"Balissha" is a natural and elegant handwritten font with butterfly and flower decoration on the alternate letters. This font is perfect for mothers day, autumn, valentine, wedding, engagement, christmas, stickers and more. Equipped with uppercase letters, lowercase letters, numerals, punctuations, swash, titling, uppercase alternates, ligatures and multilingual support.

Regular Bien is a display font that is created out of two shapes - a circle and a line. It has a plain and a mutated face, depending on the usage of lowercase or capital letters. Regular Bien can be used in various fun ways and connections between lines.

Delicately swirled BabyDoll includes eight assorted dingbats, and like all Burghal Design fonts, includes upper and lower case letters, as well as numbers, symbols, punctuation, and accented foreign characters. BabyDoll is so cute and sweet, you just may get a cavity. Please remember to brush and floss regularly.

Clio Icons is designed to give more elegance to your project, the font has 88 icons that can be connected to one another forming marks and backgrounds in an unique and stylish way. The quotation marks were inspired by the famous quotation marks from Computer Arts Brazil magazine.

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Andinistas.net presents Makeup Script. Expressive hand-made typography to design sentences with high textured impact; has 4 creative tools. Our priorities are continually updated and we prefer to use the elevator since taking the stairs is a very long process. If you see a long text, you close it and look for something shorter. For quick calligraphy you need to consume hours and hours of learning, discomfort and effort. Think of calligraphic words or phrases to write about a photo no matter how expressive it may be. Try to write quickly with signature style for logos, labels or packaging for clothes, suitcases, shops, malls, department stores, etc. Do you want to be able to calligraphy well? STUDY. Do you want to be a calligrapher? PRACTICE. Want to produce good ideas? PUSH YOURSELF. If you practice for hours every day, those hours will turn into years, but for many, to think in years of study and practice is too long, since most want everything instantaneous and few want to cultivate skills related to calligraphic patience. Makeup was born in the midst of this type of reflections about countless themes about art, beauty and calligraphy. All the ideas that revolve around makeup parade through its insightful and solitary design, lover of instant and fast writing for graphic design related to food, household goods, fashion, etc. CFCG. teamwork by Carolina Suarez & Illustrations by Eder Salas. In that order of ideas Makeup offers the following tools: • Makeup Script (238 glyphs): It is a script with vibrant fleeting strokes that form capital letters, lowercase letters, numbers and character sets and extended punctuation for Central, Eastern and Western Europe. • Makeup Alternates (238 glyphs): Offers new script possibilities, different from uppercase, lowercase, numbers that work at the beginning or end of words, in a way that your design will look more real and calligraphic. • Makeup Swashes (238 glyphs): These are tiny script letters that reinforce the idea of fast binding between handwritten letters that will fill your design or concepts with power and expressiveness through multiple textured contours. • Makeup Extras (80 glyphs): Here you'll find over 70 exciting, hand-crafted decorations that are ideal for underlining your ideas written in Makeup.

Displace Serif is a continuation of my Displace fonts. Adding serifs allows you to see the font in a new way. There is a more pronounced charm of Italian monumental fonts, but in an expressive way. The appearance of the serifs allowed the font to move to the antiqua class, but this is purely a formal matter. The proportion of serifs changes markedly from weight to weight, allowing the font to retain its decorative character. In the Light drawing the serifs are barely visible and delicate, while in the Black they are in superposition. The font is catchy, noticeable, which makes it suitable for graphics requiring instantaneous spectator emotions. Displace Serif is suitable for editorial design, as despite the modern image it retains the classic concept.

Meleo is a semiserif consisting of 10 fonts with a few original quirks but still very legible at both text and display sizes. Since its conception, the aim was a balance of uniqueness and functionality. The typeface owes its energy to the slight suggestion of calligraphic crafting and humanist structure. But it also breaks the rules: a small x-height and a whimsical uppercase with resemblance to the lowercase may render Meleo more friendly than a conventional (semi-)serif. Titles and texts of moderate length, like those found on websites, flyers and packaging, are the natural habitat of Meleo, but it may as well thrive under different settings. Meleo supports most of western-european latin languages which are included in the ISO-Adobe character set.

Quadratique is the first font of a large family that was originated in geometric patterns. We developed a system through a square of 6 modules of side, which are transformed and combined to give up 104 originals glyphs. As a result, each letter is a subfamily that may be combined by overlapping (A, a, a.salt and a.swsh) and thus generate more than 365 glyphs, or thousands if we combine different letters. Quadratique is so easy to use, that user does not need guidance. You just must typeset [aaaa, bbbb, etc.] and start to play, try to make that each module overlapping with others and repeat [(a + A) (a + A) (a + A), etc.] You may create thousands of new patterns and creative frames just combining different modules.

I am a firm believer in the fact that breakfast is the most important meal of the day. So, for the last 10 years (ever since I became a father), I have been serving my family a healthy breakfast. I live in The Netherlands, so the main portion of breakfast is bread, but I try to serve something ‘nice’ every day. Like strawberries, yoghurt with banana and brown sugar (not too much sugar!), oatmeal porridge or granola. I myself like Indonesian fried rice (nasi goreng) for breakfast, but I am afraid my kids won’t eat that in the morning… Power Breakfast is a handmade display font. Yes, it is wobbly, yes, it is uneven, but that’s what’s so darn good about it!

New Millennium is one of three font families that share a common name, a common design philosophy, a common x-height, and basic character shapes. (The others are New Millennium Sans and New Millennium Linear; all three work well together.) New Millennium is a serif face of what some might describe as a "modern style." But although it has flat serifs, it differs markedly from, say, Bodoni or Didot -- especially in the italic, which is a radical departure from tradition. (The bold styles are in fact sans-serif, identical to those of New Millennium Sans.) There's also a nice, dark Headline style for display text. New Millennium is a distinctive, legible, accessible text face that might be well suited to, say, scientific documentation.

At Comicraft we're always looking for new ways to help our loyal customers get more bang for their buck. There are times when when the big financial institutions turn their backs on the average working Joe, but that’s why we want to help you restructure your finances, renegotiate your commitment to font purchases... We're here to help you stretch your dollars a little further. With that in mind, our latest release is twice as wide as our usual fare and will help you make it to the end of the month in ways other fonts won't! It’s not so much a bailout or a refi... It’s more of a credit extension. I wonder what we should call it? See the families related to Credit Extension: Credit Crunch.

Martin Crantz (or sometimes Krantz) of the three, including Ulrich Gering and Michael Friburger, that set up a press at the Sorbonne in 1470 was likely the fellow who had the technical know how how to cast the type itself, hence the name of this new face that is based on his work. This font has been expanded to meet the demands of modern day use but it also contains a number of specialized glyphs that allow for the recreation of text in the manner of his day with such characters as the -rum abbreviation and other handy Renaissance oddities. Since this face was designed prior to 1501 there is no italic variant in keeping with the spirit of historical accuracy.

Takox is a display typeface based on a synthesis of righteousness extreme, futuristic spirit leads us to a way of plotting the words in a new way and in line with trends and technology synthesis century. Extreme music. Takox is provided with style forms to small caps, in both Regular and Italic. What was the inspiration for designing the font? Takox is the result of my own research in finding straight shapes of great simplicity. What are its main characteristics and features? Display font witn straight shapes of great simplicity. Usage recommendations: This letter design is ideal for use 3D extrusions, ideal to represent natural forms of cristals, metal or mechanical things. Fits indiustriales representations and aerospace, also for extreme music and avant garde.

Wordmark is our new fully equipped branding tool. Designed with a refreshed humanist style, much loved by brands that need to deliver their message in a serious way, with a current look. Drawn by the cool eye of Gaspar Muñoz, expect this font to be as good or even better than its predecessor "Herokid". "Wordmark" is super complete; it includes condensed, thin, expanded, and heavy weights plus italics with two complementary systems that work together in a powerful way. "Wordmark Normal" offers great readability for text and signage, big or small. And "Wordmark Display", designed with a noticeably taller X height specifically made for headlines, big windows, and big screens. With 48 different styles keep it simple and make reliable designs with "Wordmark".

Fabelo Kids is a delightful and playful children's typeface that sparks imagination and brings joy to any design. With its whimsical letterforms and charming details, Fabelo Kids captures the essence of childhood wonder and innocence. Each letter has a friendly and inviting nature, inviting young readers on a journey of discovery. Whether used in children's books, educational materials, or playful designs, Fabelo Kids adds a touch of magic and excitement to the visual experience. Its vibrant colors and energetic shapes make it a perfect choice for capturing the attention and imagination of young minds, creating a world where learning becomes an adventure. Fabelo Kids is a font that celebrates the joy and creativity of childhood, inspiring young readers to embrace the beauty of words and storytelling.

First things first: I am really not a Star Trek fan. I did come up with this name, which I thought had a good ring to it. When I checked whether the name was already taken, I found out that Black Cluster is a term from Star Trek. Now you want to know what a Black Cluster is, so just check out poster 2 and read all about it. For me, Black Cluster is a handmade ink font, with a lot of jumping glyphs, a lot of diacritics and a handful of ligatures. It may be rough, but you will be pleasantly surprised by what it can do to a design! May the font be with you. Oh, no, that was from Star Wars…

Palm Sunday - Quirky Easter Day Theme Font is a unique typeface designed to capture the playful spirit of Easter and Palm Sunday. This font is characterized by its quirky, chaotic, and variable thick-thin letterforms, which add an element of fun and intrigue to your designs. It can be used effectively either on its own or in combination with its ten charming variations. With ten distinctive variations inspired by Easter day, including eggs, bunnies, carrots, bunny ears, and flowers, Palm Sunday is the ideal choice for projects related to Easter, Pascha, and the joyous celebrations associated with the holiday. It perfectly suits children's themes, crafting projects, and any design that seeks to evoke a sense of fun, playfulness, and a vibrant, colorful aesthetic.

Introducing "Kukulkan," a font designed by Raúl Plancarte, adorned with accolades, that unravels the structural possibilities nestled within the realms of ancient Roman letters and fantastical styles, infusing them with a contemporary essence. This typeface exudes a conspicuous plasticity and expressiveness, seamlessly harmonizing within its original intended context as a font for continuous text, bolstered by its robust and assured strokes. It stands as the triumphant culmination of a thorough exploration, meticulously considering legibility. Infused with nuanced elements that evoke a pre-Hispanic idealization of Mayan culture, this essence takes center stage in its darker iterations. However, it is adept at adapting to a myriad of ethnic and cultural nuances prevalent in our global village. Noteworthy is the fact that the "Kukulkan" font family is available as a variable font, offering a dynamic range of styles across its 18 fonts, endowing it with a lively, human, and refined demeanor. Additionally, it features a variant known as "Kukulkan Ornaments," a collection of 150 dingbats comprised of icons, symbols, and frames intricately inspired by the iconography of Mayan hieroglyphs. In its natural application, "Kukulkan" thrives in contexts of art, lifestyle, culture, seamlessly bridging tradition and avant-garde. This font excels in the realm of editorial design, evident in its adeptness at crafting robust headlines, and in select cases, it lends itself to creating striking brand identities.

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher was a long-time teacher of design with many years of practical experience as a graphic designer. He named Rotis after the small village in southern Germany where he lived. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.