accented Characters Multiple Languange Supported Recomended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. If you have any questions, just send me a message and I'm glad to help. Best Regards Supersemar Letter

The German poet, painter, calligrapher and type designer Emil Rudolf Weiß originally created this eponymous typeface for the Bauer Foundry of Frankfurt. Long known and loved by metal type enthusiasts under the name "Weiss Antiqua," this design was inspired by typefaces from the Italian Renaissance while still distinctly reflecting the artistic and poetic personality of its twentieth-century designer. Weiss has tall ascenders, sharp apex points, and a low-slung midsection on the caps. The italic moves like a classical ballerina. Weiss is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The Weiss family works well for warmly legible text typography; and it's also an original choice for refined headline and display graphics."

Ni is a kind of typographic love letter, revealed in three distinct, yet close, type formulas. Ni Serif is a contemporary serif typeface with slight diagonal modulation, amazingly legible, and with a very steady rhythm that allows a wonderful performance, especially in long passages of text. Ni Sans closely match the design characteristics and proportions of the serif counterpart. Ni Sans undeniably shows the strong calligraphic influence that comes from Ni Serif, resulting in a very comfortable humanistic typeface, suited both for print and digital environments. Ni Slab is not a simple Sans with serifs attached. Despite the thick and strong serifs, Ni Slab is a gentle mixture of the DNA of the Serif and Sans counterpart and does not intend to reflect any mechanic approach.

AS HAREF is a contemporary geometric Arabic font, drawn and constructed carefully Font design is inspired by the ARABIC calligraphic style. AS HAREF Its structure is equal and visually controlled. Character forms are a combination of vertical straight lines that integrate visually with soft angles in some areas. This makes it a line of nature suitable for today's technological and visual development. The variations and weights of this font are suitable to use companies in their names and appearance, and also suitable with the titles and logos and is also used in all the requirements of advertising and long texts, use in headlines, logotypes, branding, books, magazines, motion graphics, web and Tv. AS HAREF consists of 7-weight versions from Thin to Heavy.

Catholic Girls is a timeless, handwriting-based, semi-calligraphic font that is highly readable yet has an informality combined with a quiet elegance. Above all else, Catholic Girls is well-behaved, ladylike, and can be expected to behave correctly and make the right impression in a wide range of situations. This "hand" is based on the style of handwriting taught at many Catholic Girls' Schools. It is feminine, elegant and readable. Use "Catholic Girls" for a great variety of applications, including: ? party invitations, wedding stationery, social event media, ? marketing material for seminars, property developments, leisure & lifestyle promotions, fashion, interior design, restaurants, florists, cosmetics ? publishing: magazines, books, children's books, greeting cards, ? packaging: girls' clothing, girls' toys, household consumables, cosmetics, fashion items, interior decor products

Ellington was designed by jazz lover, Michael Harvey for Monotype in 1990, and named after the great band leader, Duke Ellington. From experience gained carving letters in stone and drawing them for book jacket designs, Michael Harvey has created a condensed typeface combining the clear-cut sparkle of a modern face with some of the lively features of the broad-edged pen. Ellington has a fresh elegance that is particularly effective in display, while its compressed forms will prove economical in text settings. The Ellington font family has narrow characters with strong vertical strokes and angular calligraphic traits. Ellington is a lively face and an appropriate font choice for advertising and book work. Ellington has a sans serif companion family, Strayhorn.

Typeface designer and Letraset type director Colin Brignall created the font Romic. The character of the strokes as well as the serif forms give the font its calligraphic look. The placement of the serifs, on the upper left and lower right of a character, also distinguishes this typeface and allows the figures to be set very close to one another. The dots on the i and j do not hang in the air, rather, they are connected to the rest of the letter with a light, serif-like stroke. The elegant and lively Romic font is legible even in smaller point sizes. It is best used in middle length texts and headlines and wherever an individual and sophisticated image is the goal.

This time I touched another classic manuscript for my font. The Lindisfarne Gospels is an illuminated manuscript probably produced around the years 715–720 in the monastery at Lindisfarne, off the coast of Northumberland. It’s the work of a monk named Eadfrith. He was a highly trained calligrapher, and he used insular majuscule script in the manuscript. I’m happy to present you the Regular and Colored styles for your design. --- You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- You’ll get: * Initials & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Thank you!

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print. The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kay’s “Ronaldson” from 1884, working as the starting point for the family. The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century. The “grotesk” lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look. In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence. This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans. The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more. Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t. According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots. As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos. With its 12 cuts, the family meets all requirements on high quality typography.

Crypto-typography - the passion for unknown, weird and unusual character shapes - is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design. Hagrid is a typeface designed for editorial & display use, bringing dynamism to the printed and digital page thanks to its extreme contrast and unique details. It has been developed in a range of six display weights ranging from the monolinear and more traditional thin to the expressive heavy weight. For better readability in small sizes and on the web, a companion text family has been developed, with a slightly different selection of weights, wider metrics, and fine adjustments to keep the dynamic expressivity of the design without sacrificing legibility. This is evident in the design of italics: while the display italics sport a cursive feel with calligraphic terminals to lowercase letters, the text design is more restrained, with a more classical geometric grotesque slanted look. Given the crypto-typographer love for foreign specimens of letters, special care has been put into making Hagrid ready for multilingual projects, giving it an extended character sets covering over two hundred languages that use Latin, Cyrillic and Arabic alphabets and adding a selected range of OpenType features to handle alternate forms and stylistic sets.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it! The inline version has a wider spacing after the letters CEK = no connecting words. Otherwise just as lovely and retro! Nick Curtis says: "Here’s a strange hybrid: I took the lower case from the formal script font Stuyvesant, straightened out its rather extreme 22° slant, and combined them with caps from the font Bellevue, again making them upright, and adding an inline effect. The result is a font that flows very nicely, with a nice balance between clean lowercase characters and swashy caps. Thanks to Deb Dunbar for naming this font. Fontleroy Brown is the solid version, produced at the request of the King of Ding, Jeff Levine." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Another typical Art Deco font from Nick Curtis. Uppercase only, but with alternate letterforms in the lowercase positions. I have completely redesigned all the diacritics (which were way too flimsy for this robust design) before expanding the character set in the usual fashion. Nick Curtis says: "Back in the Olden Days of Graphic Design B.C. (before computers), type freaks used to wait in anxious anticipation for each new release of the Letraset catalog. The inspiration for this font, Premiere Lightline, was one such release, and probably help spur my interest in Deco designs. The original font was VERY light indeed, suitable only for use in large sizes. My version is beefier, and includes an entire lower case of alternate letterforms, making this (at least) two fonts in one. The name is the 40’s hep talk equivalent of “Cool!”". ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Wild Loops is a handwritten monolinear typeface for wild ideas. Inspired by the marker sketches and graffiti on the walls, the font perfectly complements Doodle illustrations. It speaks to a young audience and looks a bit crazy with stretched Ascenders and Descenders. At the same time, the font is elegant and will work well for invitations, greetings, clothing brands and jewelry. The main feature of the font is a smart Contextual Alternates that substitute different versions of letters depending on its position in the word (at the beginning, middle, and the end of a word), which makes the writing more natural. View PDF Specimen: https://michaelrafailyk.com/typeface/specimen/WildLoops.pdf Contextual Alternates: ACDEFGHIJKMRSUWZabcdefghjlmnqrstvwxyzАДЕЁЗІЇКЛМНСШЩЯгдеёжзклмнстухцщьΑΕΖΗΙΚΛΜΞΥΆΈΉΪϲÀÁÂÃÄÅĄĂĀẢẠẮẰẲẴẶẤẦẨẪẬȦĎĐÐÈÉÊËĚĒĖẺẼẾỀỂỄƐĞǦĠÌÍÎÏĮĪĨỈỊİṂŘŔŠŚȘŽŹŻçğģǧġņṇřŕŗşṣýỳÿỷỹỵžźżЈјЅѕўӯ123456789. Stylistic Alternates: ABCDEFGHIJKLMNQRSUVWXZabcdefghjklmnqrstvwxyzАВДЕЁЗІЇКЛМНСТШЩЯгдеёжзклмнстухцщьΑΕΖΗΙΚΛΜΞΥΆΈΉΪκϲÀÁÂÃÄÅĄĂĀẢẠẮẰẲẴẶẤẦẨẪẬȦĎĐÐÈÉÊËĚĒĖẺẼẾỀỂỄƐĞǦĠÌÍÎÏĮĪĨỈỊİṂŘŔŠŚȘŽŹŻçğģǧġņṇřŕŗşṣýỳÿỷỹỵžźżЈјЅѕўӯ123456789&. Ligatures: jj ll. Superscript, Subscript, Fractions: ⁰¹²³⁴⁵⁶⁷⁸⁹ ₀₁₂₃₄₅₆₇₈₉ ½ ¼ ¾. Glyph count: 994. Languages count: 104. Languages: Afar, Afrikaans, Albanian, Asturian, Azerbaijani (Latin), Basque, Belarusian, Bislama, Bosnian, Breton, Bulgarian, Catalan, Chamorro, Chewa (Latin), Croatian (Latin), Cornish, Corsican, Czech, Danish, Dinka, Dutch, English, Erzya, Estonian, Faroese, Finnish, French, Frisian, Friulian, Fula, Gaelic (Scottish), Galician, German, Greek, Greenlandic, Guarani, Hausa (Latin), Hungarian, Icelandic, Igbo (Latin), Indonesian, Irish, Italian, Karelian, Kashubian, Kinyarwanda (Ruanda), Kirundi (Rundi), Kumyk, Kurdish (Latin), Ladin, Latvian, Lithuanian, Luxembourgian, Macedonian, Malagasy (Latin), Malay (Latin), Maltese, Maori, Marshallese, Moksha, Mongolian (Cyrillic), Northern Sotho, Norwegian, Occitan, Oromo (Afan, Galla), Papiamentu, Polish, Portuguese, Quechua, Rhaeto-Romance, Romani (Latin), Romanian, Russian, Rusyn, Sami, Samoan, Sardinian, Serbian, Shona, Slovak, Slovene, Somali, Sorbian, Spanish, Swahili (Kiswahili), Swedish, Tagalog, Tatar (Cyrillic, Latin), Tongan, Tsonga, Tswana, Turkish, Turkmen (Latin), Ukrainian, Ulithian, Uzbek (Latin, Cyrillic), Venda, Vietnamese, Walloon, Welsh, Wolof (Latin), Xhosa, Yapese, Yoruba (Latin), Zulu. The promo images used illustrations from the city walls of Groningen and Wrocław, photos of Cottonbro, Karolina Grabowska, Marlene Leppänen, Zhugewala from Pexels, and photos of Kevin Grieve, Liwei Zhang, Nathan Dumlao from Unsplash.

Almost There Script is a new and modern new script in handmade calligraphy style, with decorative characters and a dancing baseline! So beautiful on invitations like greeting cards, branding materials, business cards, quotes, posters, and more. Almost There Script is equipped with 500 ligatures. Alternative characters are divided into several OpenType features such as Swashes, Collection Styles, Alternative Styles, Contextual Alternatives. The OpenType features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this font has provided Unicode PUA (special code font) so all alternative characters can be easily accessed by craftsmen or designers. Almost There Script: Uppercase & Lowercase International Language & Symbols Support Punctuation & Number PUA Unicode Range Stylistics Standard Alternative Stylistics Manage 1-28 Contextual Character Variants. If you don't have a program that supports OpenType features like Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows).

Broomstick - Beautyful Calligraphy Font that has a distinctive character that is very thick and elegant to use Broomstick is a relaxed and flowing Handwritten Font. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu There it is! I really hope you enjoy it

Drawn shortly before Jim Rimmer's passing in 2010, Loxley was designed to be used in a fine press edition of the folklore story of Robin Hood. It was named after the cited birthplace of the story's classic hero. Loxley's shapes were inspired the same early Roman faces (such as Subiaco from the late 1400s) that influenced Frederick Goudy's Aries, Franciscan and Goudry Thirty types. It exhibits the preculiarities of Jim's left-handed calligraphy, as well as his outside-the-box thinking with exit strokes and serif variations. Loxley was remastered for the latest technologies in 2013. Now it comes with a character set of over 450 glyphs, including plenty of stylistic alternates, a full compliment of f-ligatures, a Th-ligature, basic fractions, ordinals, a long s for historic setting, comprehensive class-based kerning, and extended Latin language support. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Masteria Script is a retro script typeface. An optimistic calligraphy lettering to bring you back to the golden age of hand-drawn advertisements, Masteria is a professional quality handwriting font family. Drawn and created by Mans Greback in 2022, it is perfect for a vintage restaurant headline or nostalgic logotype design. Use underscore _ to make a swash. Example: Mast_eria Use multiple underscores to make a longer swash. Example: Super___human (Download required.) Masteria Script is provided in six diverse styles, such as Thin, Bold, Black, Italic and combinations to compliment each other and maximise your options and design experience. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Belarya Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more, you can try first if you want to buy this font. Belarya Script is equipped with 592 glyphs. and by having many of these glyphs there will be able to choose the letters according to your likes, lots of variations and options for each letter, so you can customize on your design choices. to use a variety of flying machines, you need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) Thank You for purchase! Designers: Afri Giani Publisher: Gian Studio

Hs Alwajd is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Kufi fatmic where horizontal parts are equal than vertical ones. It is a new style based on HS Almajd but without swirling round forms terminating in ball. The font is based on Kufi Fatmic calligraphy along with some derived ideas of decorative fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in some parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu, consisting only one weight which can add to the library of Arabic Kufic fonts contemporary models that meet with the purposes of various designs for all purposes and all tastes.