Casino Hand is a handwriting font that comes with some exciting new OpenType features*. The font comes with an alternate glyph for every uppercase letter, lowercase letter, numbers and some punctuation. These alternates are extremely easy to use with OpenType doing all of the hard work for you! Plus, you get the cross platform compatibility that OpenType provides. When the Contextual Ligatures feature of Casino Hand is utilized in your graphics application, the font substitutes a duplicate letter with the alternate glyph for that letter. This automatically makes the font look less like a font and more like real handwriting! Casino Hand also allows you to switch to use the alternate glyphs as the default by using the Stylistic Alternates feature. You can even use the two OpenType features together! This means that you can have duplicate glyph substitution with either the standard letters, or the alternates. You can also use the Glyph window in the Adobe CS applications to selectively choose characters. You can simply go into the glyph window and replace a letter that you don't like with its alternate. With Casino Hand, you essentially get two fonts in one, and a handwriting font that is much easier to use than previous designs. * Contextual Ligatures and Stylistic Alternates require Adobe CS applications. Many more software applications will be supporting these features soon!

The Spaghetti playful cute font includes the main & alternative uppercase, and main & alternative lowercase, and the full set of double letters in an upper and lowercase, and a large range of numerals and punctuation. The Spaghetti 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, kids books headlines, or other typographic projects. Spaghetti cute playful font contains the Cyrillic glyphs too. The Cyrillic part of the font contains a full set of uppercase lowercase, and the Spaghetti Symbols is an additional font with 52 hand-drawn doodles, catchwords, arrows, and swashes and can help to make your design more original. Combine and arrange swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z and a-z keys in the included Spaghetti Symbols font). A different symbol is assigned to every uppercase or lowercase standard character so you do not need graphics software just simply type the letter you need. Multilingual Support for 31 languages: Latin glyphs for 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 and Ukrainian languages. Thanks!

Continuo is a fascinating, all-uppercase display typeface wherein the contour of each letterform is described with a single, continuous line. The challenges presented by that simple idea are similar to constructing letterforms with neon tubing. For example, when the strokes of a letterform need to be heavier than the width of the neon tube, two tubes are employed to create the outer contours, effectively leaving an unfilled void inside the stroke. Also, since neon tubes cannot be broken apart as they trace the contours, they must follow a path that, for reasons of economy and to avoid optical massing (or bright spots in neon), the tubes are not crossed. So too, the construction of Continuo follows. The newly updated Continuo now has alternate forms of letters A-Z available in the lowercase a-z and by extension those alternates are also present in the lowercase diacritics. The new Latin Plus glyph repertoire of Continuo contains almost 900 glyphs, supporting 224 languages, including Vietnamese and multiple African languages. A handy set of arrows and additional international currency symbols were added as well. The name is derived from the musical term “Basso Continuo” meaning an almost constant bass line, an integral part of most musical melodies. As an in-line display type, Continuo is ideal for headlines and most oversized applications and its unique appearance commands attention from viewers.

Being inspired by early Czech type design, Maiola is clearly a contemporary typeface, that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscence, more frankly so in the Italic. Nevertheless, through its personality, it attempts to create a welcoming tension on the page, without shouting too loudly at the reader. It handles its expressive tendencies with care and in doing so increases its usability, with legibility being of great importance. Subtle irregularities of the letterforms enhance furthermore the dynamic spirit and liveliness of the typeface. With the advent of Opentype, allowing for bigger character-sets and better language support, as a natural consequence, Maiola Multiscript covers Latin A, Cyrillic and Greek. Although basically independent from each other, they are, however, designed in the same spirit as the Latin, and harmonize well in multilingual text settings. The update to this beautiful font family includes the addition of over 240 glyphs featuring new ornaments, stylistic alternates, ligatures, superior letters, fractions and more. Furthermore, several glyphs were significantly improved and the kerning was fine tuned for better performance. Originally released in 2005, Maiola was an immediate success. It won the renowned TDC competition in 2004 where it was also recognized as a “judge’s choice”, was part of the touring exhibition e-a-t, and was selected in the Creative Review design competition in 2005.

Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.

Good Karma (its namesake) will be extended to you as you use this new relaxed script family. Originally, produced from hand and the sumi brush of Neil Summerour, Good Karma Smooth is a smooth digitization of the original exemplars in Good Karma. Good Karma Smooth is filled with a lot of heart, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. And on top of that, proceeds form the sale of this typeface will be distributed to charities and organizations intent on combatting the Covid-19 global pandemic. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulness of this peaceful script, a separate Caps/Small Caps font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—Upright, Wide, Wide Upright, and the aforementioned Caps fonts are included in hopes of helping you find the perfect variation needed for your composition.

Akagi Pro is a complete rebuild and expansion of my popular Akagi typeface. Contemporary, clean, simple and friendly continue to serve as the adjectives for an expansion that includes 250+ additional characters per weight, many new ligature options, expanded stylistic alternates, 4 sets of figures, new symbols, case-sensitive punctuation, superscripts, subscripts, ordinals, expanded language support and two new styles that provide even more flexibility within the lighter weights of the family. When I designed Akagi in 2007, I wanted this new sans serif to "smile" at you — with this new expansion, I hope you smile back. Akagi Pro is economical while keeping a distinctive, expressive personality on the page that distinguishes it from among many of the mechanical/rigid/emotionless sans out there without becoming cliché. Perfect for the page and the screen, the flexible weights available allow for pinpoint selection at whatever size. Each style of Akagi Pro has a robust character set made even more functional with expansive OpenType features. A typesetter's dream — case-sensitive punctuation, tabular and proportional variants of lining and oldstyle numerals, true italics, small caps, expansive language support, an alternate 'g' and 'y', highlight a wealth of features of the typeface. This versatility infused within Akagi Pro will allow it to assume both roles of the utilitarian workhorse and light-hearted go-to typeface — and make the user happy.

Most traditional display fonts are old-fashioned and hard to read in small sizes and are not applicable for any contexts in which you need to deliver messages to the audience clearly. Therefore, think about a beautiful, clean, legible modern font which is multipurpose and applicable anywhere along with the pretty serif style. Warm Curves is a display serif font to meet your needs. This elegant, modern, legible display serif font is perfectly applicable to formal, serious contents. It looks more stylish and has its own protruding characters to strengthen the points delivered. Furthermore, this display serif font is legible due to the thick, regular serif to ease readers to recognize every letter accurately. For that reason, you can use this font for any text length and size due to its great legibility. Also enjoy interesting features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Warm Curves fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Here at Comicraft we have seen the signs on the headline news, we have read the portents of things to come... yes, just as thunder is a sign of storm, just as pumpkins outside Ralph's on November the 1st are sure to be on sale, just as fresh produce becomes rotten, as sure as night turns to day, dark turns to gray, winter turns to spring and milk turns sour if you leave it out on the kitchen table overnight... Yes, here at Comicraft we know there's a signpost up ahead... a sign heading not into the twilight zone, but down a road of hope and hard work, a banner year, a red letter day, we know it's time to knuckle down, soldier on and pull ourselves up by our bootstraps. Well, we should probably pull ourselves up by our bootstraps BEFORE we soldier on, NEVERTHELESS, here it is -- not a soundbite, not an unfulfilled campaign promise -- SignLanguage is a font that makes the impossible possible, a font that cuts the taxes for 95% of American families, a font that closes down Gitmo and brings our troops home from Iraq. Senator Joe "Six Pack" Biden has described SignLanguage as articulate and bright and clean -- and a nice-looking font. In conclusion, Comicraft recommends you elect Sign Language.

Bfrika is an 'Africa inspired' typeface and a contribution for the typographic issue 'National Typographica' of I-Juici Magazine, in South Africa. This geometrical decorative design represents bold simplicity, directness and rythm. The name evolved from text for the spread in the magazine. The B replaces the A. Africa be free. Bfrika. The concept behind Bfrika is to generate an unpredictable visual rhythm in an attractive decorative presentation. Filling up the white space around the letters accentuates form over function, thus creating an interference of visual impressions with its legibility. This visual rhythm is amplified by its redundancy in a text, only pausing at a break or a word space. Based on the concept of separate printing forms in letterpress, Bfrika Two Tone and Bfribat Two Tone separate the letter from the outside form in two fonts. Placing two text frames exactly on top of each other and assigning each part of these font to a frame in a different color, offers a quick way to add color. Originally Bfrika was designed for I-Jusi magazine #17, National Typografika, South Afrika 2001. Bfribat and both two tone fonts were created for Building Letters, a fund raiser for orphanages in Kenya and Uganda (www.buildingletters.org) and are also available for Mac and PC at www.hollandfonts.com and will be distributed in 2004 through associated foundries.

An upright typeface family developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Upright letters with extended ascenders and descenders are ideal on screen. They facilitate word recognition. The exit strokes link words together visually, and in handwriting they lead to spontaneous joins along the baseline leading logically to a joined-up hand. Teachers can print desk strips, charts of letter families and alphabet friezes, as well as consistent material across the curriculum. Together these typefaces provide a valuable resource for special needs teachers. When starting point and stroke direction has been learned, the arrow font (Tracker B) can be dropped and the simpler Tracker font used. Tracker B font, with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow can be dropped and the plain Tracker font used. When starting point and stroke direction have been learned, the arrow font (Dotted B) can be dropped and the simpler Dotted font used. Free to download resources How to access Stylistic Sets of alternative letters in these fonts Purchasers of this font package may use their Order Number to receive a free Copybook PDF by Rosemary Sassoon recommended for effective teaching

With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Cabrito Flare joins the Cabrito font family, a family designed to help younglings with the recognition of letter shapes. The original fonts are part of the development of a children's book, The Clothes Letters Wear. Cabrito Flare combines the simplicity and readability of the original Cabrito with an elegant flare serif. Now, this latest addition brings a new flavor to the table. Cabrito Flare brings fluid, carefree, medium contrast fun. It takes a more calligraphic direction than most. Cabrito combines structure and handwriting. There's a fluid balance of both characteristics, and Flare is no exception. It’s a unique combination of functional elegance with a little spice and a dollop of friendly. Fifty-four well-designed fonts give you many readable options to work with while developing your design. Cabrito Flare includes a suite of OpenType features. Alternative forms, ligatures, figures, and titling caps are all here. Preview these functions in the interactive PDF manual. There are glyphs for 72 languages; more than 600 glyphs await you. Cabrito Flare is an excellent choice for websites, as well as for brochures and packaging. Like Cabrito, used by several visible brands, Cabrito Flare is also an excellent option to define your logo. Try the taste of Cabrito Flare and be sure to dip in and sample some of the other Cabrito members: Original flavor, Didone, Sans, Serif, Semi, Contrast, and Inverto.

Austral Sans is a hand-drawn layered font designed by Antipixel. Based in the Slab version, it is part of the Austral type family. This sans makes your work unique & noteworthy, because the possibilities of combinations of textures & styles create distictive results. Austral Sans comes in three weights, Regular, Light & Thin, which all share the same crooked look with irregular strokes and outlines. For these reasons this font can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Sans has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Sans offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use! Check Austral Slab!

SchmalfetteCP is the result of another collaboration between designers Jason Walcott and Rob King. King suggested that Walcott revive this wonderful and somewhat forgotten sans serif typeface from the mid 1950s. Originally designed by Walter Haettenschweiler in 1954, Schmalfette Grotesk was used for many years in the German magazine "Twen". The typeface was notoriously hard to acquire at the time and graphic designers in the USA often resorted to cutting letters from the Twen magazines and reusing them in their own designs. Later, when digital type came along several typefaces very similar were created that claimed to be digital revivals of Schmalfette Grotesk. However, they are actually only loosely based on the original. The proportions are different and in some cases a lower case was added. The original font was all caps. At Rob King's suggestion, Jason Walcott has strived to recreate the most faithful digital revival possible of the original Schmalfette Grotesk with the new version of SchmalfetteCP. In some cases small changes were made to accommodate today's digital needs (e.g. web fonts), but anyone who has ever searched for this typeface now has a version available that most closely resembles Haettenschweiler's original work. Schmalfette CP comes in OpenType format in both .ttf and .otf files and offers support for all Latin based and Eastern European languages.

Brave Factor is a display font mixture of the script font features providing capital letters in round, adorable proportions. Such round letters express so smooth, warm, friendly nuances that it is suitable to create attractive, fun nuances. In spite of the big, round shapes, this font maintains the original script font features, which are still legible, such as the smooth curves elements and the unique scratches flowing in some of the letters. Such script elements can add beauty and personal touches to the font. Some of the letters may have curvy curves, while the others have sharp ones to show you interesting visual dynamics and to liven up the font. Furthermore, the font’s letters have been carefully crafted to be as legible as possible without ignoring its aesthetic parts. In addition, you may enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Brave Factor fits best for any design projects requiring prominent, yet friendly displays such as titles, logos, posters, brandings, advertisements, and so on. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Hibernica is a new genuine Irish sans in the classical modern style. With Hibernica it is possible to express Irishness in an up-to-date fashion rather than the traditionalist way. The design of Hibernica is based on my Lapidaria family. With Lapidaria it shares the classic appearance and coolness, stroke pattern, proportions and dimensions. Therefore Hibernica and Lapidaria are a perfect couple for bilingual text editing, e.g. Irish–English (not to forget the Greek parts of Lapidaria!). All fonts contain the full set of dotted ḃ ċ ḋ ḟ ġ ṁ ṗ ṡ ṫ in upper- and lowercase and an additional set of a dozen celtic ornaments. Hibernica also ows its “Minor-Medior” concept to Lapidaria, that is a special uncial-style variant set for lowercase letters. Choose from the six Hibernica fonts which suits your needs best! The Minor fonts are performing elegantly even in longer text bodies, whereas the Medior sorts offer a brillant and entirely new typographic look for headings and captions. Use Hibernica for outstanding designs – for a contemporary Irish understatement in typography. Wether you’re designing menus or shop signs, banners or ads, wether you do textwork upon historic topics or create T-shirts for St Patrick’s day – Hibernica is your new friend! For more new wonderful Irish fonts look at Ardagh and Andron Gaeilge!

Cutie Sugary is a delightful font that exudes charm and sophistication. With its graceful serifs and refined letterforms, it adds an air of elegance to any design. The carefully crafted swashes on select letters provide a whimsical and playful element, making it perfect for creating eye-catching headlines, invitations, and branding materials. Designed with love and attention to detail, Cutie Sugary captures the essence of timeless beauty. Its classic style, combined with the hand-drawn sketch medium, adds a touch of warmth and authenticity to your projects. Whether you're designing wedding stationery, crafting unique greeting cards, or creating stunning logos, this font will add a delightful and personalized touch. The friendly and simple nature of Cutie Sugary makes it incredibly versatile. It effortlessly blends into a variety of design styles, from modern to vintage, ensuring its adaptability for different projects. Its legibility and balanced letterforms make it equally suitable for both small and large-scale designs, guaranteeing a seamless reading experience for your audience. As you bring your creative ideas to life, Cutie Sugary will be your trusty companion. Its charming aesthetics will help your creations stand out on marketplaces like Etsy, Creative Market, and MyFonts. With Cutie Sugary, you can add a sprinkle of sweetness and elegance to your designs, captivating the hearts of your customers

Hops And Barley - a Vintage Font Collection. Hops And Barley includes following: • 6 fonts - a textured and clean version of each • Catchwords, textured and clean version • Ornaments, textured and clean version Hops And Barleys’ core is four font styles. Fonts are designed in the same proportions and they have the same soft edges so that they work great together. Here’s a short introduction to the fonts • Hops And Barley 1 -A Connected Script with Contextual, Swash, Stylistic and Titling Alternates • Hops And Barley 1b -A Bold version of Script • Hops And Barley 2 -A Serif vernacular Swash, Stylistic and Titling Alternates • Hops And Barley 3 -A sturdy Sans Serif with a wide character. • Hops And Barley 3b -A Bold version of Sans Serif • Hops And Barley 4 -A Condensed Sans Serif • Hops And Barley 5 -A set of 61 Catchwords • Hops And Barley 6 -A set of 71 Pictograms Hops and Barley fonts have rugged outline and eroded texture inside the letters. Hops And Barley C stands for Clean - they are an identical set of the styles but they come with straight and clean outlines and softened edges. Hops and Barley fonts work great together or on their own. They’re a fantastic choice for any display use and when paired they can cover the whole display part in any project from website to packaging and from poster to logo.

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

A collection of DIN Mittelschrift variants where parts of the letters have been removed to create different effects. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) 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.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

It may be a hard challenge to find an attractive, prominent font in a unique way amid the abundant font options available. Due to the significant reason to find the right font to deliver appropriate messages and emotions, we would like to introduce you to the Monthir, the perfect choice to express any of your project designs. Monthir is a capitalized brush font in brush details to produce authentic looking handwriting displays. The font’s bold, firm displays which are the advantages of such a font can create more interesting, prominent designs. Besides, people can feel closer to the brands or designs created through its personal, natural nuances. The letters’ proportions are relatively consistent, yet its dramatic, bold styles are suitably applied for bigger text sizes rather than the text body. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Monthir fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

The Core Sans G Family is a part of the Core Sans Series, such as Core Sans N SC, Core Sans N, Core Sans NR, and Core Sans M. Core Sans G is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans G Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black), 3 for rounded (Medium, Bold, Extra Bold) with matching Italics. It also includes 4 effects fonts (Outline, Neon, Shadow, Dimensional), Alternate Characters (a,g,t) and a bunch of ligatures. The Core Sans G provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

The Cabrito family is back again to make a statement. Released as a complement to the children's book, The Clothes Letters Wear, the original Cabrito is light-hearted, fun, and easy to read. Now, balancing this friendliness with a new elegance, Cabrito Contrast steps forward--a handsome typeface with an extra-sophisticated sensibility injected into the design. Still bright and playful in its Cabrito ancestry, this new Cabrito member approaches the field with a cleaner, more reductionist form, ensuring that its polished look retains the readability. Regular features and Italic forms of the 54 fonts include upright alternates, ligatures, and old figures. A range of weights include extended and condensed variants. To preview any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are over 600 glyphs for further refining your work. Cabrito Contrast is best used for logos and packaging as well as flyers and websites, though its readability makes it a great option across a wide variety of works. In short, it’s well-designed just for you. Take a stroll with Cabrito Contrast, and see how much fun refinement can be. Along the way, take a look at a few other members of Cabrito, too and see how well the likes of Original, Inverto or Didone can pair with the new Contrast.

Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Biloner is a font in simple, clean sans serif base forms. Its letters have no ornaments and serifs making them look modern and simple. The firm, straight letter shapes look strong and evident. This font shows enlarged capital letters to create a brave, prominent look enabling it to be the center design and to make an explicit message. Despite its original sans serif font base form, Biloner adds detailed brush touches to the letters to give extra rough textures on the letter lines. The brush scratches are on the edge or certain parts of the letters adding dimensions and attractive visuals. Fortunately, this font is applicable for any text sizes thanks to its great legibility, and you may also enjoy the available features here.) Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Biloner’s flexibility enables it to adapt to any design styles, either the modern and contemporary, or brave and creative ones. It surely fits for any design contexts such as titles, posters, book covers, and brandings. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

A font from the tube: an individual handwriting with a slightly wet character. In this case, the “pen” was a tube of black paint. It’s easy to see that you can’t really write “beautifully” with it. Nevertheless, the “Tube Script” is a beautiful, personal handwriting whose clumsy origins are not at all obvious in small font sizes. But if it’s big enough, then all the peculiarities of the paint container misused as a writing implement become apparent. Sometimes the line is very thin and delicate, sometimes it’s just a thick blob meant to represent a letter, depending on how hard the tube was squeezed. A few spills are inevitable. These coincidences of painterly writing are what make this font so appealing. This creates organic forms, random effects, breaks, streaks, where the writer normally determines the form. As such, this font is a great match for anything organic, picturesque, handmade, personal, or even random, unpredictable, or just plain natural. Hundreds of ligatures make the letters appear in a different form each time depending on it’s combination. And more than a hundred alternate characters can be selected using the corresponding OpenType features, thus enabling even more variety in the typeface. This creates the typically restless, extremely varied impression of a really individual script – almost as if it were really handwritten.

Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version. Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other thus giving your design a fully authentic look. There are also stylistic alternatives, which offer different style to a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, k, t, y. Lastly, is a large set of swashes, 3 for each letter they accompany. For the most part this includes the whole uppercase alphabet as well as lower case letters with an ascender or descender. Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.

Palatino Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is based on the Al-Ahram typeface designed by Zapf in 1956 but reworked and modified to fit the Palatino nova family. The design is Naskh in style but with a strong influence of the Thuluth style as well. This is evident in the swash-like finials and the wide proportions of the letterforms. It is designed for use in print in both large and small sizes. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino nova and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Palatino Arabic wins Type Directors Club award. Each year, the New York-based Type Directors Club judges typeface designs from all over the world in their TDC2 contest. Linotype is pleased to announce that a very new typeface of its own is among 2008’s winners: Palatino Arabic. A collaboration between Nadine Chahine and Prof. Hermann Zapf, this face is an extension of Zapf’s Al-Ahram Arabic type from 1956 recreated to join the Palatino nova family.

Agretta Hills Cyrillic Textured Script Font adds hand look style to all your design projects: logos, signatures, labels, packaging design, and blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, wedding stationery, and much more. An additional font Agretta Hills Symbols can help you to make a lot of pretty designs and logos. Agretta Hills script includes a full set of uppercase and lowercase letters, numerals, a large range of punctuation, and 16 ligatures, giving a realistic hand-lettered style. The Cyrillic part of the font contains the uppercase letters and lowercase letters and 16 ligatures, giving a realistic hand-lettered style. Agretta Hills Symbols is a font with over 36 unique, hand-drawn elements and swashes that can help to make your design more original. A different symbol is assigned to every uppercase or lowercase standard character plus numbers 0-9 so you do not need graphics software just simply type the letter you need. Multilingual Support for 32 languages: Latin glyphs for 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 Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!