"Istanbul Type Variable" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type Variable" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type Variable" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type Variable" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Istanbul Type Variable 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type Variable" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

Violety Dreams is a serene and elegant serif font that will transport your designs to a realm of beauty and sophistication. With its timeless letterforms and delicate swinging strokes on select letters, this typeface evokes a sense of tranquility and grace. This serif uniqueness in its graceful swinging strokes, which adorn certain letters, adding a touch of whimsy and charm. These elegant extensions create a sense of movement and fluidity, capturing the essence of grace and elegance. Inspired by the ethereal nature of dreams and the delicate beauty of violet flowers, Violety Dreams embodies a sense of tranquility and enchantment. The serif letterforms are meticulously crafted to exude elegance and sophistication, while the swinging strokes add a unique touch of whimsicality. This font strikes a perfect balance between classic charm and imaginative flair. The letterforms are designed with precision and clarity, ensuring legibility and readability. Each letter retains its distinctive shape, while the swinging strokes create a visual interest and draw the eye. You can use it in big text sizes to be greatly legible and enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Violety Dreams is well-suited for headings, titles, invitations, wedding stationery, luxury branding, editorial layouts, branding materials, and any design project that calls for an elegant and dreamy typography. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Remember those plastic Popsicle sticks that clicked together and you could make things from them with your sticky little fingers? Things like... camp crafts. Well, no� Of course you don't. You were too young. That�s why there is Campcraft. This is a fun loving dot-matrix font, or it would be a fun loving dot-matrix if the vertical and horizontal grid lines didn't pile up at the intersections. Then again, it wouldn't be any fun if they didn't pile up at the intersections, would it? Strictly a display type... Campcraft is excellent for what the name suggests. I goes well with Christmas sweaters, beaded jackets and purses and that time when we were all happy children with sticky little fingers.

Here comes a New font,Introducing Just Kidding is Sans Display Font,This Font Authentic that is written casually and quickly. Then scanned and carefully drawn into vector format. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

The early Twentieth Century was a golden age for cinema, and for the artists who lettered the iconic title sequences. Stanffords Family evokes the soul of this vintage brush lettering with a modern twist. Its main characteristics are bouncy baseline, round forms. These qualities give Stanffords its casual, friendly and handmade looks. The font family is characterized by excellent legibility in both - web & print design areas, well-finished calligraphic designs, optimized kerning etc. Stanffords Family include 5 fonts: Stanffords, Stanffords Bright, Stanffords Sans and Stanffords Ornaments and Stanffords Bright Ornaments (sets of 86 ornaments) to combine and give options to your typographic elements and designs. Stanffords is a very versatile script font: it includes initial forms, and a generous complement of alternate characters, ligatures and ornaments, creating a genuine connecting hand-painted look in dynamic OpenType format. You have a lot of options to customize it and that makes it perfect for logos, packages, titles, food packaging, t-shirts, blogs, photo books, wedding and invitation stationery and for everything you think necessary ... You get the idea!

Limon was entirely hand drawn and carefully digitised to get accurate curves but keeping the handmade look. The script fonts are smart scripts, plenty of alternates designed to preserve the calligraphic rhythm. Limon is a beautiful option for menus, magazine covers, wedding invitations, cards and all kind of stationery, packaging and labels. Default positional forms appear while you are writing when Standard Ligatures and Contextual Alternates features are on. Just keep them activated and let Limon Script do the rest. It warrants that all the connections will look good. Also, you can activate stylistic alternates, swash, titling and stylistic sets to have options for capitals, initials and terminals. Each Script Font reaches a total of more than 2900 glyphs (languages for every alternate included). Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide. Limon has extensive Western, Central and Eastern European language support. Limon Script matches very well with Dress and Chonky When life gives you Limon, make a beautiful design!

The other day I was at a market with my kids and they had this really retro kind of circus thing. The signs and posters there, were designed in a really sloppy and poor manner - but they all had a lot of naive charm! I was really fascinated by all these uneven letters and I was immediately inspired to do a font like that! And out of the magic hat comes...ta-da-da-da...Cirkus Fantastiko! Planning on throwing a party with a circus theme? Then Cirkus Fantastiko is ready to play the juggling clown while riding the elephant! Play around with the 3 different layers to create that low budget hand painted cirkus posters! :)

Hello Billy is a modern, handwritten, modern calligraphy font. The shape is modern and unique and the writing style is very natural. Hello Billy features a varied baseline, smooth lines, gorgeous glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, web design and editorial, prints, crafts, quotes, It's great for logotypes, wedding invitations, romantic cards, labels, packaging, spelling of names and others. Add to your most creative ideas and watch how they bring them to life! Hello Billy includes OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Hello Billy is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Modern antiqua (Victorian, Scotch Roman) «Dodo», 2008–2019. Named so as a portmanteau of Bodoni – Didot. XIX-th century fonts, especially Victorian antiquas, were almost excluded from the modern use by their XX-th century's descendants. And these new books had lost too much of their former beauty, elegance. Their old noble spirit. This project, «Dodo» was started in 2008 year as the first then modern revival for the Old Imperial Russian book scotch antiqua, used 120–170 years ago in almost every printed book. Still keeping the spirit of the Steam æra.

CA Edwald, the superbly crafted alphabet design now available in 5 weights, combining the familiar, the unusual, the practical and the aesthetic. Plan ahead and make use of the assorted logo letters that add distinction to your headline. CA Edwald is a welcome addition to our ever-growing collection of alphabet designs. It is prepared to meet your graphic requirements. Now there is one trusty Musketeer for today’s advertising. The illegitimate child of Oswald Bruce Cooper and Ed Benguiat, a mixture or even the “best of”: CA EDWALD.

The German designer Emil Rudolf Weiss originally created Weiss Rundgotisch for the Bauer typefoundry in 1937. In their catalog for the typeface, Bauer began with this quote from Leonhard Wagner: The round gothic (rundgotisch) script is the most beautiful kind of script; she is called the mother and the queen of all the rest." While designing Weiss Rundgotisch, Weiss was inspired by Renaissance types cut by the Augsberg printer Erhard Ratdolt. Ratdolt had spent some time in Venice, which is most likely where he became familiar with round gothic letters. This sort of letterform was never as popular in Germany as Fraktur or Gotisch may have been, but round gothic types were used there for centuries to represent arts and craft feelings, as well as old-fashioned handwork. For a blackletter typeface, Weiss Rundgotisch is very similar to normal serif and sans serif designs, especially its uppercase letters, which seem to have some uncial influence in them as well. Therefore, Weiss Rundgotisch is more legible for contemporary readers, making this an excellent choice for anyone looking to set text, logos, or headlines with in blackletter. Weiss Rundgotisch was apparently quite a difficult typeface to design, even for a master designer like Weiss. He began work on the face in 1915; Weiss Rundgotisch's development took over 20 years to complete."

This bitmap font is made of 97 icons to use to express this time of the year... You will find christmas tree, Santa, cake, stars, gobelin, and a lot more. They work well for background tiling, just as symbols, or for anything else. We hope you like them ! Best size in bitmap is 20pt.

Here comes our new font Deanicked this is a Unique All Caps Display Font that is written casually and quickly. This is Textured Natural Style and Classy Style. This font are handmade with brushes on Procreate. Then crafted carefully drawn into vector format.this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, photography, invitation, watermark,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Deanicked a natural handwritten feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.

New York to London via Europe The hardworking FS Koopman is a crossbred workhorse which draws inspiration from Swiss and Germanic grotesks, American gothics and early British grotesques, but refuses to fit neatly into any of these categories. Its neither one nor the other, but all of the above. Fontsmith designers Andy Lethbridge and Stuart de Rozario decided to take the characteristics they admired from each category and distill them down into one functional family. Neo meets Neue FS Koopman aims to swim against the tide of Helvetica-ish derivatives by bringing some personality and soul to a genre that all too often ends up feeling bland and sterile. FS Koopman subtly embraces the quirkiness and charm often seen in early twentieth century designs but pairs this with the functionality of later pioneers of the genre. It’s a grotesque isn’t it? The term grotesque surfaced around the early 1800s and refers to the early sans serif designs that many initially believed were strange or ‘grotesque’ due to their lack of elegant serifs. Later variations became known as neo-grotesques and this moniker stuck around even after they gained mass popularity. Some American variants became known as gothics. FS Koopman takes cues from all three categories and blends them into one cohesive design.

From tablet to table – from freehand to font – Average Handwriting was designed originally in freehand on paper then onto a tablet with the help of an appropriate app to give it a ‘wet brush’ feel – this was transferred to paper then tweaked PS and only then imported into a font design programme – this is how we work to keep the original flourishes and a freehand feel to the font. Thus, a well-ordered handwriting with both elements of freehand and precision. It looks especially good in lower-case text situations, delivering an original look - there again you may be looking for a new display font for some large graphic projects such as posters, Average Handwriting also works well in these situations, again, delivering an original look.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

Jalliya is a realistic signature font Vol. 2 that has its own uniqueness and characteristics from a signature font, because it is handwritten manually, so it has the impression of a true signature. This font is carefully crafted with a modern touch. This font looks elegant, luxurious, natural with a beautiful signature touch. Jalliya would perfect for photography, watermark, social media posts, advertisements, logos & branding, invitation, product designs, label, stationery, wedding designs, product packaging, special events or anything that need signature taste. Your download will include 4 font files; ~ Jalliya One, Two, Three, Four, Five, Six and Seven A hand-made, all characters signature font which has a complete set of A-z characters. Includes a range of multilingual support, punctuation, ligature & alternate. ~ Jalliya Tail 1 & 2 A bonus set of 104 Uppercase & Lowercase with tail. Simply select this font and type any A-Z & a-z character to create one of the bonus elements.

Introducing " Lovely Unicorn" Lovely Unicorn Is a Handwritten Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 265 of glyphs Multilingual Language PUA Encode 28 Ligatures Alternate The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Check my other Font here https://gilarstudio.com/

As a beautiful yet eccentric unconnected script, Milroy Upright SG Regular can be a refreshing alternative to the formal upright scripts seen on so many anniversary and wedding announcements today. This nineteenth century classic was designed by Max Rosenow and Julius Schmol for Barnhart Brothers & Spindler in 1895. Milroy Upright was originally known as Oliphant. It was later renamed Advertisers Upright Script in 1925. This new version, Milroy Upright, contains many new alternative characters including a modified cap X and cap Z, a two-story lowercase g, and a matching set of oldstyle figures. Milroy Upright SG Regular is now available in the OpenType format. Some new characters have been added to this OpenType version including stylistic alternates, discretionary ligatures, and oldstye figures. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Introducing "Anak Sultan" Anak Sultan Is a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 256 of glyphs Multilingual Language PUA Encode 24 Ligatures Alternate The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Check my other fonts here : gilarstudio.com

Luar Galaxy a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 219 of glyphs Multilingual Language PUA Encode Ligatures Alternate The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Check Out my other fonts here : gilarstudio.com

Redbird is a modern hand-painted script with an irregular baseline. Rough edges and imperfect lines give to this brush font a unique and trendy look. All glyphs have been carefully painted giving your words a wonderful flow. Fat and thin stroke in this font impresses the harmony. Want to give your projects an organic, hand-painted look? Redbird font contains 584 glyphs, with inky lines, and "perfect or imperfect" painted edges, including a few extra character alternates, swashes and ligatures for a genuine hand-lettered effect. This font includes OpenType features that may only be accessible via OpenType-aware applications, a Central European language support. Bonus: 60 useful ornaments and a lot of catchwords that you use for the most demanding design project! Redbird looks lovely on wedding invitations, greeting cards, logos, business cards and is perfect for using in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and more!

Vermont is an outline semi slab serif created by British designer Freda Sack. The serifs of Vermont are typical of slab serif fonts, having the same stroke width as the base strokes and forming a right angle to them. The strong figures of this font still manage to seem light and airy and the marked shading makes them seem almost plastic or sculpted. This class of font appeared at the beginning of the 20th century as an advertisement typeface, rose in popularity through the 1950s and phototypesetting in the 1970s. Vermont should be used exclusively in headlines and displays in larger point sizes.

This typeface comes from a self initiated project called Sápmi, which aims to contribute to keep a group of minority languages alive through solving issues in the education environment. This re-thought edition takes the name of Aanaar and joins our library with a bigger character set and two new weights which complete the typeface providing a big typographic palette as well as adding stylistic two-story a and g for more advanced readers as well as to enable the typeface to be used in other environments. The typeface was originally designed for children’s text books. Analysing kid’s typeface design, we identified some important problems and solved them within the boundaries we had. The main concern in a typeface which will be used by children is letter recognition, as they have not yet fully develop their reading skills. For example, letters like “a” and “g” share a very similar structure in this particular kind of typefaces, where the only distinctive part is the descender of the “g”. It is known that the lower part of the letter is the less important feature when reading, therefore we decided to make a clear distinction between them by having an “a” with a spur on the top right. This also helped distinguishing “a” and “o”. Children typefaces usually have one story “a”, making “a” usually too close to “o”. Additionally we moved the joint in “a” upwards and narrowed very slightly the “a” to make sure they cannot be mistaken. More generally, the x-height is fairly tall and the typeface has a bit of movement which give it a good rhythm helping moving along nicely when reading. Aanaar consists of 5 weights (Light, Regular, Medium, Bold and Black) plus two Italics (Light Italic and Italic).