Global Street is a bold font with playful & cartoonish looks. This type of font perfectly made to be applied especially in cartoon or child theme which is need a standout font, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Reguler, inline & extrude version Upercase & lowercase Numbers and punctuation Multilingual Ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Whisky is a blackletter font family with a casual touch that makes it look friendly and current. The stroke varies its thickness and angle endings making it form very dynamic bodies of text. Whisky Italics are the corresponding versions to the original Whisky fonts made to complement the family with a new style. Like the original Whisky family Whisky Italics includes seven weights, each with a fill and a inline version that allow you to develope more colorful applications overlaping them as layers. Also by using Open Type features you can access to an extended set of characters wich contains swashes and alternative endings to make more playful compositions.

Arthur Baker's display script Sassafras, designed in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen. Black and white are nicely balanced, giving this calligraphic face a remarkably smooth appearance. The regular and italic versions of Sassafras include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. In both, the ascenders increase in width as they move upward, while the descenders taper to a fine point. This variety of form makes Sassafras a very flexible choice for display work.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

LiebeKlara is LiebeFonts’ most delicious gourmet creation yet. The mouth-watering look of savory swashes and the fine aroma of masterfully sprinkled contextual alternates will make everyone happy—your spouse, family, and friends. LiebeKlara is festive enough to sit on wedding menus, but still warm enough to give everyday dinner invitations the personal flavor they deserve. LiebeKlara likes company—for example when her girlfriend LiebeErika comes over and they have some LiebeOrnaments with their LiebeMenu. LiebeKlara also likes travelling! She speaks most Western languages fluently and with a cute accent. Try it for yourself—LiebeKlara is calorie-free but (or because) she is very delicate. We hope you like her as much as we do! Bon appétit! LiebeKlara comes with a tasty variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 580 carefully hand-crafted glyphs—so it’s more like two or three fonts in one.

Austina Capitton is our new modern, clean, and stylish monoline signature font and was created to look as a naturally handwritten as possible. Built with unique style in OpenType features, this script comes to life as if you are writing it yourself. This font is very suitable to be used to brand a product because if you write a brand name it will look like your company signature. Austina Capitton is perfect for photographers, bloggers, trademarks, magazines, fashion, logos, business cards and much more. There are two styles in this font package, they are Alt and Regular. You can use Regular style if you like the curve of the font or you can use Alt style if you like simple and minimal ones. It's highly recommended to use it in OpenType capable software - like a Coreldraw, Photoshop, Illustrator and Indesign. This font come with Uppercase, Lowercase, Numbers, Punctuation and swash. It offers Multilingual Support, works on Mac and Windows OS and is easy to install. Enjoy!

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more reductionist appearance. Strict attention was given to the cohesiveness and balance between letterforms as well as the careful refinement of all curves. Stylistically, Vanitas’ alluring, sophisticated sensibility is directly inspired by high fashion. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Vanitas’ sharp characteristic through each style. Features include: Precision kerning Standard Ligatures set including ‘f’ ligatures (fb, ff, fh, fi, fj, fk, fl ffb, ffh, ffi, ffj, ffk, ffl, ffy, ae, oe, AE, OE) Discretionary Ligatures set including (st, ct, No) Alternate characters (H, A, AE, Q, $, h circumflex, ¶ and numero sign) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Tabular Lining, Proportional Lining, Tabular Oldstyle and Proportional Oldstyle Figures Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

An upright futuristic double lined font, steady as hell!

A very thin light line gothic, great headline face.

In much the same way that the leading character in Scott McCloud's first full-length graphic novel has given his life to art, Comicraft's John 'JG' Roshell has given HIS life to sculpt a unique font to suit it. Well, not his LIFE, but at least a couple of days. However, unlike the eponymous hero of THE SCULPTOR, you don't have to make a deal with Death to get your own copy of The Sculptor font! You too can letter anything with your bare hands! And a keyboard. And a computer. And some operating programs and software, obvs. Because creating anything is always going to be harder than you think, especially when you have only 200 days to live. Not you, The Sculptor. In all good bookstores now!

M Kai is a design inspired by the popular Kaiti developed in contemporary China. MKai adopts many features of Kaishu, one of the many Chinese writing scripts and calligraphic style. Yet writing style and constructions have been well-unified to meet quality as typeface. Its strokes has relatively heavier stroke beginning and finishing, as well as thinner middle part. It is catered for fine print with little conglutination. Its medium weight makes it more visible at distance and pretty versatile in use. Zhonggong are tightly built with ample character spacing for good individual character recognition. It is best suited for formal body text, set upright (non-slanted), non-condensed.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

French designer Christophe Badani developed the Linotype Rough family in 1999. The family contains nine different typeface styles, each with a slightly different voice. The forms appear to have found a unique middle ground between hand-drawn letters and pure geometry, especially Linotype Rough Outline. Make sure to pay special notice to the true-italic forms in the three italic weights! Badani's attention to typographic detail is not to be missed. Linotype Rough is perfect for headlines and display work. The medium and bold weights can also function splendidly in text. The entire family is included in the TakeType 4 collection, available through Linotype."

Slab-like sibling Why stop at sans? Rather than leave FS Silas Sans as an only child, the team wanted to extend the family, and create a complete system for brands and editorial. Unsure what the result would be, the team started experimenting with a slab serif version. ‘We didn’t know how it would turn out, but we really liked it and wanted to take it further. A fresh angle ‘We stuck with the angular theme of the sans by drawing angled slab serifs,’ says Phil Garnham, ‘as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.’ These crafted touches include details such as the angled ascenders on the ‘i’ and ‘l’, while characters such as the ‘y’, with its abruptly-ending descender, add a mark of distinction. A perfect pair Silas Slab, like its sibling, offers a clear-cut range of five weights, from the elegant Thin to the monumental ExtraBold. Put it together with Silas Sans and you have the full complement, capable of performing the full range of tasks, above the line and below, in headlines, body copy and logotypes, B2B and B2C. Keep them together; they don’t like it when they’re apart.

HK Kelie is a light to medium-contrast typeface with swashy, medium bracketed serifs, and terminals in the appropriate places, as well as bracketed junctions in various letterforms. The main feature of the typeface is the disconnection between the bowls and the stems. However, the bowl is very close to the stem, creating the illusion of connection. HK Kelie is calm, attractive, and legible — but above all, it is sophisticated.

Are you in search of Ancient Astronauts? Extraterrestrial beings who came from the 12th planet to influence human cultures, technologies and religions? They're here! They visited our Earth prehistorically and they didn't just make contact with humans -- they gave birth to our entire race! Some believe they are a secret group of reptiloids who still control humanity! Their agents live amongst us disguised as George W. Bush, Queen Elizabeth II, Kris Kristofferson and Lady Gaga. It's true, we read it in Weekly World News. These ancient aliens established divine status over primitive men and compelled them to build Stonehenge, Pumapunku, the Moai of Easter Island, the Great Pyramid of Giza, and the ancient Baghdad electric batteries. After all, if you're stuck on Earth, you may as well have some big heads to look at and a source of power to jump start your flying saucer. And a font. Features: Three fonts (Regular, Bold & Alien) with alternate characters.

Minnak, as a whole geometric display type is our take on Square Kufic (Makili) style Latin script fonts, comes in eleven weights with linear progression. It is an Uniwidth typeface at the core. From Hairline to Black, all multiplexed weights take up the same space in width and can be used interchangeably. Supports wide range of Open Type features, with many stylistic alternates in 12 context. Minnak is also have a close relation with pixel fonts, because in spite of its based on Makili forms, it all started as a pixel font in the drawing stage before further steps came into play. The key difference between Minnak and Makili style is that the latter must have the exact square counters with no diagonal strokes, and any other components of a letterform must conform to be proportional. Such style-specific requirements determine the overall dimensions of the glyphs and therefore, there can be only minor differences between the typefaces. In Minnak, counters are rectangular because of its narrow and condensed proportions, but the Makili form influence is still manifest. This impression is best confirmed with Medium weight where negative spaces and stem thickness are equal. Contrast and virtually no optical correction were presented, as characteristic of its genre had to have equal horizontal and vertical line thicknesses. As per the minimal and authentic look of the type, all glyphs are drawn as straight or only as 45-degree diagonal strokes. The representation of the ‘diagonalless’ approach is preserved by stylistic alternatives, making its similarity in visual aesthetics clearly visible. Marks and punctuation is another feature that doesn’t follow the strict rules of the origin style. Although not a pixel font, all building parts of the glyphs in Minnak share the same unit precision as they are designed with pixel equivalents in mind. Even space characters are designed to match glyph widths, meeting the demands of certain typesetting or multi-line lettering compositions. With its Pseudo Ancient and Runic alternates, extention parts and ornaments included in all weights, Minnak is suitable for branding, logo and monogram designs, the screen titles and headlines, packaging, posters, book covers and more, where it shines at big sizes. Its pixel font-like appearance makes it a significant choice for the modern compositions. Thanks to mostly uniform width design, it is possible to use Minnak also as a system for lettering. This feature can be used as vertical fitting of the letters between the lines. As a casual expression in Turkish, “Minnak” is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series — representing Seljuk period in the medieval Anatolia and their tradition of architectural stone ornamentation.

Westiva is a serif font family with an elegant and classy look. Each Westiva glyph font is designed with natural and beautiful curves. Westiva Typography can help you complete various projects such as luxury brand logos, journals, business cards, titles, products, social media posts, web and much more. If you're involved in a project that requires beautiful and professional writing, the Westiva font is perfect to help you get it done. Westiva fonts feature opentype, kerning, ligatures and alternates packed in 4 fonts: Light, Regular, Medium and Bold. Westiva fonts include uppercase letters, lowercase letters, numeral, punctuation and multilingual support.

Patriotica JNL was inspired by some hand lettering designed by the late Alf Becker for Signs of the Times® magazine. The alphabet was modified and the character set extended in this digital version. Special thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum in Cincinnati for providing a copy of the original lettering for use as a work model. Patriotica JNL is available as a complete font or in a set of two layers (stars layer and stripes layer) for creating two-color graphics. As always, keep in mind that there are some slight variations between drawing programs, so some adjustments may need to be made in the alignment of the layers.

Tebel Sans is a modern, ultra-bold sans-serif font perfect for all kinds of designs. With nine different thickness variations and two different typefaces (regular and italic), this font is the ideal choice for your designs. Its unique thickness makes your design look like a bold and elegant title. It is also a practical body text, with a large selection of different font families available in Opentype features such as multilingual ligature. Alternative fonts make it even more attractive and valuable for various graphic designs. Tebel Sans has a uniqueness that makes your designs look more powerful and modern. Languages Support :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

Another boring sans?! No way! Rawer - simple, strong, raw, robust sans with stencil and inline weights. And again it’s inspired by soviet typography.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

Bango Pro is a lively, heavyweight font with a strong cartoon feel, perfect for poster design, packaging, and anything that needs to draw attention - in an informal way. Originally released with uppercase and unicase characters only, this new version (commissioned in 2013 by a London-based design agency) includes lowercase characters and some additional OpenType features, like stylistic alternates, fractions, localized forms, among others.

Agafia handwriting script is based on the hand of Agafia Karpovna Lykova - the last member of the Old Believer family lived like an hermit in the Khakass taiga. The face is developed for the new book on the history of Lykov's family by Lev Cherepanov. It's built in OpenType format with a contextual substitution of letterforms and specific ligatures. Designer - Gennady Fridman. Released by ParaType in 2009.

Magedon Font is a cool alternative for you to easily create a logo for your Underground band or whatever. Using alternate front and ending letters brings the font to life, It comes with a basic character set and a small group of symbols and signs often used in the extreme music sector – the classics of Death- and Blackmetal like pentagram drops, roots, spikes and more.

To blend a handwritten style with a graphical aesthetic, Monotype designers paid attention to the balance between the two, hence harmoniously combine their qualities like a mix of tradition and modern. M Felt Pen references the unified stroke thickness and rounded terminals of rounded Heiti typefaces, imitating the fluidity of marker writing. The linked strokes are vivid and suggest the presence of the human hand.