Flowy is a romantic and delicate type, made up of four sub-families. Brush, Script, and Condensed imitate freehand writing using different tools. In these families, you can choose the original version which embodies freehand styles, the Clean option which offers a clean-cut edge and is more suitable for corporate assignments, or Rust which changes the texture. Meanwhile, two options, Clean and Ink, come with the Sans type. The complete family has 29 individual typefaces that serve your projects every purpose.

Sometimes Rough, a new brush font with a real hand-lettered brush in solid ink. The letterforms have many personalities; sometimes strong, feminine, sometimes elegant, or manly. The modern-vintage design, flexible for a lot of needs. Create a natural typographic with this font, including 150+ alternate characters that give you more variations. Ideal for logos, merchandise, craft, poster, flyer, books, menu, packaging, advertising and more. Features: Uppercase Lowercase Numbers Symbols Accented characters Stylistic alternates Stylistic set 01-07 Contextual Alternates

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Marazion takes its name from a Cornish seaside resort in the UK's West Country. It was inspired by some hand lettering I came across at a local inn on the seafront where I was enjoying a lunchtime pint (always a good place to seek inspiration in my experience!) Being based on a hand drawn script Marazion is a smooth, fluid and rounded font that is both fresh and distinctive. Personally, I think it is well suited to applications in food and fashion, but in practice its uses are more or less universal.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

Noemí is a broad typeface based on a formally classic skeleton, but with a strong Meccano character, where its quadrangular serifs are the protagonists of the slab style. It is a typeface designed to solve the basic problems of newspaper printing, adapted to a novel and strong communication, in the case of a wide typeface and with generous ink traps making the impression. Noemí was born from the need to create a broad, functional typeface family with a strong compact character intended for use in the press. Intended for editing and layout in a newspaper / magazine with a wide range of subfamilies thought and designed to achieve a diverse graphic functionality; designed from the same common skeleton, with a style based on the mix between the Mecan characters of traditional typewriter fonts and Roman fonts.

We are pleased to announce the launch of Vástago Grotesk, a nine-weight sans serif font family, inspired by the traditional grotesque designs of the 20th century. The particular ink traps, result of the G drawing, create it a visual universe that is replicated throughout the system, generating personality and a functional distinctive in multiple contexts. Vástago Grotesk was born out of an interest in exploring the possibilities of Sans Serif font design, a process that is complemented by the advice of excellent typographers throughout the world thanks to the Type Crit Crew initiative. The design was carefully constructed, achieving functionality in different sizes, ranging from a subtle Thin to a Heavy weight that projects grandeur and character. Vástago Grotesk is a challenge come true. We hope you enjoy it.

Meccanica is pretty unique and difficult to describe, suffice to say that it’s a geometric sans typeface with some hexagonal DNA. Meccanica’s defining features include soft, chamfered edges, angular bowls and shoulders, angled/hexagonal terminals, and semi-hexagonal ink traps (in a nutshell). View the microsite for full info: http://meccanica.info Meccanica was inspired by the mechanics of engineering – the humble nut and bolt in particular – it is a versatile typeface that will give your own typography a distinctive voice. Initially designed as a display typeface (for headlines, logotype, branding and short runs of text), Meccanica also reads well as body copy – particularly at smaller point sizes. Key features: • 9 weights in Roman and Oblique • Small Caps and Alternates • Full European character set (Latin) • 640+ glyphs per font.

If you want your design to have that nostalgic typewriter effect, Not my Type would be perfect. It's old-fashioned and retro—letters are worn and grungy like it needs a new ink ribbon. Some of the letters are misaligned—just like a real old typewriter. It is best used at smaller sizes, perfect for logos, headlines, covers and any design where you want that vintage look and feel. Each letter has two alternatives, making three in total. Using the alternative letters, you can make your type layouts look more random, like a real typewriter. You can manually set the alternatives via the glyphs panel in your design software or you can enable them automatically. If you enable contextual alternatives in your design application, the letters will change automatically as you type.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Cyrillic Latin contains Cyrillic Extended and Latin.

Lovely Scream Queens is a hand brush font made with brushes and ink. This typeface is ideal for use in thick watercolor designs or in those needing a hand writing touch such as blog titles, posters, comic books, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandising and more. Lovely Scream Queens contains a full set of: Uppercase Lowercase alternative n, b, i, w, l, e Punctuation numbers multi-lingual support Lovely Scream Queens Italic works in harmony with Lovely Scream Queens Regular to create exceptional typographic creations. Get inspiration from the preview above. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

Stay Drips is an interesting, unique font in capital letters with uneven edge lines and ink drop details to give lovely, dynamic visual effects. The letters have soft brush wipes, and the ink drop details on some letter parts show a unique nuance of organic and artistic touch. The font’s unique, flexible characteristics can carry on various design styles such as formal, creative, and experimental ones. Designs with this font will express strong, amazing, unique impressions. In addition, bright and contrast colors will outstand this dynamic font that is more applicable for big text sizes to be greatly legible. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Stay Drips fits best for various design projects, such as brandings, 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.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

Valeria Script is an experimental font, calligraphy based, with attractive results. Go for Valeria Script Cola pen for more ink explosion!

Negaroa comes with an aesthetic style, and the serif-type tagline is modern and elegant. This font comes in eight thickness levels, from thin to black to suit your needs. Negaroa is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs and scripts depicted or stand firm as a title and brand representative for an elegant look. Negaroa also comes with multiple languages, making it easy to use for any country and language use. It also comes with alternative Ligatures and styles to make your designs more attractive. Negaroa is suitable for branding projects and various design purposes such as business cards, name tags, uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

A true workhorse. The only Grotesk you’ll ever need. Allrounder Grotesk is a neutral, powerful Neogrotesk member of the Allrounder superfamily. An unobtrusive teamplayer as well as an excellent soloist, this hard-working sans-serif typeface is ready for any task you’ll throw it at. A workhorse that lives up to its name, Allrounder Grotesk consists of ten weights ranging from a delicate Air to a powerful Black with 900+ glyphs per font. Each weight is accompanied by carefully hand-corrected italics. Allrounder Grotesk supports more than 200 Latin-based languages, containing the complete “LatinPlus” glyph set developed by Underware. It also provides you with plenty of OpenType features and additional goodies: small capitals, ten sets of figures, case-sensitive forms, ligatures, superiors, fractions and arrows. Equipped like this, you’ll be ready for any kind of sophisticated typesetting scenario you might encounter. With Allrounder Grotesk, you’ve got a sans that works great for body text, yet looks crisp and clean in headlines and display sizes. Whether annual reports, magazine and editorial layouts, nonfiction books, branding and packaging work, large-scale advertising, forms and contracts, or contemporary posters: Allrounder Grotesk is up for it. This multitalented font family was developed in a 2-year process by Moritz Kleinsorge. It was the first release of the Allrounder superfamily, a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Antiqua or Allrounder Monument, may be easily combined with Allrounder Grotesk. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Antiqua is the ideal complement to Allrounder Grotesk. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Antiqua to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose. In any kind of design, in any type of medium, working with Allrounder fonts is effortless. That’s why Allrounder got its name.

Say hello to South Pacific Marker , a new bold inky font with a casual handwritten feel. South Pacific includes a large selection of natural-looking ligatures and extra alternate characters ( see previews) in it's Opentype Features - make sure you have your stylistic alternates switched on to enjoy all the extras. Four handy swashes are also included in the glyphset - accessible via your glyphs panel.

Introducing Laguna Font Collection. Inspired from American motor inn signs and vintage restaurant signs in 50s-70s. Laguna comes with open type features such stylistic alternates, stylistic sets, contextual alternates & ligatures. Also available in variable font format. Laguna Font Collection is best uses for headings, Logo type, quotes, apparel design, invitations, flyer, poster, greeting cards, product packaging, book cover, printed quotes, cover album, movie, etc

Edita is a gentle typeface, humanistic in concept yet with a contemporary feel, where softness and fluidity play a very important role. This can be seen especially in its italics, which are loosely based on handwriting. This book typeface family is intended to be used in books where text is set together with photographs and other graphic elements. However, Edita is a general book typeface, versatile enough to be used in many other contexts, from novels to promotion material. Edita’s large character set, covering most languages which use Latin script, and styles give the designer the possibility to work with a big typographic palette, allowing complex typesetting with several levels of information. This is further enhanced by the two optically corrected weights Edita Small and Small Italic. They have been particularly designed for their use in very small type sizes, such as in captions and notes. They differ in having a slightly bigger x-height, heavier stems, reduced contrast, and carefully drawn ink-traps to ensure legibility at sizes as small as 5 pt. Additionally, their extenders are shorter to save space which allows text to be set with tighter leading.

NewMarker is a hand-drawn font, made with ink brush. It includes basic latin character set, numerals, currency symbols and basic punctuation.

This face was drawn on paper with a calligraphy pen and way too much ink. It's perfect for that spooky globular look.

Bowler Hand has been created from hand drawn letter forms using a Rotring ink pen which gives the font a great look.

Yoshinta Script Font Duo is a new modern script font with an irregular base line. Trendy and feminine style. Yoshinta Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolours. Including beginning and end letters, alternatives and support for many languages. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are several additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

Spadoya is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: - Uppercase - Lowercase - alternative - Ligature - Punctuation - number - multilingual support. And also Spadoya Alternates and Swash, working in tandem with Spadoya Regular to create extraordinary typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: - https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: - https://www.youtube.com/watch?v=XzwjMkbB-wQ Thank you!

This is not an historically accurate font but rather one intended capture the spirit of ancient Roman manual type. It was inspired by various patterns used in documents and books created by Latin scribes between the second and fourth centuries. They used either calamus and ink on papyrus, or a pointed metal stick on wax tablets. We have created the font for contemporary use; distinguishing between U and V, I and J, which had no meaning for ancient Latin scribes, and adding thorn, Oslash, Lslash, W, Y and common accented characters that did not exist at the time. A lot of titlings and contextual alternates complete the set. Available only in TTF and OTF format.

Galaxo Dot is a sister to Galaxo Line. HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...) From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

Bolívar is a contemporary display typeface inspired in the handwriting of one of the most prominent personalities of the Latin American 19th century: Simón Bolívar, “the liberator". The typeface intends to capture the passion of handwritten letterforms and to translate it into type. Among the characteristics that best contribute to its strong personality, are the impressive length of ascenders and descenders as well as the more than 45 degrees of slant. Bolívar mimics certain aspects of handwriting such as the slightly different baseline for each letter and ink clogs in the counters of some letters. Use Bolívar whenever you need to add passion to a piece of text, from logos or single words to sentences and captions.

Blossomed Script is a new, modern script font with an irregular base line. Since it is trendy and feminine, Blossomed Script looks beautiful in wedding invitations, thank you cards, quotes, greeting cards, logos, business cards, and more. Perfect for use in ink or watercolors. Including beginning and end letters, alternatives and support for many languages. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

This font was inspired by the “Cancellaresca moderna ” type, which was calligraphed by Francesco Periccioli (published in 1610 in Siena, Italy). It was entirely handwritten by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design. This font includes “long s” and also a lot of ligatures as “ff”, “ffi” “fij” “pp”... It can be used for web-site titles, posters and flier designs, editing ancient texts or greeting cards, or as a very decorative and elegant font. This font retains its qualities and beauty over a wide range of sizes.

Baby Basley is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: Uppercase Lowercase Alternative Ligature Punctuation Number Multilingual support. And also Baby Basley Alternates and Underlines, working in sync with Baby Basley Regular to create incredible typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

Himawari means ‘Sunflower’ in Japanese. It was raining while I worked on this font, so I needly something to cheer me up - like bright yellow sunflowers! Himawari Script is a nice and neat handmade font, which was (more or less) inspired by an older font of mine, called mama Bear and, like the font it was modeled on, was made with a bamboo pen and Chinese ink. Himawari Script comes with some swashes and a cute smiling sunflower (just enable Stylistic Alternates and hit *).

A ‘Leaden Sky’ is a dark grey sky without clouds. We don’t see too many of them here in Holland, as we usually have lots of clouds. Yesterday, however, the sky turned a sinister greyish green and it spewed out an an enormous amount of hailstones the size of walnuts. Leaden Skies is a handmade, all caps display font. I made it with a brush and Chinese ink. It comes with extensive language support and a set of alternates for the lower case glyphs.

I don’t think I’m a capricious person, but right now, due to the enormous amount of renovation work on our home, I do get bad moods quite often! Capricious is a hand painted all-caps font: I used my favourite Chinese ink, a brush and very rough paper to get the desired ‘eroded’ effect. It is quite a heavy display font, so I wouldn’t really set a text in it, but it works really well for headlines, catching titles and products that need some pepper!

The sweetest thing is handmade fresh typeface, created with brush and ink. contemporary approach to design hand-painted natural and also a combination of delicate script with an irregular baseline. Suitable for use in watercolor design or as a hand brushed bold letters. Such as Novel tittle, Apparel, Invitations, Quotes, Books tittle, Stationery Design, Branding, Logos, Greeting Card, T-shirt, Packaging design, Poster and more. Includes a complete set of uppercase and lowercase letters, as well as multi-language support, numbers, punctuation, ligatures and alternative character.

Sofia City is a decorative hand-drawn family that can be used on both formal and informal occasions. It has a dual personality: One time it looks like unfinished contours of a sans serif, and the other - like a very thin serif. The family is named after the city of Sofia - the capital of Bulgaria, and my hometown. Sofia City comes in two versions - "Pencil" and "Ink" each with full character set and true italics. Also there is a free demo version (capital letters only).

Shaking hands is quite a complicated process: do it too lightly and you appear weak, grab too hard and you’re too eager. There are also those with a ‘Guerrilla Handshake’ - grabbing your hand unexpectedly, shaking it vigorously and yanking it toward them. Guerrilla Handshake font was actually made by hand, using Chinese ink and a brush. I did use the brush vigorously, but I made sure not to shake or yank it too much! Guerrilla Handshake comes in a slightly backslanted ‘regular’ version and an italic version.

I have always loved gazing at the stars. Too bad that you don’t get to see a true starry night these days - mostly because of light pollution. Starlight Lovers is a messy serif. It is hand painted, using a brush and Chinese ink, so the edges may be a bit rough. In my opinion, this adds to the font’s character! Starlight Lovers is an ideal font for (Christmas) cards, book covers, posters and product packaging. Comes with a milky way of diacritics as well!

A page from an "ideas booklet" that was copyrighted in 1939 by the Sanford Ink Company displayed a hand lettered variation on the counter-less [or solid] alphabet that so typified the Art Deco style of the times. Bold, brash and beautiful, Upscale JNL evokes high-end department stores, fine millinery shops, cafeterias, night clubs and other business establishments from the Streamline era. This type of lettering style was a workhorse, and could (and still can) tackle any message with strength, clean lines and class.

If you ever dream about light vibe, playful, easy going, cute, has some nature touch in it and still has a good read-ability font: it's time to wake up. Florentina is here. The "ink bleed", irregular line, it looks like you write it by yourself. Not mentioning that dreamy hand-drawn bonus... LOTS OF THEM. And it is support 22 languages as well. I hope it support yours. Happy designing! BONUS vector can be downloaded from https://www.dropbox.com/sh/fwgkzcecjy8tqsu/AADi06i-Hf0R49mtT8_DPMw8a?dl=0