Bunny Flower a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 248 of glyphs Multilingual Language PUA Encode 9 Ligatures Alternate 7 OpenType features were detected in the font (aalt dlig frac liga ordn salt sups kern) Support for 67 languages detected The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-)

Rekusen is a modern and bold sans-serif display font that stands out with its cleanness. Perfect for branding, headlines, and editorial design, this font is sure to make a statement. The unique combination of thick and thin strokes creates a dynamic and eye-catching appearance that draws attention to your message. In addition to its stylish design, Rekusen also features a wide range of alternate characters and ligatures that allow for creative customization and increased versatility. With alternates and ligatures, this font provides endless possibilities for unique and impactful designs. And with support for multiple languages, it can be used across a variety of projects with ease. Whether you’re designing a logo, creating a poster, or crafting a website, Rekusen is a powerful tool that will help you achieve your design goals with style and sophistication. Its modern, clean, and versatile design makes it a perfect fit for any project that needs a touch of boldness and professionalism. What’s Included : - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The dearJoe series of fonts had it’s origin somewhere around 1999, the year I created dearJoe 1, which was a first (and half-assed) attempt at converting my own handwriting into a working font. Being able to type in my own handwriting had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use. And that’s what they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on just about anything, ranging from Vietnamese riksjas, a Tasmanian gym to a fancy chocolate store on 5th Avenue. The font is not something I am particularly proud of, but it started me of in building what later became the JOEBOB graphics font foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in making something that can almost pass for actual handwriting.

Solanel is a neo-grotesque with flawless curves. This is a low contrasted and smooth sans serif with subtle and effortless details. One of the main particularity is its italic, which is not a rendition of a slanted roman, but a mix of a rotated and slanted version, which give a “rotalic” feel. The large range of style, from UltraThin to Black help to give flexibility to this family. This family contains many OpenType features, such as Alternates, Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Its inspiration comes from the types without serifs, with features ranging from architecture to modernist design products. With generous shapes and counterforms, the type becomes showy wherever it is, masterfully fulfilling the purpose for which it was designed. Initially designed for a signaling project in the Brazilian city of Jaraguá do Sul, Santa Catarina, the STP Display was expanded to include the largest number of characters in the Cyrillic anda Latin alphabet. This helps to find solutions in cases where a large number of languages to communicate something is needed, such as to inform a specific place for a tourist or also a direction to follow for an employee in a company. The STP Display is a modular feature, developed with rounded corners and a design based on geometric elements, ideal for use in large sizes. Forms and counterforms, its main characteristics, bring prominence to any signaling project. The STP Display Cyrillic also has another version, the STP Stencil Cyrillic, and in addition to wayfinding projects, both can be used in architectural projects, advertising, packaging, posters, and others. With a complete Latin alphabet, STP Display Cyrillic covers over 90% of the supported languages, covering the whole American continent, East and West Europe and most of the countries of Africa, Asia and Oceania.

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

Linotype Zapf Essentials is the modernized version of Zapf Dingbats and was also designed by Hermann Zapf himself. Over 372 characters and symbols are included within six fonts and make life a little more communicative, a little more informative, and a lot more interesting. The fonts contain symbols for both professional and everyday uses. With their markers, ornaments and arrows they are informative as well as versatile, timeless and lively. An interesting note to the story of Zapf Essentials: in 1977, Hermann Zapf created about 1000 sketches of signs and symbols. ITC chose those which became known around the world as Zapf Dingbats. For a typesetter, dingbats are the characters in the corner of the type box which can be used for just about anything. The last decade has seen the appearance of new symbols for e-mail, fax, mobile phones and other developments. These are now part of Linotype Zapf Essentials, just as they are now a part of everyday life. For a quick overview of the different Linotype Essentials variations, see the keyboard layout PDF in the Gallery section. It shows the keyboard layout of each font. A helpful hint from Hermann Zapf: Linotype Zapf Essentials should be used sparingly so that the characters retain their emphasis.

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.

Adero is a futuristic and versatile display font family designed to meet the needs of modern design projects. With its wide and minimalist style, Adero offers designers a unique blend of futuristic and functional design elements that make it a perfect choice for a wide range of applications. Featuring nine weights, from Thin to Black, and matching obliques, Adero provides designers with a wide range of options to choose from when creating designs. The font’s letterforms are carefully crafted with attention to detail, resulting in a modern, clean look that is both attractive and easy to read. Adero’s minimalist design makes it ideal for a variety of design applications, including branding and logo design, product design, advertising, web and various digital design. The font’s wide proportions and large x-height make it a great choice for bold and attention-grabbing designs, while its sleek and functional style makes it perfect for more understated design applications. Whether you’re creating a futuristic poster or a sleek website design, Adero is a versatile and powerful tool that can help you achieve your design goals. With its unique blend of wide proportions, minimalist design, and futuristic style, Adero is an excellent choice for any modern design project.

Between geometry & shapes inspired by nature, in 4 fonts Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context. Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions. Audace, between geometry and shapes inspired by nature

Arkaim is a modern typeface in traditional East-Slavic and GreatRussian style in typography. This style is not like any other style in the world. It combines elegance and brevity, depth and modernity, originality and convenience. This unique font is certainly eye-catching. Arkaim font is named after the ancient Slavic-Aryan city located in the South of Russia, which is a symbol of antiquity, wisdom, as well as the unexplored ancient world. Arkaim is not only a historical place, but also a place of Spiritual power. The font Arkaim has many Opentype features that will help to create interesting and unique compositions. An interesting and non-trivial solution is a kind of mixture of all caps and upper/lowercase characters. Arkaim contains symbols of all Slavic and European languages. There are fractions, superscripts and subscripts, and many others. There is a standard number and the old-style number, also Slavic numbers. There are all the historical characters Of the ancient Slavic script called Bukvitsa, today mistakenly called Cyrillic. In addition, here is a free demo font (only with Russian, Belarusian, Ukrainian, Bulgarian, Macedonian and Serbian characters) without Opentype features and other symbols. You can try it.. and love it.

Milky River Cyrillic playful childish font contains the uppercase and main & alternative lowercase letters. And also the full set of double letters a large range of numerals and punctuation. The Milky River 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. Milky River Cyrillic playful childish cute font contains the Cyrillic glyphs too. The Milky River symbols are an additional font with 36 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 0-9 keys in the included Milky River 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. 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.

Introducing Polotan, the ultimate futuristic and modern sans-serif font. With its sleek and streamlined design, Polotan is perfect for creating a cutting-edge, high-tech look that's perfect for a variety of design applications. Featuring strong lines that convey a sense of power and confidence, Polotan is perfect for headlines, titles, and branding materials. But what sets it apart is its unique alternates, which give you the flexibility to create custom designs that stand out from the crowd. And with its alternates, you can take your designs even further and truly make them your own. Its clean and minimalist design makes it easy to read, while its sharp angles and unique letterforms create a sense of energy and movement!. Whether you're designing a high-tech website, a sleek user interface, or a modern brand identity, Polotan will help you make a bold and unforgettable impression. So why settle for a boring and outdated font when you can make a statement with Polotan sans-serif? Try it today and see how it can take your designs to the next level. And please message me if you want your language included or if there are any features or glyph requests, feel free to send me a message.

The reason for Nicolien van der Keur to design the Rougon font was the translation of twenty novels written by Emile Zola, a French writer, and translated by Martine Delfos. It follows the lives of the members of the two titular branches of a fictional family living during the Second French Empire (1852–1870) and is one of the most prominent works of the French naturalism literary movement. This series deserved a font with French roots and corresponded to the period in which Zola’s books were written and published, the period between 1870 and 1893, the end of the nineteenth century. Extensive research into French historical typefaces has led to a type specimen from the French type foundry Deberny et Cie in Paris around 1907. It turned out to be good and helpful source as it contained a sample of a typeface that reflected the content and style of the novels, but also represented the period in which the books were written in France. A large part of the novels are about the generations of Rougon, so it seemed a natural choice to give the font that name. It is available in one weight and contains stylized portraits of Emile Zola and the French Marianne. This font also contains various ornaments.

Proudly present Silver Linings Typeface. Say hello to Silver Linings A classy eighties magazine inspired serif condensed - with a complementary lowercase version. In true Eighties style, they also come in varying degrees of Condensed form - mix and match them to create eye-catching effects. Don't forget to use all caps too in your mixing and matching - it adds contrast and impact to your type design. Design tips! : Tighten your letterspacing for larger titles to create a range of looks. Comes with alternatives and ligatures, and helps to create stunning magazine imagery, quotes, posts, blog posts, branding projects, logo, poster and much more. Font Features : Lettres, numbers, symbols, and punctuation 20+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin). Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Pentecoste is created with stylist and handwritten characters. This handwritten font was PUA encoded. Pentecoste is a natural handwritten style that comes with Extended Latin Characters. Pentecoste works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, lable, posters, badges, etc. Pentecoste comes with 317 glyphs and 87 alternate characters contain with opentype features (supported with contextual alternates mode). Pentecoste also comes with 15 extended ligatures that allowing you to make stuff looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. Files included: Pentecoste (otf) How to access all alternative characters, using Windows Character Map with Photoshop: http://youtu.be/cxonI5QvULk How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=y5XTaWYwWA4 If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com"

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Mather Laord is the perfect hero font for those who want to create powerful and unforgettable hero branding. Its sharp and pointed serif exudes a sense of strength and precision that is perfect for heroes who wield swords or are ninjas. The font’s 143 alternate characters for uppercase and 34 ligatures offer a wide range of options to create unique and memorable typography designs. Not only does Mather Laord have a stunning appearance, but it also supports multilingual characters, making it a versatile font that can be used globally. Whether designing a logo for a hero-themed brand, creating merch for your favorite hero, or designing a poster for a hero movie, Mather Laord can help you create an impactful and unforgettable design. So, if you want to stand out from the crowd and make a lasting impression on your audience, Mather Laord is the perfect choice for your next hero design project. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The Mayberry® is an extensive family of 14 OpenType fonts. Mayberry was initially designed by Steve Matteson to emulate the technical behavior of a font family called Tiresias™ for use in set top TV devices and user interfaces. Mayberry is a significant improvement in aesthetics and functionality over Tiresias. Mayberry includes true italics and a wide range of weights to provide the highest quality and readability on low resolution devices, while also featuring a range of OpenType features that will appeal to creative professionals. Mayberry is a slightly condensed humanist sans serif which allows for more readable text in a narrower column. Open counters and upright stress help keep the design of Mayberry readable at low resolutions. A significant amount of care has been given to design subtleties allowing the design to function well at large sizes. The Mayberry character set supports Cyrillic, Greek, Central and Eastern European, Turkish and Baltic, Mayberry also includes a slashed zero for use where absolute distinction between 'O' and zero is a concern. Also included are typographic features such as old-style figures, fractions, superior and inferior numbers for use with applications that provide advanced OpenType typographic support. A set of closed captioning symbols and arrows add to the font's versatility in interface design.

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

VetteLetters is proud to bring you the TpKurier-family. It is cooked up by our German chef Martin Lorenz currently living in lovely Barcelona! Chef Lorenz about the TpKurier recipe: “TpKurier is the second redesign we did of Courier. The first redesign in 2000, although based on a five-unit grid, was drawn completely by hand. Six years later we designed another grid version of Courier, and the TpKurier family was born. This version is completely constructed up till its last detail. We didn't want to correct ‘mistakes’ deriving from the use of the grid, but instead make them visible (see “S”). TpKurier is based on a very simple grid, composed a proportion of four units high by two units wide. A series of other links between them make it possible to form a font from this grid. We felt it was important to consistently work within these limitations so that any unexpected asperities would help provide the font with its character. Even though it is a rough constructed typeface it was important to us to design real italic lower case letters and not just a sloped roman (see “a”, “g” or “s”). The first family published contained a serif and sans-serif version of the TpKurier, with italic and bold.”

FF Kievit Serif subtlety melds oldstyle design traits and a 21st century mien into a clean, straightforward suite of typefaces. As part of the FF Kievit super family it helps brands carry their voices effectively and legibly. This includes small text to display sizes, in both print and digital environments, for internal and external audiences. FF Kievit takes inspiration from classic designs like Garamond and Granjon, and is available in seven weights, plus italics. Drawn as a collaboration between Michael Abbink, Paul van der Laan, FF Kievit Serif is a natural extension to the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Slab. FF Kievit Serif stands on its own as a multi-talented and exceptionally legible design. Large counters, a generous x-height and ample apertures ensure that FF Kievit Serif translates well to both hardcopy and interactive environments. FF Kievit Serif is available in carefully defined weights, ranging from Light to Black. The Regular, Book and Bold weights are ideally suited to long form text copy. Ligatures, several suites of numbers and small caps are also available. In addition, FF Kievit Serif benefits from the same extensive language support of the other designs in the family.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

"Lilla Letter Lover" is a captivating font designed specifically for children's books. This delightful typeface brings an element of playfulness to reading, while also enhancing phonemic awareness. The font's remarkable strength lies in bridging the gap between handwritten and printed letters. For early readers, this transition can be challenging, but "Lilla Letter Lover" simplifies the process. It merges the familiar aspects of handwritten letterforms with the clarity of printed text, providing a seamless reading experience. This feature ensures that children can comfortably navigate both forms of writing, enhancing their overall literacy skills. The whimsical charm of "Lilla Letter Lover" instantly captures young readers' imaginations. Each letter is thoughtfully designed with basic shapes and simplicity in mind, for an experience where letters come to life, fostering a love for reading and storytelling. Additionally, "Lilla Letter Lover" offers a unique opportunity for sight-based spelling learning. The visually distinctive presentation of words helps young readers to develop a strong visual memory of spelling patterns. This visual association enables them to recognize and recall words with ease, strengthening their reading and writing proficiency. In summary, "Lilla Letter Lover" is not just a font; it is an enchanting gateway to make reading a joyous adventure for children of all ages.

Its inspiration comes from the types without serifs, with features ranging from architecture to modernist design products. With generous shapes and counterforms, the type becomes showy wherever it is, masterfully fulfilling the purpose for which it was designed. Initially designed for a signaling project in the Brazilian city of Jaraguá do Sul, Santa Catarina, the STP Display was expanded to include the largest number of characters in the Latin alphabet. This helps to find solutions in cases where a large number of languages to communicate something is needed, such as to inform a specific place for a tourist or also a direction to follow for an employee in a company. The STP Display is a modular feature, developed with rounded corners and a design based on geometric elements, ideal for use in large sizes. Forms and counterforms, its main characteristics, bring prominence to any signaling project. The STP Display also has another version, the STP Stencil, and in addition to wayfinding projects, both can be used in architectural projects, advertising, packaging, posters, and others. With a complete Latin alphabet, STP Display covers over 90% of the supported languages, covering the whole American continent, East and West Europe and most of the countries of Africa, Asia and Oceania.

Gogh is a geometric sans serif with a modern look and traditional spirit. It blends evenly without overly distracting the reader, yet still keeps a rich and distinctive character. The generous x-height, easily distinguishable glyph forms, and open terminals help the eye perceive a block of text smoothly, making it clearly legible. Gogh thrives when used both on-screen and on print media. Gogh type family consists of 10 weights from Hairline to Black and their matching Italics. Gogh is also available as a fully functional variable font, which gives unlimited opportunity to explore typography without the restrictions of predefined weights. Gogh Variable is also the best option if used on the web as it has a much-reduced size compared to the original font family. Regardless of which Gogh family you choose, the typeface covers a broad spectrum of languages, as it includes Extended Latin and Cyrillic. And it also comes with an alternative stylistic set that will completely change the overall look of a paragraph, giving it a more contemporary and display appearance. In addition to that, Gogh type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case sensitive punctuation, and more.

Timeless imperfection FS Meridian is a rhythmic geometric grotesque which takes inspiration from the precise yet imperfect nature of time. There are 24 hours in a day. 60 minutes in an hour. 60 seconds in a minute. Well, almost. The Earth’s orbit isn’t a perfect circle – and nor is the Earth itself. Each day varies a few dozen seconds and up to 16 minutes each year. Look closer and time is more flexible than we think. Geometry with a twist From a geometric base, FS Meridian’s rounded forms veer and extend, creating unexpected humanistic shapes – while the straight terminals remain reliably rigid. This combination of forms gives this grotesque sans serif a pleasingly dynamic rhythm, every time it’s read. Added quirks The unconventional character of rigid terminals and ink traps are balanced with emphasized extended forms to develop visual differentiation. Designed by Kristina Jandová, the complete family has been carefully crafted with distinguishing marks. Take a look at the cap ‘Q’ which comes with three alternative options. Deliciously loopy FS Meridian has a wide geometric, mono-liner appearance with humanistic elements. Quirky individual touches like the loopy expressive pound sign help the typeface to stand out. Available in five weights, FS Meridian is both timeless and timely, a distinctive font for all screens and surfaces.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Introducing Sociato: a typographic trendsetter. It's a quirky font that perfectly blends modernity and antiquity. The French Revolution was a period of uncompromising innovation in art and fashion, with celebrity artists, notably Jacques Louis David, creating propaganda for the new regime. This regime failed, but we have rare historical artifacts related to this historical upheaval. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being. It's a stunning piece of work, with a wild, baroque layout and hand drawn typography. Words leap off the page in a cascade of sounds and shapes, and quirky letterforms give it a lively, almost mischievous character. It's a veritable goldmine of typographic ideas. This typeface is based on the hand lettering in the original manuscript, but it has been enhanced by adding a full variety of characters. The typeface comes with a comprehensive range of diacritics, including old-style figures. The typeface is suitable for a wide range of uses, including titles and headers, and it should look beautiful in any typographic setting. Use Sociato to create a revolutionary identity, as bold and audacious as the French Revolution!

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was completely redesigned by the Zetafonts Team, expanding the original character set to include cyrillic and greek glyphs and adding four extra weights and italics to the original weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allow for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in display, logo and editorial use. A complementary set of free icons in the same range of weights of the font is provided to help designers build consistent branding through pictograms in infographics, interfaces and editorial products.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

The font family Brun includes two styles Regular & Clean. Brun is a casual, modern and hand brushed font. I've designed Brun carefully with the intention to preserve in its glyphs the original tell-tale dry brush imperfections and a bouncy baseline for a more personalized effect even more authentic. Brun Clean preserves the characteristics of a brush font without being dry brush stroke. As an exclusively Open Type release, with 575 glyphs and 35 ornaments, it has several special alternatives for all letters with lots of possibility an an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, swashes and stylistics alternates for each letter, beginning and ending letters. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. This will help your creativity and make it easier to make the impressive and elegant typographic work. This font is a perfect choice for greeting cards, posters, labels, t-shirt design, logos, and more. Brun was made to make your project more beautiful and attractive! Have fun with it! To activate the optional glyphs you may click on buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Enjoy it!

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/

Introducing Zephyrus, our new condensed modern cyber font that's designed to take your designs to the next level! With its unique condensed squared feel, this font is perfect for anyone looking to add a modern and futuristic touch to their work. But we didn't stop there - we've also included a rounded version of Zephyrus, which softens the edges and provides a more approachable feel. This versatility means that you can use Zephyrus for a wide range of design projects, from logos and branding to websites and digital presentations. In addition, Zephyrus comes equipped with numerals, symbols, punctuation, and foreign language support, making it a versatile and functional font that's suitable for global projects. Whether you're creating a tech-based project or looking to add a futuristic touch to your branding, Zephyrus has you covered. Zephyrus is a great font for modern and futuristic designs. Its unique condensed squared feel and rounded version make it a versatile choice for a wide range of design applications. Here are some perfect use cases for Zephyrus font: Technology-based websites and apps: Zephyrus is an excellent choice for designing websites and apps that focus on technology and innovation. Its modern and futuristic design complements the content of these websites and apps and creates an atmosphere of innovation. Corporate branding: Zephyrus can be used to create a modern and innovative corporate branding identity for companies in the technology and innovation sectors. It is perfect for creating logos, letterheads, business cards, and other branded materials. Advertising campaigns: Zephyrus is perfect for advertising campaigns that require a futuristic or high-tech look and feel. It can be used in print ads, online ads, and other promotional materials to create a sense of innovation and modernity. Product packaging: Zephyrus can be used to create packaging designs for technology-based products. Its modern and futuristic design can help these products stand out on shelves and create an impression of innovation and quality. Presentations: Zephyrus is a great choice for creating compelling and modern presentations. Its unique design can add an element of creativity and innovation to your presentations and help you stand out from the competition. Video game design: Zephyrus can be used to create a video game design that requires a futuristic or cyberpunk style. Its unique design can help create an immersive gaming experience for players. In conclusion, Zephyrus is the perfect choice for anyone looking for a condensed modern cyber font that's both versatile and functional. With its squared feel, rounded version, and support for numerals, symbols, punctuation, and foreign languages, Zephyrus is a font that's sure to take your designs to the next level! Zephyrus features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Style +278 Total Glyphs ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). ⚠️For more information about accessing alternatives, you can see this link: http://adobe.ly/1m1fn4Y ——— 🔑Important tutorial from the author: Tutorial for Mollusca font trio: https://lnkd.in/d984CQD6 How to use Midway | Retro Script Font on illustrator: https://lnkd.in/eusbZd7s How to use Midway | Retro Script Font on Photoshop: https://lnkd.in/evsYrwgs How to use Hellfire Flames | Death Metal Font on Photoshop: https://www.youtube.com/watch?v=Z0MSBYzl9EM&t=35s How to use Rusted Sabbath | Black Metal Font Font on Photoshop: https://www.youtube.com/watch?v=_BTTgnSszsM&t=6s How to use Black Dread | Death Metal Font on Photoshop: https://www.youtube.com/watch?v=cKoSvIEbdZ4 ——— 🔥 Thank you for purchasing our product, hope you like it and have fun with our product. If you have any queries, questions, or issues, please don't hesitate to contact us directly. If you are satisfied with our product, please give 5 stars rating. ——— Happy Designing...😊

MARIAMNE is an original design by Alex Kaczun. It is an elegant, modern and traditional interpretation based on and modeled after his successful "Contax Pro" and "New Age Gothic" typeface series. As such, it has generous proportions with clean, crisp lines—ideally suited for easy reading and long lines of copy. Alex felt that the skeleton for "Contax" was perfectly suited to transform the design into a modern version of 'old-style', somewhat reminiscent of German Black Letter. Numerous modifications where made to the body proportions, stems and shapes. True 'old-style' serifs and unusual 'cross-strokes' where added for a touch of distinction. The 'cross-strokes' where added at exactly visual mid-point on the overall heights. This gives the typeface a romantic, female-like quality to the overall design. Strong, yet delicate. Visually stimulating in appearance and function. The result is a truly unique transitional and modern design. Unlike other typefaces, MARIAMNE incorporates uniform stems throughout the capitals, lower case and figures. This gives the design a uniform appearance in overall color and strength. There is a perfect visual balance between inter-letter spacing, stem weights and proportions. The accents are equally large, bold and command attention. This font includes a large 'Pro' character set, which supports most Central European and many Eastern European languages. As a result, the design is ideally suited for display copy as well as text composition. In the near future, Alex plans to expand the typeface series to include a light and heavy weight, along with true italics.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.