Maddena is a versatile lovely serif font. This font is characterized by a serif style with a luxurious style in the form of a love style, but also has a friendly and playful style in bold,Madden has glyphs to give the crafter more options in designing. This love style will make the design look more classy, elegant, unique and edgy. Maddena is a font suitable for many projects, for modern or even retro vintage designs, branding, logos, crafts, stickers, sublimation, wedding invitations, and more. This font is suitable for a variety of projects such as logos, branding, magazines, signage, fashion, and many more. what you will have: Uppercase and lowercase Numbers and punctuation Multilingual support PUA encoded fonts Alternative styles and ligatures Thank You

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Original Quality: I often see these words on various objects - from T-shirts to sprinkles and cookies. In fact, I see this term so often that I decided to name a font after it. Original Quality font is an adaptation of an older font of mine called Butterfly Ball. It is a totally different typeface, but I hope it hasn’t lost its original quality… ;-) Comes with all the diacritics you want, plus a handful of cute stylistic alternates.

I like cookies. Especially butter cookies and ginger nuts. The word cookie comes from the Dutch word ‘koekje’ - which means exactly the same. Cookie Crumble is a cute little font that I made on a rainy day. I just needed something that looked and sounded happy and I guess it applies to this font. Cookie Crumble comes with a bunch of alternates, a full set of diacritics and a bit of sunshine to chase away your rainy day.

Knip, in Dutch, means ‘cut’. You can tell by the glyphs that I made this font by cutting out the shapes from black paper, gluing it onto white paper and photographing the result so I could digitalise it! I don’t make too many cut out fonts, as it is a lot of work and it often leads to nothing. Besides that, I depend on the paper supply from my kids and they happened to have black paper this time!

I have been making some clean, connected fonts lately and when I was working on another one of these, I felt the need for something chaotic. So, Scapegoat was born. I used a round nibbed steel pen and Chinese ink and the result is quite a messy font. It may look chaotic, but as Nietzsche once said: ‘from chaos comes order’. Amen to that! Comes with double letter ligatures for the lower case and a whole lot of diacritics.

Hello! I’m SideNote Variable. I specialize in: Annotations Headings Friendly dialogue Social media marketing Looking both smart & casual I’m perfect for descriptions and explanatory text. Use me to deliver tricky information in a helpful, reassuring manner. I look friendly and relaxed but professional enough to make you look awesome. I add personality to otherwise dry information making it fun and easier to understand. I come with all sorts of useful features, like emoji, arrows, and underlines.

Introducing La Coffee Font, a sleek, cool and professional handmade font that is perfect for adding a unique touch to your branding, logos, or your instagram quotes. It includes uppercase, lowercase, numbers, symbols and with Latin extended character support, it is versatile for a variety of creative endeavors, while exuding a rustic charm. La Coffee will look great on invitations, packaging, slideshows, logos, headlines, lettering, posters, branding, inspirational quotes, headlines, magazine layouts, website designs, advertising, invitations, packaging designs, book covers and any other creative endeavour. What's Inside the Product? - Weight of the Font: Regular The Font Kit comes packed with: - Big Letters (Uppercase) - Small Letters (Lowercase) - Numbers & Symbols - Multilingual Support Here's a sneak peek at the characters supported: - All the letters from A-Z (uppercase and lowercase) - All the numbers from 0-9 - All these special characters - !"#$%&'()*+,-./:;=?@[]^_`{|}~ ¡¢£¤¥§¨©ª«­®°±²³´¶¸¹º»¿ˆˇ˜–—‘’‚‛“”„†‡•…‰‹›⁄€™− - And a range of international characters like ­á â à ä å ã æ ç é ê è ë í î ì ï ı ñ ó ô ò ö õ ø œ š ß ú û ù ü ý ÿ ž  À Ä Å Ã Æ Ç É Ê È Ë Í Î Ì Ï Ñ Ó Ô Ò Ö Õ Ø Œ Š Û Ù Ü Ý Ÿ

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 90th, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honoured as a member of the Art Director Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Say hello to Hello Arsenio font. Made with love and joy. Kids look, so it will make your design more beautiful, cute, fun, and colorful.

Macaron is a lovely, playful handcrafted typeface with inconsistency. It's designed to suit your homemade products and crafts and is also best for display purposes.

My Recipes is a sweet font duo designed with an authentic hand drawn flavour. Combine it with it's lovely graphics and get the perfect recipe!

Minnie is a clean monoline upright script. This fun-loving font is great for headline display and text use. It comes with numerous alternate characters.

Ravioli combines fun fonts that will easily turn any design idea into a stand out! Fall in love with this adorable and versatile font family!

This Grey Shadow font is create font special moment like wedding party, wedding invitation, happy party, book cover and something cute moment and lovely moment.

Grandma is a lovely hand-drawn serif font. It is perfect for greeting cards, children's books and everything that should have a handmade, kind feeling.

As as a computer programmer, it is my job to stare at screens of text all day. As soon as I learned the mechanics of font design, I boldly set out to design a typeface from my own handwriting that I could use to make my life easier. First, it had to have very distinctive numerals (trust me, it can be easy to mistake an 8 for a 3 in code), it had to have huge punctuation characters (even Perl code like '[lN*1lK[d2%Sa2/d0' looks good in Debug), and it had to be a bit friendlier than Courier (so that I don't give up hope when my code won't compile). I had so much fun designing it that I decided to give it strange lower-case 'i's and 'm's as a bonus. I also spent far too much time hinting it so that it would look as nice as possible at low resolutions.

You may think cartoon or kids product, when you take a look at Breaze - and you may be right…but I did have retro grafitti in mind, when I drew the letters. Well, actually I may have mixed both cartoon and grafitti! Anyway, it’s a playful font and is suitable for many things!

With packaging in the back of my mind I created Crema only in one specific weight. But there are 3 styles from the connected Forte to the quiet Piano. You can see Schoko the other packaging scripts I designed everywhere in the supermarkets. And I am looking forward to see Crema as well.

What excactly is a snacky plop? To be honest, I don't know!!! The name comes out of a wordplay! :) But what I know is that this font is playful, unpredictable and fun to look at and use! I have added 5 different versions of each letter, and they automatically changes as you type!

I like ‘magical’ fonts and it’s been a while since I created one, so here is Fairy Godmother. Hand made, cute and curly and full of magic!

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Rounded was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Franko Luin, Odense's designer, on this typeface: With Odense I entered the field where Optima reigns in royal majesty. The first question I received was, in fact, why I designed another Optima. Look closely: Odense has as much in common with Optima as Garamond with Baskerville. Am I right? Odense Neon is a special variant that can be used for logos or single words. I had the idea for it when I noticed that the neon tubes in a sign over a store only partially followed the characters. The name comes from the Danish town Odense, the town of the famous storyteller Hans Christian Andersen, author of, e.g., 'The Little Mermaid.' Odense is also the place where the first book in the Nordic countries was printed, the 'Breviarium Ottoniense', in 1482.

WILD WORDS! WILD WORDS! Buh-Buh-Buh-DUH-DUH! WILD WORDS! Wild Words never lose it! Wild Words never chose this way… Wild Words never close their eyes… Wild Words always sh-- I'm sorry? WILD WORDS is NOT a song by Duran Duran? Really? But I got myself the Simon Le Bon ’80s haircut and my MAD MAX outfit and everything… It’s a font from Comicraft? Now available in lower case? Well that’s good too, right? Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes! See the family related to WildWords Lower: Wild Words

Hi Font Lovers! Let me introduce you to The Fox Tail – Font Duo&Extras The Fox Tail – Font Duo&Extras is a font inspired by the retro style and fox’s tail. It has a unique and attractive design so it is suitable for logos, branding projects, product packaging, quotes, greeting cards and many more. Includes: Features: A Full Set of Lowercase and Uppercase Stylistic Alternates Character Set (A-Z) Numerals and Punctuation (OpenType Standard) Accents (Multilingual Characters) PUA Encoded Make your design look unique with retro vibes. I hope The Fox Tail could fit your project’s standard.

Introducing Flintstock A Vintage Industrial Display Font Family Flintstock is a strong, bold industrial display typeface that includes 8 Files. I created Flintstock as a work horse typeface that will work on a variety of different projects. Flintstock is a font that you can trust to continually use over and over throughout your Creative Career. It delivers a powerful simplicity, yet conveys the Vintage Industrial vibe without losing the versatility. Hustle Supply Co. has been delivering unique Design Products since 2013. Serving a community of Creatives, Designers, Marketers, Content Creators & Brands that appreciate Handcrafted & Vintage Typefaces.

What's that, bub? Looking for a whole train full of whupass? A six pack of adamantium shred? Listen, are you talking to me or chewing a brick? Either way you're gonna get all your teeth broken. And if you think that's all just Tough Talk, make your move, bub. (Our new font, ToughTalk, put the words in Wolverine's mouth in the pages of Steve Skroce's WOLVERINE: BLOOD DEBT, but don't tell the short Canadian over there, he's likely to get upset at the mere suggestion that people put words in his --) What? No, I didn't, uh, say you were -- ulp -- short...

Biffo was designed by David Marshall and produced in 1964. The alphabet in handwritten style has the character of writing done with a broad tipped pen. The figures are round and flexible, even its vertical strokes have rounded edges, softening the look of the characters. The basic forms show parallels with a pear shape: generous in the lower third and thinning out as they move upward. Biffo is a unique, lively typeface perfect for personal correpondence and for communicating spontaneity. It is best for short and middle length texts as well as headlines.

Roughcast is a kind of outside plaster, composed of cement and pebbles. It’s not the best looking plaster and it is estimated that in the UK, a roughcast outer reduces the value of a house by 5%. I am in the middle of renovating our old farm, but I won’t cover it in roughcast! Roughcast font is actually quite an attractive brush font. I made it with a brush I found hiding underneath my stove (where it had been for a while). I cleaned it and used it to make a couple of fonts, including Roughcast. Roughcast is best used for packaging, book covers and posters.

NewYorkerType was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it in, I just looked at the type and redrew it completely by hand. So it is not just a copy, but rather a redesign. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, but the best. Yours, sincerely honoring Rea Irvin a great type- and magazine-designer Gert Wiescher

A really, really long time ago, I watched a movie called ‘The China Syndrome’ (starring Jane Fonda, Jack Lemon and Michael Douglas). It was one of those disaster movies that were quite popular at the time (I also recall airports, alien viruses and skyscraper fires). Anyway, when I finished this font, I suddenly (and quite inexplicably) remembered that movie, so I named this font after it. China Syndrome is a legible brush font - ideal for your product packaging and halloween posters. Maybe use it for a metal album cover, a book about nuclear disasters or, dunno, the logo of your really strong coffee brand. Whatever. Just enjoy!

What I needed in my projects was a solid oldstyle serif typeface with impact for heads. I had an old engraving font, which I’d never really finished. It happened to be built on the Minister/Diaconia base drawings I used to create Biblia Serif, so I took a shot at it. It’s wide enough to minimize the large solid ink shapes of many of the bolder display headline faces. It’s not readable, but it’s very legible. This is exactly what I needed for headlines, callouts, and special subheads. It uses the same vertical metrics of the Biblia Serif book Production Group It helps keep fiction designs comfortable

TiedUp is a distortion of the font Ingone. I no longer remember which font distortion program or procedure I used to get this cut-up or ragged effect.

Even as a child, I was interested in letterforms. I admired my grade 4 teacher's handwriting and so Ronita is based on fuzzy memories of her elegant script.

Bright Lady is a natural handwriting that is beautifully written as a form of love for modern calligraphy. I cleaned some of the stains to make it look smoother and neater, so you can use it for the job you want. Bright Lady - including many alternative characters. Coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people who have software capable of using OpenType: Alternatives can be accessed by turning on the "Alternative Style" and "Ligature" buttons on the Photoshop Characters panel, or through any software with glyph panels, such as Adobe Illustrator, Photoshop CC, Inkscape.

Butter Sugar is an amazing typeface. It is one of the modern calligraphy script fonts that comes with very beautiful character changes. Butter Sugar consists of 2 version: Script, Sans, and extra cliparts. Butter Sugar is interesting because the typeface is pleasing to the ey e, clean, feminine, sensual, glamorous, simple, and very easy to read because there are many fancy letter connections. It has beautiful and well-balanced characters and as a result, it matches a wide pool of designs. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look! Thanks for downloading, and I hope you enjoy it!

The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!