Need help with your design? Expect nothing but brilliance for your design. It's a perfect way to maximize your productivity and enjoy the comfort of designing process at its best. Meet Rallocate, a wonderful script font that looks like signature, with beautifully contrasting thick and thin strokes. Each letter looks neat and carries some elegance. This font will look equally good in the header or smaller text. In addition, it has more fascinating features to create your amazing design. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuations PUA Encoded It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Here comes Rambuk! (Well ... it's Danish for rambuck) Rambuk is not a silent font! It’s big and noisy! The font is designed to be used in magazines, as an expressive poster font, for book covers, logotypes and much more! This font is bold, and it fits your style! The font is also handy when it comes to having big letters to fill with art or pictures. Rambuk comes with specific numerals for its small and big letter as well as carefully designed superior and inferior numerals. Make your design count — knock in some doors!

What really suits your design? The answer is here. It’s the ultimate way to be you. Crofello Delight-with the combination between cute script and gorgeous display font style you can mix, match, and call your own. This harmonious font duo supporting and advocating each other to make awesome result in your design. Features: Ligatures Stylistic Sets Swashes Lower and uppercases Numerals and Punctuations It is perfectly used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Noland, A new carefully crafted Variable Geometric Typeface. The Ideas of this fonts are from retro poster, music, movie poster, theater, science fiction from the 70s and early 80s. Adding the elements from the reference above to be represented as Noland. It’s Versatile, Fun, Sharp and Retro-ish feel that you get in Noland Typefaces. Noland Available with 3 Weights: Regular, Semibold and Bold. Also Available in Variable, so the weights are more flexible between Regular and Bold. Just Play with slider weight. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, Magazine, Packaging, and etc. It shows that Noland clearly can accommodate Retro Vintage style.

Hand-made slab serif. It’s cute, it’s versatile. It has a decorated version called Quijiboquail and a non-decorated version just called Quijibo. Each comes in three weights, plus italic. Each has 3,000+ kerning pairs. Go to http://facebook.com/frostfoundry to share this and see more!

Thornback is a hand-drawn font that uses quick, scribbled strokes to create it's slightly messy sans-serif characters. The detailed letters make it a good choice for headlines but it's also bold enough to add a homemade touch to smaller text blocks while keeping things legible.

Bigstorm is a unique hand made font that will capture the attention at glance. This font is perfect to be used as signature, headline, lettering quotes, wedding invitation, fashion, etc. It also comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual.

Lumier Texture is font family targeting designers who work with packages, labels, posters - who are looking for characteristic and striking letters. It's textured version of Lumier font family and as that, it's compatible with Lumier Bold. It is adviced to be used as desktop font only.

Palamecia is a typeface that embodies the very essence of organic design. It is a testament to the power of the creative process, one that is imbued with the spirit of experimentation and the thirst for innovation. Its unique appearance, at first glance reminiscent of a cartoon typeface, is just the beginning of what sets it apart from the competition. Palamecia was designed with a specific purpose in mind—to withstand the rigors of scaling and blurring on a variety of user interface devices. The creators of Palamecia recognized that the legibility of typefaces can be compromised by the impact of pixel scaling, and they set out to design a typeface that would not only overcome this challenge but also thrive in its wake. What makes Palamecia truly exceptional is its design process. Unlike many other typefaces, Palamecia’s designs were not born from pen strokes, but rather from cut-out silhouettes that were meticulously chiseled and chipped away. This unique approach allowed the designers to create a typeface that is both rugged and refined, with a natural aesthetic that seamlessly blends into any interface. The end result is a typeface that is both durable and versatile. Palamecia’s unique design allows it to pierce through any type of display, regardless of resolution, making it an ideal choice for designers and developers who are looking for a typeface that can deliver the goods under any circumstances. In conclusion, Palamecia is a triumph of organic design, a typeface that is as beautiful as it is functional. Its rugged yet refined aesthetic and its ability to withstand the rigors of scaling and blurring make it a must-have for any designer or developer who values both form and function. So why wait? Try Palamecia today and experience the power of organic design for yourself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Erdo Davina This font is very suitable to be applied in various aspects of design, and your branding. Also, it’s perfect for logos, branding, title, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special event, magazine, web designs, etc.

Hello guys... We proud presenting our new font. It's name THREEFONTE. THREEFONTE is cute and unique stacked font. THREEFONTE would perfect for kids poster, t shirt, flyer, cover children book, cartoon, comic , cristmast invitation, greting card, valentine card, new year party and etc.

Welcome to: Hello Melky - a Kids Display Font It's smooth, it's funny, it's fun, and it's very nice: it's Hello Melky - a Kids Display Font Mixed fonts with many possible combinations. Everything is made with the same brush, and everything is the same size as Hello Melky, so you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs.

Mang is an 11 point (or 22 pt or 44 pt etc.) bitmap font that was originally designed for a poetry piece in Born Magazine. It is slightly quirky but works well as a text face. You can use it for screen resolution or print designs as it includes outlines.

Mister Hand was created in 1998 from a found object. Chank scanned it in, cleaned it up a little and voila! It's a retro version of the American Sign Language finger spelling alphabet. Uppercase is only the hand shapes, lowercase has the hand shape with the corresponding letter beside it.

Poly is a serif typeface inspired by vintage travel guides keeping the naïf style typical of those publications. It has spiky serifs and a retro style. It will shine in headlines and packaging, for example, but it’s versatile. It can bring a lot of personality to brands and warmth to communication.

Wofferine is a Serif Handwritten Font with Playfull touch. it offers support of English Language. Standard punctuation glyphs are included and multilingual support also. Great for crafters and graphics artist alike. Compatible with all opration system. its playfulness make it great for creative projects, be inspirational wall posters, logo, brand etc.

Bosque is a typeface designed by Paula Nazal and Daniel Hernandez. It belongs to handmade style, it's rough and raw with soft edges. It has 6 variants: Normal, Wood, Shadow, Wood Shadow, Dingbats y Shadow One, this gives great versatility. It possess a wide set of characters, ligatures and some alternates.

Welcome to the winter wonderland of typography, where the letters are as crisp and chilly as the winter breeze! Introducing Snowa, the perfect typeface for your holiday projects. Whether you’re designing a greeting card, creating an advertisement for a winter resort, or simply adding some frosty flair to your designs, Snowa is the perfect choice. With its snow-capped letterforms, Snowa captures the essence of the winter season. The elegant curves of each letter are topped with a layer of shimmering snow, making your text stand out like a snowflake in a blizzard. It’s perfect for creating a festive and inviting atmosphere for your audience. But that’s not all—Snowa comes with a snowless version as well as independent layers for constructing your own layered snow effects. You can customize your designs to suit your needs and create the perfect snowy effect. Whether you want a light dusting of snow or a heavy blizzard, Snowa has you covered. So don’t let your designs be as dull as a snowless winter day. Add some winter magic with Snowa. Let the snowy letters create a wonderland of typography, and let your imagination take you to a winter wonderland of your own. With Snowa, your designs will be as cool as ice and as dazzling as freshly fallen snow. Happy Holidays! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Stone Orbit – a very cool font for those looking to make a bold statement. This rough tough brush font is sure to give your project an edge! It's carefree and packed with attitude. Its unique letter forms create an interesting texture that stands out from other fonts, making it ideal for posters and logos. It's versatile enough to fit any style — whether it's grunge, urban, or old school! Stone Orbit font includes : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations works on PC & Mac Thank You and Happy Designing!

Hushy is a Rounded Bold and modern display typeface featuring characters that stand out from every background. It has multilingual language, it useful for your a cool and coolest project up next. Suitable for logos, posters, packaging, branding, cool invitations, etc.

Come on... You want Jiminy, don’t you? It’s FUN! And carefree! It will turn any project into something enjoyable. You really must have it! But don’t just listen to me, Mr. Cat and Mr. Fox. Let your conscience be your guide...

Wapstina Love is a modern duo font that combines stylish calligraphy with a classic serif font. It comes with one-of-a-kind ligature, making it an ideal font for your blog, logo, social media, branding, poster, quotes, wedding cards etc.

Camelleon is a monoline handwritten font. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile. Camelleon will look outstanding in any context, whether it’s being used on busy backgrounds or as a standalone headline!

Sugar Joint is a simple and legible sans serif font. It has a loose and easy look, which makes it very suitable for children's books or toys, candy labels, cereal, or perhaps even labels for organic products. It's 100% handmade!

Enjoy Fertigo Pro. The font nobody was waiting for. It’s a bit like Laphroaig; they say that the more you’ll get to know it, the more you will (probably) appreciate it. Don't forget to have a look at the script version.

Defect Scam could easily have been a name for a punk band. But it's not - it's the name of my stencil wannabe font. But, it was inspired by a combination of some punkband's LP cover and the vibes of that genre of music - but not overdoing it by making an obvious punk font! Well, you get 4 different versions of each letter in the Regular, Black and Fill versions, as well as multilingual support!

Queenty is a fun monoline font that can be applied to many of your precious designs. It's really handwriting that's kept simple and has an elegant style that makes this font a lot of fun. Queenty has a unique additional swash to complement this font, and it's very easy to pop it just by pressing a+underscore.. You can use it for posters, titles, greeting cards, packaging, invitations and more. Included : - Multi-language - Unique Swash

Introducing rounded sans serif Spiro. The family includes 3 styles: regular, bold and italic. Spiro supports multi language symbols as æ, ß, ç, etc. It also has all necessary ligatures and extra glyphs you may need. To use them you have to open glyphs panel in menu Window. The font is compatible on both Windows and Mac. You can use it in all popular apps like Adobe, Corel Draw, Microsoft, Final Cut etc.

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Get ready to be transported back in time with Algol—the low-resolution display typeface that takes inspiration from classic computer pixel fonts. But don’t be fooled, Algol is not just your typical pixel typeface– it adds a touch of elegance to the digital age. By overlapping intersections with rounded corners, Algol creates a softened effect that sets it apart from other pixel fonts. Say goodbye to the sharp, precise pixel junctions and hello to a font that works perfectly for vinyl-cut signage systems and other cases where a more gentle look is desirable. With Algol, you have the choice of three members of the family—Algol Regular, Algol VII, and Algol IX. For a truly dramatic look, layer Algol Regular and Algol VII in inventive color combinations that will leave an impact on anyone who lays their eyes on it. Algol IX, on the other hand, is more relaxed in its spacing, allowing the spectator to look directly through it. But don’t be fooled by its simplicity—hidden alternate letters with closed counters open up a whole universe of design options for you to explore. So what are you waiting for? Let Algol take you on a journey to the past, all while creating stunning designs that are sure to impress. Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Snasm typeface is a versatile and futuristic typeface that incorporates modular letter shapes from the late twentieth century, with a focus on wide letterforms. This typeface draws inspiration from the instrumental typeface designs of Donald Handel, known for their clean lines and sharp angles. But that’s not all—Snasm also pays homage to the sleek, high-tech design strategy of the late 1970s through the early 1990s, as seen in logos for Pepsi and the Nintendo Super Famicom. The Snasm font is not just visually appealing, but it also includes a range of weights and meticulously constructed obliques, making it a valuable asset in any design project. With its stable, sparse caps and roomy lowercase, Snasm is perfect for conveying concepts of science, technology, and high-tech accuracy. This font keeps pace with the latest digital gadgetry and user interface trends, making it an excellent choice for designers who want to stay ahead of the curve. Using Snasm in your designs can add a futuristic and modern touch to any project, whether you’re creating a new website, designing a mobile app, or working on a digital marketing campaign. Overall, Snasm is a typeface that is as functional as it is aesthetically pleasing, making it a must-have for any designer looking to create high-tech designs that stand out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Indulge your senses with the exquisite elegance of Negotiate, a sans-serif typeface that exudes sophistication and style. This alluring font boasts a distinctive blend of rounded and flat stroke ends, creating a striking contrast that is both visually appealing and alluring to the eye. The smooth, curved lines of the rounded stroke ends provide a soft and gentle touch, while the flat strokes add a bold and assertive element that commands attention. This captivating contrast imbues Negotiate with a unique personality, making it a perfect choice for those seeking to convey a message that is both powerful and chic. What truly sets Negotiate apart is its versatility. The typeface is available in five distinct weights, allowing you to customize your design to achieve the perfect balance of grace and strength. Additionally, the italics add a touch of sophistication to your work, giving it a refined and polished edge that is sure to impress. If you’re looking for a font that truly embodies the essence of fashion and elegance, look no further than Negotiate. With its old-style numerals, this typeface is perfect for use in OpenType-capable apps. Its charming design and alluring character are sure to make an impact and leave a lasting impression on all who behold it. Choose Negotiate and let your creativity take flight. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

An extreme headline font with six optical variants. Black 24 is loosely based on ITC Grouch (1970) by Tom Carnase. It has some 2000 hand-adjusted kerning pairs for TNT (that’s Tight, Not Touching), a very popular type treatment from the seventies and eighties. Take your pick, or get them all, so you don’t have to buy another one later on.

Silent films evoke a sense of nostalgia that is as timeless as the era itself. While the stars of silent cinema may have faded into the past, their influence is still felt in modern-day art, fashion, and design. Silentina is a typeface that embodies the spirit of the silent film era, inspired by the intertitles that were used to convey crucial information to audiences during these films. Buster Keaton, Mary Pickford, Clara Bow, and Rudolph Valentino all graced the silver screen with their emotive faces during the silent film era. These icons used their expressions to convey a range of emotions that captivated audiences and made them fall in love with the magic of cinema. Intertitles, the brief messages that would appear on-screen during the film, were just as essential in conveying information to moviegoers. Silentina is a typeface that pays homage to the unsung heroes of the silent film era—the intertitles. It channels the glitz and glamour of the roaring twenties, taking us back to a time of flapper dresses, jazz music, and speakeasies. But Silentina isn’t just a typeface—it’s a portal to another era. It transports us to a time when movies were an escape from reality, and each trip to the cinema was a chance to lose ourselves in a world of adventure and romance. With Silentina, you can project your message in the same way that the stars of silent cinema projected theirs. This typeface captures the essence of a bygone era, bringing it to life in the modern world. Use it to convey plot information, set the scene, or add a touch of vintage charm to your design. Whatever your message, Silentina will help you communicate it in the same glitzy way as the intertitles of the silent film era. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Willy is a typeface with a wink. This display font is based on existing piquant form from the immediate vicinity. It is sexy, if you have an eye for. But it also should not be taken too seriously, especially because it has a humorous slant. The font has its origins in an art project. It is now made available for design around festifals, parties, invitations, etc.

Inspired by the emerging Korean culture that grabbing the worldwide actuation in so many realms of the industry. To bridge the vibes and to make it easier to consume, we found the gap to fill with simple things in life that are useful for it, and yes, it’s a new day it’s a new font. So without any further ado, please welcome Hwaiting Handwriting. 1/3 series of Korean vibes typefaces. It’s handwriting-based fonts with the reference of the ancient style ink and brush strokes but make it modern. Crafted with deep research about Korean traditional letters, shaped up with the approach of universal Latin letters. This is the first drop of 3 series from the Hwaiting family. So stay tuned for the upcoming release.