The Aquebella font was made because I had too much trouble finding a font that was unique but still within the serif standard, as a branding designer about finding a suitable font for a client who is looking for a luxurious and elegant design, and finally this font is finished which you can use as a designer or someone who need a serif font with a very unique style, elegant style and can be used as a logo, magazine header, poster, etc.

Introducing Flockin Display new generation Decorative Typeface. Flockin Typeface created with the vision of to attract the audience to your brand. The finest details of this typeface are methodically and mathematically created. Flockin is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project.

Pickles is a retro tasting font, with a twist. It draws inspiration from a handsome hand-lettered movie poster from the sixties. The font brings two different glyphs for the letters - which are all uppercase - to avoid repetition and provide a handmade look. There are also some ornaments to sprinkle here and there if you fancy. And yet some swash finishes for sticking to some glyphs on occasion. From sixties posters to instagram posts, this is quite a lovely face. Have a taste!

Elgraine is a serif typeface inspired by the beauty of classic serif and calligraphic style, fused with modern touch. Ranging from thin to black with its matching italics, Elgraine offers many possibilities to be applied in many graphic or editorial projects. The light and regular weights are suitable for long paragraph, and the heavier weights are perfect for striking headlines, perfectly suitable for display purpose such as branding, editorial, and packaging. Elgraine has extended latin character set that supports 200+ latin-based languages.

Bulletin Script was a style offered by several American wood type manufacturers in the late 19th Century. It may actually be one of the most iconic styles of the late 1960 Psychedelic era when Victorian revival was in full swing. The style known as "Bulletin Script No. 2” varies from the more commonly seen Bulletin in that its bottom strokes have a concave swash to them rather than rounded bulbous bottom terminals. This new digitization features over 300 glyphs including Central European characters.

inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : + Standard glyphs + International Accent + Works on PC & Mac + Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Binner Gothic is a very narrow sans serif thought to have been cut by the Bruce Typefoundry, in New York, around the turn of the century. The capitals are rather heavy with an elongated appearance, accentuated by the high-waisted treatment of characters such as B E F H M N P and R. The lowercase ascenders and descenders of the Binner Gothic font are cut at an angle. Binner Gothic is a display face particularly useful where space is at a premium.

Hi...Thank for your visit :) Hey butterfly a beautyful Script Fonts are font designs that are made for various vector designs, printing such as digital wedding invitations, blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... hey butterfly is equipped with complete alternates and very beautiful ligature, so it can make your product look elegant and attractive, and also Multilingual support!!! Happy design ...

Minimo Font Family comes in 4 weights; Normals and Obliques. To have an eye-pleasing view, the corners are rounded and the lowercases are made smaller than the standard. With its soft structure, it is aimed to be legible even in the small sizes and also to be suitable for usage as webfont and application font. Moreover, with this font family, you can create eye-pleasing, cute and also nice works such as posters, printings, t-shirts, adds, magazines etc.

Freely hand-painted with a flat brush, this font conveys spontaneity both through its typeface design and the numerous alternates it delivers. There are four different glyphs for each lower and uppercase letter and two variations for figures (and yet some punctuation marks). All these alternates are programmed to easily cycle at the click of a button - yes, the absolutely amazing Contextual Alternates one. Brushtones, a bold brush font, nice and handy, just perfect to color your message.​ ​Give it a try!

Hello! Introducing a creative all caps font named Wave Burn. The letters of this typeface are distorted in a wave shape that flows through whole words. To create this effect, each letter has 6 variations that automatically replaces using OpenType Contextual Alternates feature (Please make sure that OpenType features in your app are supported & enabled). This font also includes multilingual characters, but only with two variations, so the wave effect will be quite limited (check out a screenshot with available letters and signs).

My kids like to read Donald Duck magazine. They have boxes full of old editions that we bought second hand. Most of the comics are well-used, but there are some in near mint condition. I thought it would be nice to create a font that mimics the lettering found in comics. Mint condition is a very nice, very friendly handmade comic book font that comes with extensive language support (including Vietnamese and Cyrillic), plus two sets of alternate glyphs.

Microsoft Sans Serif™ Regular is a very legible User Interface (UI) font. It was designed to be metrically compatible with the MS Sans bitmap font that shipped in early versions of Microsoft Windows. The original MS Sans was in the inflexible .fon bitmap format and could not be scaled. Microsoft Sans Serif Regular is much more flexible and legible as it font antialiasing and scalable user interfaces. Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish).

This family was inspired by a font carved circa 1590 for a Polish editor. We don't know who was the punchcutter, nor the printer's name. We have added the special East European diacritics (Czech, Hungarian, Romanian, Croatian, Slovak, Slovenian, Sorbian )as the original font has only the Polish accents. It is a Garamond type, like our 1592 GLC Garamond or 1589 Humane Bordeaux, rough and a little approximate, but attractive. We recommend using OTF version with Windows Vista, providing a best compatibility.

The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexa Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014.

Greycliff Hebrew CF adapts Greycliff’s soft, geometric design to the Hebrew script. Both Latin and Hebrew glyphs are included, allowing for visually cohesive multiple-script applications. Greycliff’s original nine weights are covered, alongside diacritics, cantillation marks, and wide Hebrew-script language support. Greycliff Hebrew CF works as a complete, self-contained type system, with both Hebrew and Latin scripts included and designed to compliment one another. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Tahiti Sans is a playful, all caps display sans available in 2 versions. At first glance it appears to be the offspring of a rather uniform font and a wacky one. The variations of letterforms as well as random angles are minimal. They’re tall by nature so squeezing text into tight spaces should be easy. Characters are slightly jumbled in a childlike manner and misaligned with varying degrees of spacing. Use it for youth sports, social media, toy packaging or advertising.

Humboldt is an ultra fat headline face. How bold can you go? Humboldt is an experiment to push the boundaries of character recognition: Its forms are extremely bloated yet highly distinctive. Open type savvy features provide an unexpected embellishment: small capitals, both lower case and upper case figures and several alternate glyphs are intrinsic in the design. Humboldt makes nice headlines and striking poster typography or logotypes. It can to some extent be used for setting even short phrases of text.

Introducing Miller Display new generation Decorative Typeface. Miller Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Miller is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project.

In mid 2001, P22 was approached by a Daniel Garrison, a Classics scholar at Northwestern University about possibly digitizing a long lost "Garamond" typeface. This font was used by Johannes Herbst (a.k.a. Ioannes Oporinus) in 1543 to publish Andreas Vesalius' "On the Fabric of the Human Body" (De humani corporis fabrica) in Basel. The story of the development of this font takes a few twists and almost becomes forgotten itself over time.Forteen years later it is available to the public.

“Tsubu” (つぶ) means something small and round, like a fruit seed or a grain of rice in Japanese. All characters are completely geometric, consisting of no more than 5 x 12 dots, with a few exceptions. And proportional and monospace styles are available. It is recommended that letter spacing be set to 0 to maintain dot pitch. When the line height is set to 100%, the dot pitch is aligned horizontally and vertically, resulting in a beautiful geometric display.

inspired by the famous minimalist logo perfect for the purposes of designing templates, brochures, videos, advertising branding, logos, invitation, layout design, elegant crafting, beauty design and other What's Included : + Standard glyphs + International Accent + Works on PC & Mac + Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Corel Draw. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only. Thank You

Road Picture JNL was modeled after the hand lettered title and credits for the 1940 Bob Hope-Bing Crosby semi-musical comedy “Road to Singapore”, and is available in both regular and oblique versions. Although the lettering design doesn’t resemble anything that was probably used in Singapore at the time, its faux “exotic” look still makes for an interesting revival. Bob Hope and Bing Crosby made a total of seven “road” pictures, hence the homage in the name of this type font.

Palitura is a display typeface designed to translate Cyrillic flavor into the Latin script. Palitura means lacquered book cover in Old Ukrainian. The design of letter shapes is inspired by Early Cyrillic handwritten letters and Ukrainian patterns that are conveyed through the sharpness of form, vertical strokes that are narrower at the bottom, stylized oblique hooks at the top, and triangular accents. Languages: 480+. Scripts: Latin, Greek, Cyrillic. Specimen: michaelrafailyk.com/typeface/specimen/Palitura.pdf The promo images used photo of Tima Miroshnichenko from Pexels.

Quench is a fun and unique typeface from designer Hannes von Döhren. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles. Conversely, the outside curves are smooth and rounded making them soft and almost bubbly. The italics have juicy curves reminiscent of brush lettering. Used together or individually, the four weights and styles can be used for a wide variety of projects including magazines, advertising, logos, and branding.

Launched Chinta, new serif type modern fonts wrapped in a soft classic touch combined with crooked and crooked alternative fonts, will make it one of the conveniences to explore various types of designs. With a soft touch but does not leave an elegant impression, this font is suitable for using logos, food design, weddings, branding needs, posters, emblems, advertising and much more. so what are you waiting for? FEATURES CHINTA ONE CHINTA TWO So what are you waiting for? immediately purchase this font.

Summit rehashes both Circuitry Fonts, combining them into one font. To further modernize Summit, I have included all the characters required for full character set. Regular with Small Caps. Summit includes all punctuations, numerals, diacritics and special characters. The oringinal Circuitry Font was inspired by the printing on electronic circuit boards, it was interesting that most all printed font-strokes were either 90 or 45 degrees. I have kept most if not all of these angles while simultaneously giving it a contemporary feel.

The Fuel Extended typefaces are a modern update on the techno sans extended for stronger impact, complete with soft rounded corners as well as decorative inktraps. Stylistic Alternates included within all styles are alternates for the capital B, E, G, and R characters, as well as all of their accented siblings. The Fuel Complete package bundles all of the dynamic styles of the Fuel, Fuel Extended, Fuel Uni, Fuel Uni Extended, and Fuel Script typefaces into one powerhouse of a collection.

Diablo Light was originally called Fabric and was issued by the Farmer, Little & Co. foundry in New York. We liked everything about this font except for the lowercase 'g'. So we changed the offending letter, but for purity kept the orginal as an alternate. We created a bold version of Diablo Light, with minor changes to accomodate the bolder stroke weight. Although the original design is over a century old, the style seems to have an up-to-date look.

Introducing Zoomber Display new generation Decorative Typeface. Zoomber Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Zoomber is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project.

The Tecn@ Square family were designed to head, enumerate, point out or highlight a point in a writing or plan. In this sense and for this reason, the characters are available only in capital letters and some signs or symbols that could serve such purposes. Among other applications, these characters are used in the personalization of plans, highlighting or indicating parts of the design that facilitate the Descriptive Memory of the plan or the development of a Manual or Installation Instructions.

Introducing Cathyna Display new generation Decorative Typeface. Cathyna Typeface created with the vision of to attract the audience to your brand. The finest details of this typeface are methodically and mathematically created. Cathyna is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans.

Wicked Hearts Is a chunky Serif font with an edge - it's a cool modern take on a retro classic, and it's ready to make a lasting impression on your merchandise, quote designs, header text, logos & branding, advertisements and much more. It's packed with plenty of alternates and ligatures to really bring it to life, and give you a wide range of customisation options. FAQs; Accessing Alternate Characters • Many letters of this font have multiple alternate versions (see image). In order to access each one, simply make sure 'Standard Ligatures' are enabled, and follow your letter with a number. For example, typing 'A1, A2, A3, A4' will generate the 4 alternate versions for capital A. Accessing Ligatures • There are 12 lowercase ligatures (double letters) included. In order to access these, simply make sure 'Standard Ligatures' are enabled, and the ligatures will automatically generate as you type. Standard Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Language Support • Wicked Hearts supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Biwa is a new straight-sided family of formally nuanced grotesk typefaces. Biwa’s lighter weights feel subdued, cool in tone, and neutral, while the heavier weights are more robust and full of personality. Developed over the past few years by Ian Lynam and James Todd, the 14-member Biwa family and the accompanying 14-member Biwa Display family are paeans to the immediate moment when phototype arrived on the global scene — partially smooth and partially machined. Biwa and Biwa Display are neutral in tone, have enlarged x-heights, and look amazing on-screen and in print. Each weight is designed to be highly readable in print and on-screen. The italic variations are true italics, having a single-storied italic a and have been designed for smooth, fluid reading and text-setting. Lovingly spaced and kerned, the Biwa family works equally well for text typesetting and for display design work. Languages supported include Western European, Central, and South European as well as Vietnamese. The entire family is comprised of a range of weights and a matching display family that features rounded terminals for large-scale display work. An agate version of Biwa Black is provided for free.