Apple Jam is a sweet and friendly handwritten font. Whether you’re looking for fonts for Instagram or calligraphy scripts for DIY projects, this font will turn any creative idea into a true piece of art! Apple Jam comes with: 3 font styles: regular, bold, light uppercase & lowercase standard punctuation & numbers special accents & characters for most of the European languages cyrillic typeface

The Stomp Family is a set of three different fonts, Swirl, Flowers and Circles which are designed to be used with Stomp Black to create dual colored type for bright and exciting images. Metrics and Kerning information for the four faces are identical so that they overlay perfectly. Stomp Black is also very usable on its own for bold, high impact type.

CCS Noken is a sleek and versatile sans-serif display typeface family that comes in three weights with ligatures and alternate letters. Its extended width makes it perfect for creating attention-grabbing typography, whether you're designing for print or digital media. CCS Noken is an excellent choice for designers looking to add sophistication and style to their designs with bold and unique typography.

Spike was designed as a Latin type family, with the characteristic triangular serifs, but with more character and range of weights than the more common latin faces available. Designed as a display face, it could be used as a flavorful text face in special situations. The complete family consists of four fonts: light, regular, bold and an all-caps incised version.

Good, faithful Achates… Named after the trusty Trojan that followed Aeneas throughout his adventures, Achates is a humanist sans workhorse well suitable for broad range of design projects. Its soft, delicate and almost cursive shapes define warm and friendly typeface that is legible and easy on the reader's eye. Following into the footsteps of its namesake, it is humble, informal yet stable and trustworthy. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Achates provides a broad range of advanced typographical features such as language localization, alternates, stylistic alternates, extended ligatures, fractions and case-sensitive forms. It comes with a complete figure range set of old-style, lining and tabular figures. The family has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic with Bulgarian and Russian localization. As Achates was a humble hero, a devoted friend and faithful companion to Aeneas on his journey to greatness, so this font can be your trusty sidekick on your creative path. The marvelous Agate is also named after the Trojan hero. It is considered as the stone to call on for support when you need stability and grounding in your life. Along with its supportive energy, the Agate stone has been long admired for its incredible beauty. So… a Trojan hero or a thing of beauty – it is up for you to decide… or just maybe both!

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

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

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

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

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

Lugano has it’s inspiration in 1920s advertising material and is ideal for lively banner lettering, posters and cover design. Four typefaces are offered - Lugano comes in regular, alternate, striped and alternate striped forms. Try it out and inject a little fun into your work today!

With its flowing lines and cool, contemporary vibe, Chillin Notez adds an air of refinement to any project. Whether you're crafting captivating advertisements, designing eye-catching poster, or creating stunning social media graphics, this font is your ultimate companion for conveying a message that resonates.

Story is a modern magazine typeface equally suitable for large pieces of text, headings and everything in between. It includes four styles. Body copy set in it looks modest and relaxed and is highly readable, not in the least distracting your attention from the article.

Introducing GGX88—the Swiss inspired sans-serif typeface that is perfect for on-screen user interfaces. Designed with a minimalist approach, GGX88 offers a sleek and sophisticated look that is both familiar and unique. With seven weights and italics to choose from, GGX88 provides the flexibility you need to create a stunning design. Whether you are designing a website, app or presentation, GGX88 is the perfect choice for any project that requires a clean and modern aesthetic. Its simple yet striking design ensures that your message is conveyed clearly and effectively, while its minimalist look ensures that your content remains the center of attention. But GGX88 is not just a single typeface—we also offer GGX89, a display oriented version of the font that is perfect for headings, titles, and other larger text. With its bold and eye-catching design, GGX89 is the ideal choice for projects that require a more dynamic and attention-grabbing font. So why wait? Try GGX88 and GGX89 today and see the difference that a minimalist and Swiss inspired design can make to your project. With its clean lines and contemporary feel, GGX88 is the perfect typeface for anyone looking to make a bold statement. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Are you tired of stiff, uptight typefaces cramping your creative style? Introducing Rinse—the vintage t-shirt typeface that’s all about taking it easy. With its rough and ready look, Rinse is based on the classic Goudy Heavyface Italic, but with a far-out twist that’s perfect for all your laid-back messaging needs. The letter pair ligatures add some extra funk to break up the monotony of repeating letters, giving your text a natural and mellow feel. So why settle for boring, uptight fonts when you can let Rinse infuse your message with some classic retro style and fun-loving personality? Whether you’re designing a t-shirt, a poster, or just want to add a little vintage flair to your next project, Rinse is the typeface that will keep it cool. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

When it comes to effective communication in the world of high-technology, every detail matters. Your message needs to be clear, concise, and precise. That’s why you need Zosma, the purpose-driven typeface designed to mirror the sleek lines of today’s hi-tech hardware. With Zosma, your designs will have the perfect balance of form and function. The stark precision of this typeface will convey your message with clarity and power, whether it’s on a product label or in a user manual. Zosma comes in three weights and italics, giving you the flexibility to create a variety of designs that perfectly match your brand’s aesthetic. Plus, with its techno letterforms and industrial style, Zosma is the perfect choice for any company looking to showcase its cutting-edge design prowess. So if you’re ready to take your designs to the next level, get Zosma today and start creating with confidence. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Brewmaster was inspired by the Budweiser logo from the late 1800s and its updated revival in 2000, this style of script was very popular in the 1800s and could be found in use on old billeads and letterheads. Although Brewmaster looks accurate in detail to the Budweiser logo, this font has not been approved as official artwork for Budweiser. If you're looking for Budweiser’s official artwork it is recommended that you contact Anheuser Busch, Inc. and ask for their logo and usage guidelines. Companies are always changing their logo designs so it is always best to contact each companies advertising department for official artwork.

Hatchet Job - A Halloween Brush Font Unleashed onto an unsuspecting public this Halloween, Hatchet Job is a brush font inspired by the slasher and cabin-in-the-woods horror movies and comics typical of the 1970s and 80s. This textured all-caps design takes its visual style from old cabins, ghost ships and axe-splintered wood that can only spell danger! With a bold brush strokes and frayed edges, it offers the tools to leave your readers nerves in tatters! The Hatchet Job font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. Also included are a complete set of alternative characters and additional paint marks, drips and splashes. Wingsart Studio Design Tip! The uppercase and lowercase characters work great when mixed in an alternating fashion, with shapes that combine to create a dynamic, un-hinged look that's perfect for the Halloween season. Add the alternatives and paint marks into the mix and you'll have yourself a title or header design that looks truly custom-made.

Sneak a peak Eighty Starlight, a font with a futuristic and experimental concept created with a strong and charismatic character. following the current trend design style. Eighty Starlight is made experimentally following a futuristic style recipe with alternate characters made with inktrap and display that makes this font more stylish and varied. Eighty Starlight is a variable font that has 9 weights from thin to black. also includes alternates that are more varied with variables. Eighty Starlight is a versatile font system, designed primarily for display uses with a need of visual impact. Variable : Thin & Italic Light & Italic ExtraLight & Italic Regular & Italic Medium & Italic SemiBold & Italic Bold & Italic ExtraBold & Italic Black & Italic Feature : Alternate Character Ligature Discretionary Ligature Multilingual Support Numeral & Puctuation etc Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help.

Introducing " We Are Allstar - Trio Playfull Fonts " We Are Allstar 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 251 of glyphs Multilingual Language PUA Encode 27 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 savy 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/ Thanks and happy designing :-)

Lattolatoo is a unique modern display font with a fun and trendy kind of street style twist. From poster designs to t-shirts and packaging, Lattolatoo will give your designs an alternative to the minimal look and supercharge your creative work. Lattolatoo is hand-drawn, having an almost handwritten appearance; the characters skip the baseline giving it a charming yet modern look and feel. Alternative All characters A to Z one alternative. To make your text look less repetitive, you can substitute the letters for something else—this makes your design look more like handwriting. Ligature Lattolatoo has standard ligatures, 7 of them in total. You can activate it through the glyph panel in Adobe applications. The binder makes a huge difference in the look of Beautiful Freak. It switches the order of two popular letters making your design look more individual. opentype Please note: Alternatives and Binders use OpenType features. Therefore, you'll need a design application to access these options—an application such as Adobe Photoshop, Illustrator, or InDesign. Included : - Uppercase glyphs only (This font is unicase) - Punctuation, Symbols, and Numbers - Alternate A-Z characters (1 character) - 7 Ligatures - Support for Central, Western, and Southeast European characters

Ready to enchant your audience and enhance your branding? Introducing Bankstory - An Elegant Handwritten Font. This font is all about Elegance, Style, Luxury, Professionalism, and Authority. With elegance and passion edged into every curve and twist of this handwritten font - you’ll be sure to reign in sales and make lasting impressions. Bankstory can be used for a variety of different content needs such as headings, logos, business cards, printed quotes, cards, packaging, resumes, and even your website or social media branding. Let the world see your ideas with Bankstory - An Elegant Handwritten Font. What you’ll get: Multilingual & Ligature Support Contextual Alternatives Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom-created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Introducing Deception—the sub-pixel typeface that’s about to blow your mind! With ten captivating effects, this font is a must-have for anyone looking to create unique and eye-catching designs. Deception Array is the perfect choice for modern architectural themes, with wide blocks reminiscent of a digital VU meter. Deception Bars gives your text a mesmerizing look, like it’s being viewed through lenticular glass. Deception Blocks approximates the heavy JPEG degradation and pixel sharpening glitch effects that are all the rage right now. Looking for something flashy and prestigious? Try Deception Diamonds with a glow effect. Deception Lines can produce a grayscale effect or banding depending on resolution and rendering type, so keep experimenting to see what works best for you. Deception Particles echoes the look of impact printers or laser-etched sell-by dates, giving your text a vintage feel. Deception Plusses radiates positivity with its energetic design. Deception Process simulates grayscale LCD text or a thermal printer on the fritz, perfect for creating a unique and edgy look. Deception Scanline duplicates the appearance of television picture tube text rendering, ideal for recreating a videogame or retro computing vibe. And if you’re feeling daring, Deception System smacks of 1-bit dithering gone completely haywire! Each style of Deception is available in Regular and Bold, with OpenType fractions, numeric ordinals, and plenty of currency symbols included. So what are you waiting for? Try out Deception today and take your designs to the next level! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introduced by Timurtype Studio! Calista Brighton is a Handwritten Script Font This font depicts a journey of typography where the art of handwriting transcends the ordinary, revealing the captivating dance of ink on paper. This beautiful font, decorated with stylish alternate ligatures, weaves a narrative of elegance and sophistication. Every stroke is a stroke of creativity, proof of the perfect blend of tradition and modernity. As your eyes trace its curves and turns, you are transported to a world where each character is a work of art, an embodiment of meticulous craftsmanship. The interplay of alternating styles provides a rhythmic rhythm, inviting the eye to linger on the page, enjoying the visual symphony of each letter. It's not just a font; it is a visual poem that whispers tales of timeless charm and unparalleled elegance, leaving an indelible mark on the design canvas." Calista Brighton Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Introducing a cute handwriting "Donkey Casting" Script Font! If you are needing a touch of casual modern calligraphy for your designs, this font was created for you! This font works best in a program that supports OpenType features such as Adobe Indesign, Adobe Illustrator CC and CS, or Adobe Photoshop CC and CS also CorelDraw Cheers!

Kinera is a display elegant serif . It seduces your eyes with its curves yet still looks serene and classy. Perfect for any kind of creativity you are about to start :). with a binder in it will add a very memorable impression to the writing you want. Note : Ligature can be active in CAPSLOCK File Included : - All Caps - Ligature

Shadow Love is a handwritten brush script font that looks and feels like it was written on a marker board. Perfect for greeting cards, invitations, and motivational quotes, this font should help you express all of your best messages! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Introducing, Blueberry & Lemonade! Blueberry & Lemonade is a casual handwritten font. For those of you who are needing a touch of chic and modernity for your designs, this font was created for you! Blueberry & Lemonade is perfect for many design needs such as merch, T-shirts, signature logo, wedding, book covers, social media posts, websites, events, and many more.

Cats is a whimsical font made up of two different sets of cat alphabets in upper and lower cases. Happy cats are pictured in a variety of poses forming the letters they represent. If you love cats, you will not want to miss having the Cats font in your collection. Includes full set of accented characters.