Pelita is a sans serif family which is divided into 2 sub-families, Regular and Grande. Pelita is designed with a terminal that forms a curved angle on one side so as to give the impression of representing firmness and softness. The grande version is a modified version of the main version, but is designed more streamlined with curves and more extreme angles.

An innovative font merging the essence of schablonen lineal with modern design. Composed of carefully shaped rectangles and semi circles, this typeface encapsulates geometric precision and contemporary aesthetics. "ND Form" breathes life into your creations, infusing each character with a fusion of structure and creativity. Elevate your projects with the sleek, distinctive allure of "ND Form," where geometry meets artistic expression.

Introducing Cosmic Miles: A Captivating Handwritten Font for Inspiring Quotes. Elevate your designs to new celestial heights with Cosmic Miles, a stunning handwritten font designed specifically to breathe life into your favorite quotes. With its unique blend of thick and rounded strokes, this font encapsulates a sense of warmth and charm, adding a touch of cosmic magic to any project.

The Tanseek™ Sans family provides interactive and print designers with a suite of powerful and versatile communication tools. Square shoulders, open counters and distinctive character shapes also ensure high levels of legibility. Designed by Dave Farey and Richard Dawson, the lower case has a subtle calligraphic emphasis, creating an inviting rhythm and typographic flow when letters combine into words and sentences.

Tale is an experiment to convert the script-style calligraphy into bitmap format. The two variants have the same dimensions, but (as the naming suggests), Forty has double amount of pixels in it when compared to Twenty. Both variants have hand made bitmaps to compliment these correlating point sizes, and you can always get the appropriate bitmaps by multiplying by two.

Raeling is a display font inspired by a visit to Luxembourg, capturing shadows falling intricately from park railings appearing as broken-script lettering. A mixture of manmade / natural, traditional / new, ugly / beautiful reflecting the paradox and contradictions of the city. A single curve and stroke developed into a grid block from which characters emerged and broke free of their barriers and conformity.

There’s just nothing quite like a heavyweight geometric typestyle with tiny counters, you just love it like the Bee Gees. Sackem started as a digitization of a singular film typeface called Benman Jumbo by Lettergraphics. From there, this mechanical typeface was expanded into a giant family of playful widths and obliques: from the condensed “Slim” style to the original “Jumbo” style.

Mileadila is a sweet and simple display font that is perfect for adding a romantic charm to your next Valentine's day project and that will turn any design project into a true standout. We also made many stunning clip-art which is packed in extras, so you can create many designs for your projects. Get inspired by Mileadila's unique look for your valentine.

The Lined font started out with some scribbles - playing with lines and making shapes fold, underlap and overlap, eventually evolving into letters. This is a display/ornamental font and it was made in 2009, it's meant for decorative use and not in large bodies of text. For example it does well used as a headline font. It is proportionally spaced and uppercase only.

Prince Frog started out as an attempt to 'pimp' Rabbit On The Moon font. It quickly evolved into an entirely different typeface with just a hint of 'Rabbit' in it. Prince Frog is a very happy, very legible font and would be ideal for children's book covers, posters and packaging. It comes with enough diacritics to keep even the most spoiled princess happy.

Introducing Ameda: A modern, stylish sans-serif font with high contrast that radiates sophistication. Elevate your designs with Ameda's attention-grabbing style, infusing an exhilarating flair into your creative projects. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Based around the Australian boomerang, Greg Bastin’s design originally appeared on private Christmas cards and individual projects. It was formalized into a font in 2002 by David Philpott (JY Circles) and brings a quirky antipodean style to the JY&A Fonts range. This display family is available in Solid and Outline forms, the latter containing patterns that parody those of Aboriginal culture.

Lafisken Signature is a typeface with personality. You can use it as a logo, badge, insignia, packaging, headline, poster, etc The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Stylistic Sets, and Ligature. The OpenType features can be accessed by using OpenType program such as Adobe Illustrator, Adobe Photoshop, and Adobe InDesign. Thank you!

The Pictographs MT font was contains over 700 emoji icons (emoticons). These symbols, pictures and images cover a range of expressions and uses. Emoji were very popularized in Japan and have become widely adopted and integrated into the Unicode specification. The Pictographs MT font was created to support messaging applications, and to give designers and developers a robust set of emoticons.

Bomberg Display Serif Font Immerse yourself in the world of art and typography with Bomberg Serif Font by iframe type foundry. Inspired by the legendary David Bomberg's iconic painting, "The Mud Bath." Just as Bomberg's brush strokes conveyed raw emotion and creativity, our font captures that very essence in each meticulously crafted letterform. With Bomberg Serif Font, your designs transcend the ordinary, taking on a unique and expressive character. Like the vivid colors of "The Mud Bath," our font injects vibrancy and depth into your projects. Whether you're a designer seeking to infuse artistic flair or an artist searching for the perfect typographic medium, this font lets you channel the spirit of Bomberg's masterpiece into your work. Unleash your creativity, tell your story, and make your designs a work of art with Bomberg Serif Font. Explore the intersection of artistry and typography today! Design by iframefonts.com

Siren Script takes its cue from BB&S's Stationers Semiscript (metal, 1899) and its countless imitations/inspirations from throughout the 20th century, particularly a variety of uncredited film faces from the 1960s. What makes this kind of script stand out in the genre is its mixing of flourished majuscules with mostly subdued, traditional minuscules. The result is a balance between formal and informal lettering, as if the letterer is applying his or her learned art without going into full-throttle calligraphy. The message is clearly and gracefully delivered, and the artistic endeavor is fully appreciated without causing coronaries. The Siren Script family comes in four full fonts, and a fifth one that contains alternates, ending letters, and some ligatures. Siren Script Pro combines all five fonts into a single one of over 880 characters, which includes programming for push-button stylistic alternates, class-based kerning, and other glyph palette conveniences.

At first glance, Pistol Shot looks like it was originally drawn as a large, geometric slab serif font - a slab serif font that underwent an unfortunate accident, and had many of its extremities shot off! However, there is more to Pistol Shot's appearance than looking as if it had survived a showdown. Pistol Shot also looks vaguely like a pixel font viewed through a blurry filter. It also looks like it could have been cross-stitched into a craft project. Whatever its appearance, Pistol Shot Light and Pistol Shot Normal are perfect headline fonts for a wide variety of display applications. You might even want to try cross-stitching its letters into fabric yourself! Both weights of the Pistol Shot family were designed by the French design team of Roselyne and Michel Besnard in 2002, and are included in the Take Type 5 collection from Linotype GmbH."

Eskorte is a diligently designed Latin type family with an uncomplicated, engaging poise that conveys a crisp, businesslike tone. Its precise range of styles looks to no-nonsense efficiency and ease of use by non-designers in the office and text-intensive professional environments. Eskorte supports over ninety languages in a full range of weights, with both upright and matching italics. The italics are lively, fluid forms that infuse their charms into text settings or take on their own personality in large, dominant headlines. In concert with the hardworking upright styles, the two fit smartly into a range of publications, from corporate to casual. All of the weights and styles offer an adept set of features like small caps, case-sensitive punctuation, and both tabular and proportional figures to make short work of any typographic task. Whether employed in enterprise reports, lifestyle publications, or identity work, Eskorte is ready for business.

The upper-case letters of Lentzers fit into the shape of a convex lens and the lower-case letters fit into the shape of a concave lens. The typeface was designed to have concave shapes alternate with convex shapes so the letters snuggle together. The OpenType contextual alternatives (calt) feature will automatically make this happen if your word processor supports it. (To get only concave or convex shapes, one must turn off the contextual alternatives feature. With only concave shapes the spaces between letters form thin convex lenses and with only convex shapes the spaces between letters form thin concave lenses. The name of the family was inspired by these lens shapes and also by the name of distant ancestors.) Lentzers is caps only. It comes in three weights: light, regular, and bold. It is eye-catching for posters and titles and poorly suited for text.

Nami, the Japanese word for wave," is the latest collaboration between Adrian Frutiger and Linotype's Type Director, Akira Kobayashi. This typeface family is the most humanistic sans serif design ever to come from Adrian Frutiger, and it has an interesting twist: lapidar alternates that may be surfed through with the help of OpenType-savy applications. Adrian Frutiger began the design that would blossom into Nami during the 1980s. Although it would not be produced during the 20th century, it was quite forward thinking. The typeface included several seemingly avant garde alternates; these were "lapidary" versions of common letterforms. Revisiting the project in 2006, Akira Kobayashi reworked the concept into a working family of three typefaces. Each font contains 483 glyphs, including 11 alternates-two extra forms of the lowercase g, as well as new forms for a, e, h, l, m, n, r, t, and u."

Filistique is gracious, flexible, and stylish. In the first sketches of this typeface, the one-line drawing principle was the rule. This principal had to perish soon when more complex characters came up. But still the one-line rule was kept in tradition to maintain the behavior of the natural course of the drawing line. Once writing, the characters joined fluidly into words and slipped easily into sentences like they had always belonged there. They have these natural features maybe somewhat familiar on the first sight. Filistique approaches handwriting but likes to be straight up as well. Please, no Christmas card writing with this character! She is best in shape for finger licking good menus of classy restaurants, lyrics on an album cover of a renowned and utterly cool artist, for a letter to your precious loved one and of course for making a hell of an impression anyway!

Papillon Script is an eloquent pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, headline, brochure, model for a neon sign or any display use like that. Papillon Script is completely monolinear and it gives a clear but vivid impression of a hand writing style. Papillon Script is equipped with following OpenType features: • Standard Ligatures is automatically on and it adds variation and smoothness to typing. If a same letter repeats in the same word the latter will automatically change to an alternative version. • Contextual Alternates is an optional feature that cuts the connection between letters every once in awhile. • Titling Alternates changes the last character in every word into an ending Swash alternative. • From Stylistic Set 1 you’ll find a set of 34 ornaments, strokes and arrows. • Small Caps turns lowercase into a set of legible capital letters.

Introducing Sebale – Handwritten Script A Playful Handwritten Script Sebale, a font brimming with delightful whimsy, injects a playful touch into your designs. Charming Whimsy Sebale’s design is not only handwritten but also exudes charming whimsy, making it an ideal choice for a variety of creative projects. Versatile for Creative Endeavors Moving beyond its charm, Sebale’s versatility shines through, allowing it to seamlessly enhance a wide range of design projects. From greeting cards to branding, it offers a wide array of possibilities. Engaging and Memorable Sebale ensures that your content is not only engaging but also incredibly memorable, leaving a lasting and delightful impression. In Conclusion To sum it up, Sebale – Handwritten Script is the font that effortlessly infuses a delightful playfulness into your designs. Its versatility makes it suitable for a broad range of creative endeavors, ensuring accessibility to a diverse readership. With Sebale, your projects will undoubtedly stand out.

Introducing Pauline Didone Variable, a flawless blend of Art Deco elegance and contemporary script. Inheriting a splash of femininity from its lineage, Pauline, it’s the perfect choice for eye-catching logos, standout headings, and memorable snippets of copy. Dive into a 10-font family arsenal, complete with 5 distinct weights, italics, and a treasure trove of OpenType alternates. Reflecting the allure of retro scripts, its geometric silhouette, paired with bold brush contrasts, commands attention. Pauline Didone’s contemporary high-contrast design ensures your artwork isn’t just in Kansas anymore but in the vibrant world of modern design. Enhance your projects with over 150 alternate characters, including a set of whimsical ball terminals reminiscent of Toto's playful spirit. Access these Oz-inspired elements with advanced software like the Adobe Suite or Quark. Step into a realm of enchantment with Pauline Didone and let your designs shine like the Emerald City.

TG Glifko is a new contemporary sans-serif grotesque typeface with a combination of large and small aperture, make Glifko feel quirky, dynamic, and unusual. TG Glifko works excellent for display applications and still looks gorgeous in small size. It comes in seven different weights, from ultra-light to extra black, and matches with italic. They also supported various OpenType features, like stylistic alternates, case-sensitive forms, numerators, denominators, superscripts, subscripts, fraction, and multilingual support, coverage more than 200 languages. We are pleased to see our typefaces used by many people. If you are one of them who use our typefaces in your project, feel free to send some in-use sample images to us at info@tegamitype.com. We may upload them on our social media and our website www.tegamitype.com If you have any question or concerns regarding our products, please send us an email at info@tegamitype.com

CA Oskar came into being as a custom typeface for the international Traumzeit music festival. As a substantial part of the new corporate identity, it had to be characteristic, but also flexible in use. Starting with the design of compressed caps for headlines, the typeface was soon expanded by a condensed weight for setting of text and further developed into a fully functional font with two widths and two weights. Both weights are very space-efficient, which was -- apart from aesthetic considerations -- an important issue in the process of the design. CA Oskar is a mixture of industrial harshness and friendly round forms, reflecting the spirit of fusion, which is basically what the whole festival is about. Its very slim proportions in two widths make it an attractive alternative to fonts like Alternate Gothic, but CA Oskar adds an extra portion of personality and a coherent choice of weights.

James Paul is a versatile display font based on the designer's handwriting. The letterforms are legible even at small sizes. When set bigger, this bold script reveals hairline ink trails that add rhythm to its lively forms. James Paul contains alternate glyphs and ligatures.

Lunema is a highly stylized contemporary neo-grotesque sans serif typeface with strong geometric contrasts. The font to be highly legible in smaller point sizes due to the distinct deep ink traps. All 10 weights have an extended Latin glyph set with alternatives and ligatures.

A classic example of Art Deco lettering made with a round nib ink pen was found within the pages of “Lettering” by Harry B. Wright (circa 1950). Now available as a digital type font, Pen Moderne JNL is available in both regular and oblique versions.

Crimson Skyline is a thin brush font. I used a pencil and Chinese ink to paint the letters. Crimson Skyline comes with double letter ligatures for the lower case letters. And the name? Well, it just has a nice ring to it. That’s all!

Zesty Lime is a condensed typeface, hand made with a small brush and China ink. Zesty would look good on book covers, posters and packaging - but I guess you're not limited to those three options. Just enjoy! Comes with a generous squeeze of diacritics.

Bad Medicine is a rough Western slab serif font. It was made with a brush and China ink. Bad Medicine is quite a beefy typeface, so use it for your posters, product packaging and book covers! Comes with a herd of diacritics as well.

This new brushy script screams Summer! Make any layout look refreshing with Contigo Vintage. Designed with pointed brush and indian ink, this script has a lot of contrast thanks to 'pressure and release' technique. Perfect for food and restauration industry, packaging, illustration, greeting cards...

Huai and Huai Thai marks the first professional typeface release by Potch Auacherdkul and represents the culmination of research into the duality of influences between handwritten, vernacular Thai lettering and Latin typefaces. The result is a warm, expressive typeface that doesn’t abandon the human hands and the language that produced them. With Thai script, there are two different terminal styles—the Loop terminal style, associated with the original forms of Thai glyphs; and the Loopless, which has evolved to best coordinate with Latin sans serif typefaces. In recent years, this Thai Loopless style has continued to influence and even change to become ‘more Latin.’ One would go so far as to define these heavily Latin-influenced typefaces as Thai Latinized. This curiosity with shifting influences, turns the idea around and explores what would happen if the vernacular Thai scripts actually influenced their Latin counterparts instead. An Inversion of Thai Latinized is the result. The street signs of Bangkok, local vernacular writing, quick, fluid strokes… these influences form the DNA behind the Huai Thai typeface. Refining and systematizing those natural, handwritten strokes into a Thai typeface and then using those solutions to serve as the pioneer proportions behind the development of its Latin script companion was the product. Huai adopted the essence of these Thai glyphs into the Latin and uniquely embraced the contemporary writing system (and soul) of the Thai people in its letterforms.

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.