Introducing Rotten Banquet, our first victorian display font. This font inspired by 1800s typography design with some modern touch at it. We made this font without too much swashy efefct on the letterform. Just gave it two bold ripple floral effect at the tail is enough. So this font will more readable and not too complicated thus you could make any kind of projects with this font. In the preview we give you a sample ideas. We made it with one style design for the continuity but of course you could make your own style display for your own project purposes. This font contained with 370+ total glyphs. Each uppercase and lowercase have their own stylistic alternate at least one.

Umbero is an experimental geometric blackletter. Umbero was inspired by modern street art (by artists like Pokras Lampas, RETNA, etc.), gothic script and constructivism. It has an ornate and twitchy structure: you can not find two similar letters. Capital letters have even more complex structure, then lowercase, to the extent that you can even use them as initial letters with a different, more calm font if you want to achieve a medieval stylization in a contemporary way. Get Umbero if you need something extra for your design. Or vice versa use it as a starting point of your work. It’s a perfect choice for the mystic or contemporary logos, headlines, oversize typography, branding, identity, website design, album art, covers, posters, advertising, etc.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Introducing, Slash Roller, it marks a new era in graffiti font. The slashing zig zag tape gives it an authentic DIY feel. The slashed tape is prominent but not overdone, adding an interesting layer to the blocky rough letters. Slash Roller is an attempt to create a lettering style that seems like it was made with a spray can and a brush, but keeps the appearance of a slightly imperfect and distorted typeface. It looks like the work of a vandal, but the slashed typography is actually intentional. A Million Thanks Colllab Studio www.colllabstudio.com

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Agilo Handwriting Pro is an upright, medium weight handwriting font with a simplified, slightly sloped print (non-connecting) style that mimics true handwriting closely. Use Agilo Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Bring your letters to life with the Mangrove Font Duo! A delightfully playful pairing of Sans and Script fonts. These perfectly balanced typefaces have been carefully designed to work not only as standalone fonts, but also to pair together effortlessly—delivering undeniably eye-catching typography bursting with character. Throw a script letter in the middle of the sans font, try the swooping sans ligatures or it’s uplifting small-caps, the possibilities are numerous. It’ll work in lowercase or uppercase, and with a choice of 3 weights per font, that’s six fonts in total for you to experiment with! Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Are you looking for a signature font? Wanna make your branding spark? Do you sometimes have an appetite for a bit more wholesome typography? We give you the best solution. Highpath Signature- A Signature Font Highpath Signature is a lovely signature font designed with classic vibes. This font support multi languages to make your brand globally acceptable. It's a font with simple shapes, making it very suitable to be used on any purposes. A real head-turner for your presentation, designs, branding, quotes, invitation, website illustrations, and much more. Features: Ligatures Stylistic Sets PUA Encoded Numerals and Punctuation Thank you for purchasing premium fonts from Natha Studio. Happy Designing! If you have any questions, please feel free to contact us.

Ramadhan Amazing is Arabic-style font. Designed with digital flat pen and gothic typography technique that gives the letters an elegant look. Equipped with an Arabic character display. This font is very useful for designing all kinds of graphic designs related to Islamic Content. Ramadhan Amazing font is suitable for branding, logotype, apparel, T-shirt, Hoodie, product packaging, quotes, flyers, posters, book covers, advertising, etc. What's Included? - Open support type - Multilingual support - PUA encoded - Features: uppercase, lowercase, numbers, punctuation, multilingual, alternative, and stylish set. - Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic - Alternative in OpenType menu Adobe Photoshop, Adobe InDesign, Corel Draw, even works in Microsoft Word Please message me if you have any questions. We are happy to help you.

The idea for Cambalache was conceived back in 2008 and was to create a geometrical font based on tangential modules into structure. The serif would be arranged, looking to approach to the lettering shapes. The creative concept has a feel from the mid-30s of last century, reaching a taste of retro and vintage style. Includes oldstyle numbers, slashed zero, standard and discretional ligatures.

Challista is a luxurious handmade signature font. Challista Signature includes more than 30 ligatures to make everything look like a natural handmade signature.This font is perfect for poster design, book covers, merchandise, fashion campaigns, newsletters, branding, advertising, magazines, greeting cards, album covers, and quote designs and more. Features - Uppercase - lowercase - Numbers and Symbols - International Glyphs - Ligatures If you need anything else please contact me by dedukvic@gmail.com

Vow is an incredibly stylised font, strutting its stuff on the typography catwalk. Vow does everything to excess, even when cutting down: where it’s curvy, it’s very curvy, but where it’s thin, it’s thin. Vow’s regular weight has a certain boldness at text size, but its ultra-thin alternative is much better used at larger sizes, managing to take up very little space even when scaled up. Using a mix of the two creates a subtle emphasis, especially when coloured, which helps to create stunning messages in elegant ways.

Called by some the "Archetype of the millennium", Verve is a seven-weight typeface family. It features a complete Adobe character set with kerning and fit to match. The alternate characters offer some variations on s,f,h,j,k,S,T,Y and others, plus this font has the Euro symbol. Verve is the fourth in an on-going series of condensed typefaces that I’ve been designing since 1989. My concept was to create an elegant condensed typeface that would be a "typeface for the millennium," in style and functionality. At the very core of all my designs is a typographic problem I wanted to solve, or a market niche that I think needs filled. Verve addresses both of those concerns, without copying or borrowing from its predecessors. There’s the challenge of creating a rich and interesting typeface with an austerity of line and elegance of form. I’m a minimalist by nature – but I wanted Verve to have a sensuous feel in certain respects – yet have that sensuality balanced by the uniformity of the uniform character widths. Gottfried Pott always stresses "theme and variation," and "point and counterpoint," and that’s what I’m doing in Verve. What one finds in musical composition is evident in Verve. Perfect for book covers, CD packaging, club flyers, retail packaging (especially bottles!), identity design and multimedia. The adventurous can try it in text, but it will give you a headache. The beauty of Verve is in thesize and weight variations which create a rich typographic texture in this font.

is a sans serif font with a wide range of uses, This san serif output can cover any product from fashion products, such as beauty equipment, clothes, shoes, magazines, women's knick-knacks to anything related to today's women. I made this font more subtle than the typical san serif family. because it is intended for more detailed beauty. You can see a preview of it in the image I made. Thank you

All Ages is a true punk rock font. It has the same look and feel that you see wrapped around a light post telling you where the next show of your favorite band will be. All Ages will work with any of your headline, in your face, stylized design needs and it looks great BIG or small! For a customized look to your works, switch between uppercase and lowercase for a change of grunge to the letters, italics are also available. You can also use All Ages in layers if your background is a little too busy by using All Ages Letters on top of the All Ages Ripped Paper, you can even use All Ages Letters on it’s own for an alternate look. Each font includes a character set large enough to support you international punkers with multilingual characters.

Jazz font is the work of British designer Alan Meeks and brilliantly captures the sophisticated elegance of the 1920s and 30s. The bold roman style is enhanced with an interior design almost like a piano keyboard or the lit windows of a skyscraper. Jazz font is a good choice for any headline or display which should have a refined, Art Deco look.

Got a favourite pair of jeans? I do, and I wear them every Friday when it's time to PAAAARTYYYY! Well, that was 30-something years ago, but the memory of those jeans lives happily in my mind :) The font, Friday Jeans is a happy-go-lucky sans font with inky edges and lively lines. Playful as a Friday night out!

Pasteque is a display script based on a casual typography handmade with marker.  Lovable, fun and youthful, this is the best way to describe Pasteque.  So playful that allows you to mix both indistinctly uppercase and lowercase letters, to create a truly hand lettered feel. As with all of my fonts, you'll find some quirky little twists to make your type projects interesting. Pasteque has a total of 692 characters, in OpenType format, such as Stylistics and Contextual Alternatives, Swashes, Ligatures, and stylistics sets which will allow you to create truly original and unique texts. To this, we add a support of central European language to adjust your design.  All OpenType features can be accessed through OpenType compatible applications or the character map to view and copy any of the additional characters you want to paste into your favorite text editor / application. With virtually endless ways to personalize its use, Pasteque helps you to design invitations, greeting cards, logos, fashion magazines, food, packaging and menus, toys and products for children, book covers, apps and whatever your imagination! Dare to use it!  Your designs will have a lot of freshness and spontaneity!

Hargalia is a beautiful cursive display typeface. Inspired by classic cursive calligraphy from Carolingian Renaissance era (about 8th century) which in that era, the alphabet letterform was perfected for the first time with many curvy strokes with a flat brush. Hargalia is designed with penmanship and carefully digitized with many swashes included. Hargalia is designed for headlines and short body texts. The natural strokes with calligraphic feel that highly recommended for fashion, branding, magazine, editorial, logotype, packaging, historical quotes, and more. This font is PUA Encoded with 430 glyphs in total! Worth every penny! Features included: Uppercase Lowercase Numbers Symbols Punctuation Stylistic alternates Contextual alternates Swashes Ligatures Stylistic set 001 - 003 Best regards, Ramz.

Living from 1545 in Lyon, France, the famous punchcutter Robert Granjon created a typeface that looked like his own handwriting. The first book printed with this font, in 1557, was probably Dialogues de la vie et de la mort by Innocent Ringhier. We offer the complete typeface. It is a charming font with historical forms (long s, final s and others) and many ligatures, enriched with accented letters and other characters that did not exist in the original (thorn, eth, lslash and others), and a lot of alternates that permit rich and varying typography. Warning: all characters appear with the 1500s manual blackletter old style, especially letters “e” “r” or “h” alternate and some ending forms, and may be difficult to read at first, but it quickly becomes very easy. The font contains all characters for Baltic, Western European (Including Celtic), Eastern European, Northern European, and Turkish languages.

Ganges Slab is a condensed slab serif typeface inspired by Central European advertising typography from late XIX century. It is a perfect match for Ganges Sans. The font has condensed proportions and original letter shapes. Ganges is designed mainly for editorial design, especially for display use, as well as short paragraphs of text. Its narrow proportion makes it very practical to use for posters and magazine covers. Characteristic letter forms fit great for branding, logo and packaging design. It is also a very interesting choice for websites and e-book headlines. Ganges Slab family consist of 27 fonts - 9 weight, 9 italics and 9 obliques. It supports extended set of latin languages, as well as broad number of OpenType features, such as case sensitive forms, standard and dicretionary ligatures, stylistic alternates, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Bunta is a bold serif font with strong and firm characters. Bunta provides a clear and elegant look for logos, quotes, advertisements, and more. Bunta is a versatile typography full of the characters you want. Bunta has style standards, stylistic alternates and ligatures and includes uppercase and lowercase letters, numbers and punctuation. Bunta has 1 file: - Bunta OTF Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. USE Bunta works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project. OpenType features can be accessed by using OpenType smart programs such as Adobe Photoshop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. Additional characters can also be accessed through the character map. THANK YOU

Febila – Elegant Serif Font is a typeface that exudes timeless sophistication and luxurious vibes, tailor-made for captivating and opulent display purposes. With its gracefully crafted serifs and impeccable letterforms, Febila embodies the epitome of refined typography. This font is the embodiment of elegance, designed for projects that demand a touch of luxury and exclusivity. Whether you’re crafting high-end branding materials, event invitations, or editorial layouts, Febila effortlessly elevates your work with an air of timeless beauty. Its attention to detail and meticulously balanced design make it the perfect choice for those seeking to convey an aura of grace and prestige. Febila is your go-to font when you want to make a bold statement with an unmistakable touch of luxury and sophistication. Choose Febila to ensure your display materials radiate a sense of opulence and elegance, leaving an indelible mark of class and refinement.

Danish type designer Ole Søndergaard created this display FontFont in 2011. The family contains 3 weights: Book, Bold, and Black and is ideally suited for advertising and packaging, film and tv as well as music and nightlife. FF Signa Stencil provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif, and FF Signa Serif Stencil.

French type designer Xavier Dupré created this serif and slab FontFont in 2004. The family has 10 weights, ranging from Thin to Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Absara provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2005, FF Absara received the TDC2 award. This FontFont is a member of the FF Absara super family, which also includes FF Absara Headline, FF Absara Sans, and FF Absara Sans Headline.

German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont between 1996 and 2000. The family has 10 weights, ranging from Regular to Bold (including italics) and is ideally suited for book text, editorial and publishing, small text as well as web and screen design. FF Info Text provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 1998, FF Info Text received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Correspondence and FF Info Display.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

The BD Micron Robots variable dingbats font features 52 Microns – micro-tiny robot characters with 5 mutations. The variable font technology helped breathing live into the BD Micron Robots See them in action. The Muta1 version of the font shows the Micron Robots in its original shape. Muta5 is the final stage of the Micron Robots mutations. The Variable version of the Micron Robots font is a variable font and you can determine the grade of the mutation between Muta1 and Muta5 by yourself. By the way: The BD Micron Robots perfectly fit together with the BD Micron Font, also available here at MyFonts.

Introducing Little Ribbon - Cutie Type, created by ikiiko. Little Ribbon is a beautiful handwritten typeface with bold shapes combining simple lines. This letter is suitable if you want to show a cheerful impression or playful design with solid color. This typeface is perfect for an kids stuff like ads, poster, flyer, or email blast. And also good for packaging product, food & beverages, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Stylistic & Swashes Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Sharka is heavy sharp condensed system of 7 display typefaces widths, plus 7 italics and 7 alternative version on each family member, inspired on dangerous personality and aggressive reputation of the great white shark, it was thought to create the feel of high impact, high risk action on extreme situations, polemic public scandals, financial advertisement alert, the italic version specially creates the feel of velocity, powerful mechanical energy and related similar topics. Recommended to use in big headlines, magazine covers, advertisements, robust public visual calls, but also, if it applied with good taste and good typographical skills, could be a good choice not only for prints but also for web and digital media devices.

Introducing unusual Sans Serif font family. Font is concise and minimalistic. But behind the apparent simplicity of the font is hidden the original feature in the form of modernized uppercase glyphs, which can be used as an accent in the header or logo. Pure letterings with excellent readability have 2 thicknesses. Font will emphasize the high status of the business and complement modern branding design, and the general versatility of the font provides for its widespread use in various directions and is combined with different styles in design. Balanced glyphs will fit into the typographic design and will not distract attention from the main point. Features: Bold, Bold Italic, Regular, Regular Italic Upgraded uppercase letters Kerning ld.luxfont@gmail.com

Rainbow Chalk is a playful serif fun kid's font and it contains uppercase and lowercase letters, a large range of numerals, and punctuation. The Rainbow Chalk font will be perfect for use in all your fun design projects be it logos, labels, packaging design, blog headlines. Also, it will look great on mugs, cards, kid's books headlines, or other typographic projects. Multilingual Support for 33 languages: Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Kardia is a versatile type family that lets you compose a wide range of texts, from extensive reading materials to striking, eye-catching headlines and titles. Features include ample proportions that have been revised to maintain similar line performance across all its weights. It also has an elevated x-height which facilitates reading in small bodies, in addition to help building solid headlines. Inspired by brush lettering, it takes many features from calligraphic strokes and the foundational style, adapted to a contemporary typographic language. It has 4 weights, all of them including their corresponding italics, small caps and character set that supports Central, Western and South Eastern European, Afrikaans and many more.

SK Selanik is a double weight geometric sans serif font family. It is named after Thessaloniki, one of the largest cities in Greece. This font, which depicts the historical texture of Thessaloniki with modern forms, is a synthesis of the past and today's design understanding. This font family includes a total of 40 fonts and 35,720 glyphs. It offers full support for the Latin, Greek and Cyrillic alphabets and supports hundreds of different languages. In this way, it contains all the typographic elements you will need. You can easily use it in all areas and sizes you need, from headings to body texts. You can visit my Behance account by clicking here to view more detailed project images.