»QUINCY« started as an art project. I was stitching roughly cutout letters together on a piece of wooden board, but I didn’t like the result! So I ended up with a font in three cutout styles. I thought it was so unusual and really beautifully ugly, that I finished it, adding flashes here and there. Now I am offering this absolutely unusual font as a packet of three for you to enjoy. Have at least as much fun working with it as I had designing the packet. The font is great for packaging or posters, or whatever comes to your imaginations.

Say goodbye to boring typography and hello to the lively energy that Night Market brings to every design endeavor. From posters promoting events at local night markets to bold signage capturing the spirit of bustling marketplaces, this font is here to infuse your creations with personality and flair with its cool rough textures. Add a dose of playfulness and creativity to your designs with Night Market - because who says business can't be fun? Night Market features : Standard Latin Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations Works on PC & Mac Uppercase Thank You.

Fox Love is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. 🌺🌺 Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

I like orange juice. Come on, who doesn't? Orange juice is the drink of heroes; it's the elixir of life; it's the gods' own ambrosia. Suco De Laranja means orange juice in Portuguese and I named this font thus, just because I love the stuff! Suco De Laranja is a very narrow, very gentle typeface with a rough edge. It comes in a variety of languages and guess what? I have added Cyrillic as well. Just to be complete. So there you have it: a font named after a juice. Take a sip and enjoy! На здоровье!

With its slightly rough edges, Thumbnail Text works well where lettering is required. Letterforms wiggle a bit here and there but are generally quite uniform. Characters are a bit imprecise - but not showy or bouncy. They appear more adult-looking than childish and are very legible. Put Thumbnail Text to work as drafting notation or on blueprint projects that need to be easily read. It¹s also useful when concept or sketch stage lettering needs to look serious but not highly stylized. You might experiment with it inside cartoon thought balloons or in callouts. This design is based on an old showcard style from the 1940s. It's been dusted off and reissued for modern use. A lowercase has been added for greater functionality. Thumbnail Text Regular is now available in the OpenType Std format. Some additional characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

House Easte 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 244 of glyphs PUA Encode 10 Ligatures Alternate 8 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. Check my other Font here https://gilarstudio.com/

Magical Story 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 240 of glyphs PUA Encode 14 Ligatures Alternate 8 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. Check my other Font here https://gilarstudio.com/

Nona Manis is 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 244 of glyphs Support for 60+ Multilingual languages PUA Encode 12 Ligatures Alternate 7 OpenType features ( aalt dlig frac liga ordn sups kern ) The font Nona Manis contains 18 ligatures in 3 OpenType features 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. Check my other Font here https://gilarstudio.com/

This typeface is an attempt to offer as a font the well known marvelous Hans Holbein “Death Alphabet”, first published in 1523. We have tried to preserve as much as possible the spirit and appearance of the original Initials set — incredibly fine and enriched with detailed figures — trying at the same time to create a font not too complex to be usable. Neverteless, the font files are large, and when used, the decorated initials may appear on screen more slowly than ordinary characters. (Minimum size recommended : 96 pts) We are offering here two complete standard sets (no accented characters) : Initials and capitals. We have reconstructed the missing letters : J and U, Eth, Lslash, Thorn and Oslash. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

Matchmaker, a modern calligraphy typeface, was inspired by the various works of modern day calligraphers. Its tall, quirky, and juxtaposed letterforms provide a deviation from traditional calligraphy-inspired typefaces. Matchmaker features smart contextual alternates and swashes that add to the front and beginnings of letters (using lowercase letters, enter === before the word then +++ after the word to see the feature in action). Also watch as letters on the end of words magically receive a shortened tail. This font works best in OpenType aware software so that you can take advantage of its many tricks and features. Comes as an .otf (OpenType font) file. Here is a great article on open type aware software: http://www.myfonts.com/info/opentype-support-in-applications/ Chocked full of swashes, alternates, and ordinals, Matchmaker just might be the perfect match for your next project.

JMTF Robin is a new post-modernist typeface in the spirit of Art & Crafts, born as a concept of a reformulation of a Gothic traditional building structure. Interestingly medieval structural architectural rescue form is for creating a font of traits absolutely contemporary without losing its artisan flavor. JMTF Robin is then a modular typography with very specific characteristics that provides an innovative texts while an appearance of great personality. Early versions of Robin was winners in Letras Latinas 2006. JMTF Robin representing a before and after in terms of contemporary texts composition. JMTF Robin is a typeface family that is presented in a wide variety of forms, from JMTF Robin in condensed forms to other roman proportions like Robin9, ideal for text, also JMTF Robin comes in Shadow and Double Outline. I dedicate this letter to creative genius William Morris father of modernism.

"Hi there, thank you for passing by. Colllab Studio here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Mister Arigato is a modern, unique calligraphy font inspired by traditional Japanese and Korean brush lettering. It gives you that little extra something you always been looking for. We do more than just type, we help you show how much you care in your most precious brand. This font is a great option for any project that involves sending letters as a decorative piece of artwork (attach it to a mug, or place on a greetings card), or for use for branding purposes(headline, logo, etc.). Though it is not double-width, the letters easily tailor to any word-spacing. A Million Thanks www.colllabstudio.com

In his 1538 book on measurement, Albrecht Dürer gave clear descriptions and drawings about the proportions of the letters in both Roman and 'fraktur' alphabets (from Latin 'fractura', meaning that it's broken up with lots of different angles rather than smooth curves). Here is the fraktur alphabet as a font completed for use today, with a few characters modernised and some gaps filled. Of course there are countless examples of fraktur fonts already circulating, and indeed one foundry even has another version of this particular one; but we have different approaches to some of the questions raised, we have aimed at a more even tracking (horizontal spacing), and the 260 glyphs in our version include accents and other diacritics, and the modern symbols which Dürer would surely have embraced if he had had access to the internet.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

Have you ever had a dream to write as a professional calligrapher? Penmanship or spencerian script? Now you have this unique opportunity to try the early American handwriting. Introducing Washington calligraphy scrpt. This font is calligraphy font with a classic style and a touch of elegance, inspired by the handwriting of Italian women and ancient manuscripts. Carefully designed to work together in harmony that makes it very suitable for any design work that requires a classic, formal or luxurious. Try Desirable Calligraphy, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily.

Lina Serif is an antiqua balanced between classic and modern. The design focused on the combination of flowing shapes and partially edged transitions, that give Lina her character. The font plays with a high line contrast in combination with dynamic shapes. This makes Lina a casually elegant display font. The terminals remind on floral shapes. Lina gives your design a human, natural touch. Lina Serif is available in 4 weights or as variable font with infinitely variable interpolation of weight.

Graceful is a classic font, I built it with my relaxed hands, designing a classic font with modern elements in it, which makes it particularly suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, in fact for any design work that requires a classic, formal and luxury feel. Try Graceful, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily.

Ela Demiserif is the typeface I originally designed for the business of my second wife and mother of my two sons; her name is, of course, Michaela. Ela - the typeface - is suitable for magazines, newspapers, posters, advertiments, books, text, documentation/business reports, business correspondence, multimedia, and corporate design. Because lately this typeface became very popular I decided to extend it to eight weights and I added italic and smallcaps versions to it. So now Ela is a full fledged typeface.

Univa Nova is a beautiful minimalist typeface with masterclass design and outstanding usability features. The typeface is inspired by some of the original Swiss design-based branding projects. Univa Nova is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for beautiful branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes as shown in promo images here. The typeface is specially handmade with great OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 306 glyphs are included. Univa Nova typeface comes with a total of 16 fonts having 8 weights (Hairline / Thin / Light / Regular / Medium / SemiBold / Bold / Heavy as well as Italic versions of each weights.

Betting Soker is an casual handwitten fontinspired by natural brush typography. Written in rapid motion using a slightly dry brush pen. This will give you a fresh and elegant design. Betting Soker comes with uppercase and lowercase letters, large sets and small sets, numbers, alternative styles for several lowercase characters are also available that make your text and design more attractive. Try Betting Soker, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. - Included multilingual support and special ligatures

Meet Haboro Contrast, the stylish little sister of the Haboro hyperfamily. While built from the same clean, geometric shapes of Haboro Sans, this new addition has been rebalanced for elegant performance with her high-contrast sans letterforms and has been adjusted to provide the greatest impact for each weight. It's a personality all her own, gentle in approach yet refined and modern with a confident appearance. Capitalize on Contrast's style with OpenType features, too. Packed with options like OpenType ligatures, stylistic sets, fractions, crafted small caps and old-fashioned figures, this font will keep your work fresh and attractive. If you need even more combinations for the right statement, use the entire Haboro hyperfamily and create the right balance to capture your reader's eye. Haboro Contrast (along with the rest of the Haboro family) has been tested for the web and is ready for use in both print and digital applications. Designed to serve as a display character for such publishing projects as magazines and company brochures, Contrast gives you comfort in having a great amount of versatility in the fonts you rely on. It's a prime example where high contrast simplicity lends itself to achieve excellent design results.

MIR Next is a growing multi-script type family best described by the terms “humanist–semi–slab-serif”. Its character set contains Latin and Cyrillic, both extended, as well as Greek, covering more than 100 languages. Strong personality along with consistency between language systems were a basic aim when designing the family. As a result MIR has become a great tool for branding and international identities. A wide choice of symbols and numbers makes it also very useful for statistics, texts about mathematics and the sciences. Serious things are best be said in an unpretentious, relaxed way. MIR gives typography exactly that kind of appearance. Its texts emit a sense of authority but stay easily accessible at the same time. MIR’s name comes from the old Russian word Мир meaning both “world” and “peace” – a unity we will hopefully take for granted sometime in the future.

The core design of Pepper family, designed by VIDI Visual Design Studio, is the fingertip handwriting style inspired by children’s writings on windows. This distinctive low-contrast typeface combines characteristics from neo-grotesque and organic models. Warmer than most Helvetica inspired typefaces, Pepper has organic shapes, playful strokes, rounded endings, and a generous x-height which makes Pepper easy to read. This family could be used well for food packagings, content aimed for children, book covers, branding, high-impact titles and small body texts, advertising, editorial design and more. What makes Pepper Sans Vol.1 competent and more spicy then some other fonts is that it contains a set of more than 900 characters for each of 5 weights that support many Latin-based languages, Greek and Cyrillic. As the weight decreases, the typeface gains impact with becoming elegant, giving titles in (Hair, Thin or Light) a breath of fresh air. We derived a typeface family consisting of Hair, Thin, Light, Regular, Semi Bold in this Vol.1 edition. Typeface features: • 5 weights: Hair, Thin, Light, Regular, Semi Bold • Latin, Greek & Cyrillic multilingual support • More than 900 characters for each of 5 weights Font Specs: • Created: August 2020 • Files type: .ttf

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Every character in this font is meticulously crafted from eerie, yet beautifully haunting music notes. Here are some ways you can use this font to your benefit: Party Invitations: Create spine-chilling invitations for your Halloween party that resonates with the theme, setting the mood for a night of hauntingly good fun. Posters and Flyers: Craft attention-grabbing posters and flyers for haunted houses, Halloween events, or horror movie screenings that evoke the perfect blend of fear and fascination. Merchandise: Design eerie merchandise like t-shirts, mugs, or stickers that cater to Halloween enthusiasts and music lovers alike. Digital Media: Elevate your digital content, including social media graphics, banners, and web elements, to capture the essence of Halloween in a truly unique way. (This font only includes the 26 characters based on the English alphabet)

Fimfarum is a word that the Czech actor and writer Jan Werich created for one of his magical fairy tales for children and adults. Fimfarum is also the name of this playful typeface equipped with various styles simulating the randomness of handwriting. You can choose to select and combine different styles either using an all-in-one pro font in an OpenType-savvy application, or with a 10 fonts family pack. Fimfarum Pro also offers an automatic random effect. The OpenType contextual alternates feature can randomly mix narrow, wide and bold characters. You can specify how through various stylistic sets. For more details, check the Fimfarum Typeface Manual. With this versatile tool your designing possibilities are immense. Well, this is Fimfarum. You can download the instruction PDF here.

Here comes a New font, Introducing INNOXIOUS is a Annoying Rough Brush Font with a natural handwritten feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes. This font INNOXIOUS is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Design this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. That is has charming, authentic and relaxed characteristic more natural look to your text You can activate Ligatures OpenType panel.

Catchy Mager is a unique and very elegant font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah am an ar ap at cb ch cm cn cr eb eh em en ep er ub uh um un up ur fl fi ff ft ga gi it ai Include Fancy Style on Every Uppercase and Some Lowercase

Ankormati Is a font with a touch of classic Victorian era style with bold letters wrapped in small ornaments that add to the feel of the Victorian era, but here it makes the look of this font with a colorful retro feel, not really like the old Victorian era design. But this can be tailored to the desires of your design needs, This font fits perfectly with the retro vintage style which will add classic value to your designs. What's Included : Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ Hope you enjoy with our font! Taznix

Humanistic sanserif in 4 fonts The Parisine Office typeface family can be considered as the text version of the Parisine. When Parisine xheight fit Helvetica large xheight, Parisine Office is more close to Gill Sans in term of proportion, as it was developed for Ratp, the public transport in Paris to allow compatibility with documents set in Gill Sans without changing the length of text. Parisine Office by default is a humanistic sanserif available in 4 fonts perfect for text setting. The design of the italic lowercases is more cursive than in Parisine. About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

About 7 years ago, I released a beautiful (imho) Art Deco inspired font called Weltschmerz. Weltschmerz was an all-caps font and I always wanted to do a lower case version as well. But as things so often go in life, I never found the time and forgot about it. Some time ago, I ‘rediscovered’ my good old Weltschmerz font and remembered that I wanted to create a lower case version. Without further ado: here is Neuer Weltschmerz (‘New Weltschmerz’). I redid the whole font, better kerning, better spacing, better looks… and with a proper lower case! I did keep the original handwritten look intact - because, well, it IS hand made!

It starts slowly, gently drawing you in... you're introduced to a number of strangely interesting and compelling characters. The plot seems at first to be satisfyingly predictable, then -- suddenly -- the narrative takes a completely unexpected turn! The protagonist is thrown into a series of devastating and alarming twists and turns! The antagonist triumphs -- evil trounces good, mass hysteria seizes the city streets! Our Hero is separated from his One True Love, and it seems that she has fallen for The Villain of the Piece! Will Good Prevail? Will Evil Perish? Will Love Conquer All?!? I don't know yet -- that's as far as I've got. Don't worry, it has a Great Ending.

»Prima Script« was designed especially for use in Menus and Cook-books. One of my sons is a chef in Munich and he was always bugging me to make a new font for his menus. I already designed one for him »Konstantin« but he likes to have new stuff every couple of years what I understood. So here is the new »Prima Script« (that’s what he said when he first saw the font). To give it more usability I made alternate initials and end letters as well as medieval cyphers. Then I did a couple of swashes and a handdrawn Sans font to complete the set. Have fun!

Introducing Vintage Fonta Hi Designer, Come again to complete your script font collection ...! Vintage Fonta is a classic calligraphy font. Here you will get a beautiful classic font. This font is available in several modern swirls that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, design of household appliances, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greeting cards, and all your other beautiful projects. You can use this font for your work very easily. Because there are many features in it. Contains a complete set of upper and lowercase letters, punctuation, numbers and multilingual support. This font also includes several alternative styles Set Stylistic For those of you who have software that is able to work OpenType (Corel Draw / Photoshop / Illustrator / InDesign). Thanks & Happy Designing!

Looking for a typeface that will add luxury and elegance to your next project? Akuina is here for you! With a bold sans style, this post-modern typeface is ready to give your graphic designs a new twist. Each font has its own unique style and can be used across multiple media channels including web, print, and more. You can’t go wrong adding this creative font to your library – it’s made with versatility in mind! This unique font pack features 18 beautiful modern font styles that you can use in a variety of projects. Each character has been created to maximize beauty and character. so that your project performs optimally of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Spiderwort is a lovely script font designed in a natural handwriting look. Like the other cursive fonts, the letters are interconnected to each other. This font type is perfectly applicable for texts that combine uppercases and lower cases in order for the writing to look flawlessly connected. Furthermore, it expresses soft and relaxing nuances to use in informal texts. The character of this font is the low contrasts in thin, unfirm lines. Nevertheless, it shows you unique, artistic displays on your designs particularly when you use it well and based on the desired theme. You can apply this font for any text sizes because it is greatly legible and also enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Spiderwort fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, 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.