Chipper is the work of British designer Andrew Smith, an adorably awkward typeface resembling the first printing of a child. Shaky lines and irregular forms combine for this naive look, which is completed by tiny specks surrounding each form as well as a number of illustrations. Chipper reflects an innocent fun and is perfect for children's greeting cards, certificates, or magazines and advertising for or about the little ones.

Litho Display is a bold display typeface, it has 8 fonts in the family with four different styles. Litho Display has been created with bold headline and poster typography in mind. It is perfect for use on typography heavy posters, packaging or on screen idents. The four different styles Litho Display comes in is Regular, Rounded, Rough and Press each with an italic pairing. With these styles Litho Display is versatile for various different uses whether it needs to be clean type for a poster or on screen or a more rough and rustic style for some packaging.

Aldin is a stylish and modern typeface based on geometric forms. It is best suited for headlines and subheads but can also work in short paragraphs. Its character makes it a good choice for magazines, advertisements, packaging or logotypes for the fashion or tech industries—particularly the thinner weights. Thicker weights also allow the option for more contrast among elements.

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.

Introducing Christmas Crafter, a very cheerful Christmas font with a unique shape. It has a very interesting impression to be used in any joyful project. Christmas Crafter is perfect for family greeting cards, posters, business cards, advertising branding, and many more that can be applied to your project using this Christmas Crafter typeface. Christmas Crafter also has alternative letters to beautify every word that is written and also has ligatures. This will add a positive impression to each of your projects. Christmas Crafter also supports all languages. Languages Support :Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu

Roxon is a sans serif typeface of 4 weights from Extra Light to Bold and can be used as both a headline and text face. Roxon is recommended for using in long-form writing and articles, since a serif is far more readable for longer passages of text. The typeface has a carefully crafted weight range, with ligatures.

We don't mean to gloat, but we have to say that it gives us immense, malicious pleasure and joy to supplant other popular germanesque letterforms with this, remarkably superior font. This successful addition to our DEAD cool POOL of ACHTUNG BABY alphabets will, no doubt, make you feel that your own library of teutonic fonts is now severely lacking. We're that mercenary, we're Mercs with Mouths, you might say. Wait, did we say that we DON'T mean to gloat? Actually, we do.

We have a penchant for types that connect to form a ribbon or band. Here's another one, and no amount of words will excuse it.

A revival of one of the popular wooden type fonts of the 19th century, a very useful design for display, or text, somewhat geometric in form, a bit narrow.

Wavely JNL is a font that could have been made by a child or a nervous writer. Squiggly, handmade lines form the characters and this font can also be used for spooky or horror-oriented themes.

Here at Comicraft we have seen the signs on the headline news, we have read the portents of things to come... yes, just as thunder is a sign of storm, just as pumpkins outside Ralph's on November the 1st are sure to be on sale, just as fresh produce becomes rotten, as sure as night turns to day, dark turns to gray, winter turns to spring and milk turns sour if you leave it out on the kitchen table overnight... Yes, here at Comicraft we know there's a signpost up ahead... a sign heading not into the twilight zone, but down a road of hope and hard work, a banner year, a red letter day, we know it's time to knuckle down, soldier on and pull ourselves up by our bootstraps. Well, we should probably pull ourselves up by our bootstraps BEFORE we soldier on, NEVERTHELESS, here it is -- not a soundbite, not an unfulfilled campaign promise -- SignLanguage is a font that makes the impossible possible, a font that cuts the taxes for 95% of American families, a font that closes down Gitmo and brings our troops home from Iraq. Senator Joe "Six Pack" Biden has described SignLanguage as articulate and bright and clean -- and a nice-looking font. In conclusion, Comicraft recommends you elect Sign Language.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

This is a cute story about a mother and her son. :) About a decade ago my own mother got very interested in my work. She used to say my letters had so many swirls and dazzling swashes, and suggested my job seemed to be very fun. She wondered if she could ever try to make her own alphabet... Well, she is a civil engineer and a maths teacher, and appeared to be a little tired of exact sciences... I remember answering this, while she was listening with her typical tender look: -"Mamá... While type-design may be a really enjoyable thing to do, it also involves having a great eye and knowledge about the history of letters: nice curves and shapes require a meticulous study and, like it happens in many fields, practice makes perfect"-. Well, she raised her eyebrows at me. -"and so what?"- She didn't have any experience neither in the field of art nor in the field of graphic design so, I told her that if she really wanted to get into this she should borrow some of my calligraphic books from my beloved shelves in my office. So... she did. Some weeks after that, she came to me with many sketches made with pencils and markers: some letters where very nice and unique while others naturally needed some work. I remember she added ball terminals to all of her letters (even if they didn't need them) because that was one of the rules she imposed. After some back and forth, we had the basis for what would be today, ten years later, the seed of this lovely font Girasol. Her proposal was nice, something I was not accustomed to do, that’s why many years later I decided to watch it with fresh new eyes and finished it. While she was in charge of making the lowercase letters, I helped with the uppercase and also added my hallmark in the alternates, already seen in others of my expressive fonts. The result is an upright decorative font that follows the behavior of the copperplate nib with a naive touch that makes it really cute and useful for a wide range of products. Many alternates per glyph make Girasol a very fun to use font which will delight you. Above posters are a proof of that! This font is a gift for my mother, Susana, who, in spite of her exacts academic background, taught me that beauty can also be found in the imperfect. 1 NOTES (1) In my fonts I'm always in seek of the perfect curve. When I designed Erotica and Dream Script, I read about Fibonacci’s spirals!

A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

Starlit Neon is a delightful display font that combines the elegance of rounded letterforms with the captivating allure of neon lights. With its bold uppercase characters and unique design, this typeface adds a touch of playfulness and charm to your projects. The defining feature of Starlit Neon lies in its rounded letterforms, which exude a sense of softness and approachability. Each letter is meticulously crafted with smooth curves, creating a harmonious and pleasing aesthetic. The rounded shapes give the font a friendly and welcoming appearance, while the neon style adds a touch of excitement and vibrancy. Inspired by the mesmerizing glow of neon signs, Starlit Neon infuses a sense of enchantment and allure into each character. The font captures the captivating charm of neon lights, casting a radiant glow that evokes a magical atmosphere. In some letters, you'll find additional subtle accent lines, which enhance the overall composition with a touch of sophistication. The uppercase letterforms of Starlit Neon are bold and assertive, commanding attention with their rounded shapes. Each letter of Starlit Neon is thoughtfully crafted to strike a balance between rounded shapes and legibility. The uppercase characters are distinct and easily recognizable, ensuring your message remains clear and impactful. The additional subtle accent lines in select letters add an extra touch of visual interest, elevating the font's overall composition. Find out more ways to use this font by taking a look at the font preview. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Starlit Neon perfect for designs like headlines, logos, and eye-catching titles that seek to make a bold statement with a touch of whimsy. Whether you're creating posters, branding materials, digital artwork, or anything in between, this font will infuse your projects with a sense of joy and uniqueness. It particularly shines in applications related to entertainment, children's products, beauty, and lifestyle themes. 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.

Decano is a modern sans serif, ALL-CAPS, display font. Using a ten-sided polygon, or decagon for the usually circular characters and employing similar angles for the rest of the character set gives us some strong and interesting word forms. It’s great for branding, headlines, and signage.

Magpie is a font family consisting of three sub-families with both regular and italic styles. Originally designed on squared paper, over time it has moved further and further away from this rigid grid, although its appearance is still based on it, so it can easily be used for logotypes or headlines with strict grid-based layouts. While Magpie Text is suitable for headlines and short texts, Magpie Display is ideal for logotypes or more playful headlines. Finally, Magpie Mix is a combination of both families. Magpie Text Regular represents stability, Magpie Display Italic is ideal for dynamic logos or headlines. To cover more languages, cyrillic and greek letters were added and Magpie can be used for nearly a hundred languages. In addition to the four common numeral variants, special numerals, punctuations and symbols for all-caps (c2sc) are included. Furthermore case-sensitive punctuations and symbols are available. To expand the typographic possibilities, four stylistic sets, different symbols, forms and standard- and discretionary ligatures have been added. Each Magpie-font contains more than 880 glyphs.

Andron 2 ABC is a product developed especially for children’s literature. It is an ideal choice for primers and other books for the age when children are learning to read. The typeface has the same peak typographic quality as any other font of the praised Andron series—the very best is just good enough for our kids, is it not? As a difference from the normal glyph set (as in Andron 1 Latin or Andron Mega), the letters a, g and y have those simpler single-story shapes that resemble the forms usually taught in writing, which are sometimes called infant letterforms. Now, Andron 2 ABC is available in a full four-font family set.

Luxury Home is a slab serif typeface of 9 weights from Extra Light to Extra Black and can be used as both a headline and text face. "Luxury Home" is recommended for using in long-form writing and articles, since a serif is far more readable for longer passages of text. The typeface has a carefully crafted weight range, with ligatures .

Nice wave font - a fluffy fun display typeface with a wavy form. This decorative font works perfectly for bold titles, festival posters, as a graphic element for bright T-shirts or hoodies, or even backgrounds! This weird and ugly typeface likes an experiment with spacing and additional graphic elements. Please, don't hold back on your bold modern ideas!

Sonrisa is a design that evolved from my sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design. Sonrisa Thin was the resulting font, from which the other weights of the family were developed. Gentle curves, open counters, generous x-height, and sleekly tapered terminals give Sonrisa a very legible, modern, elegant appearance. When she saw the first draft of this typeface, the smile on my friend Jennifer’s face gave me the idea to call it “Sonrisa” (Spanish for “smile”). Jennifer, a clinical psychologist, described Sonrisa’s personality as: "happy, clean, clear, open, joyful, spacious, playful, calm. I can see it being used for body product lines such as oils and lotions. Can see it being used in home/travel magazines or even Architectural Digest. Yoga magazine, definitely." Sonrisa is what some foundries call a “Pro” typeface family with all the bells and whistles that provide typographic versatility: true small caps, oldstyle numerals, arbitrary fractions, discretionary ligatures, and other powerful OpenType features. All fonts in the family, except Sonrisa Titling, support most European languages, including modern Greek and languages that use the Cyrillic Alphabet. (Cyrillic glyphs designed in consultation with Ukrainian type designer, Sergiy S. Tkachenko.) Sonrisa is available in the original Thin, monoline version as well as six weights (Light, Regular, Medium, Bold, Extra Bold, Black), and a Titling font that is essentially a display font construction kit. If you enjoy using Sonrisa even half as much as I enjoyed creating it, then I know you will have a “sonrisa” (smile) on your face!

Utlity Signage JNL is a collection of fifty-two various "all purpose signs" we've all seen in hardware and variety stores is perfect for spot illustrations in ad copy, making one-off images for props in a stage play or production or even for novelty jokes or gags. NOTE: Usage of this font to create printed or digital "stock signs" for resale is not part of, nor allowed under the terms of the standard Jeffrey N. Levine Software License Agreement. A separate license for the manufacture and distribution of derivative products is required by contacting the font author directly. Please refer to the EULA for further details.

“Break on through to the other side” of design with Densmore, the typeface inspired by The Doors. Created with geometric shapes and a hand-drawn touch, this font pays homage to the band’s iconic logo. Featuring three styles, including the regular, blue, and pink, Densmore is perfect for any creative project. Take your design to the next level and experiment with layer effects by offsetting and changing colors. And with ligatures that automatically replace double lowercase “o” combinations with a mirrored “oo” combo, you can add a touch of cool to any project. “Light my fire” and download Densmore today! 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.

Hyperartism is an artistic movement born in La Chaux-de-Fonds (Switzerland) which advocates free and uninhibited creation, in all forms, for everyone. HyperBrush was originally created for the new collective's logo and is the perfect cross between the corrosive spirit, the assumed nonchalance and the natural class of Hyperartists' works. HyperBrush is the ideal font for anyone who wants to add a touch of fantasy to a soft design, or a bit of seriousness to a completely crazy project. Its quirky, edgy and clean look is just as suitable for a festival poster as it is for a DIY shop sign, for the title of a trashy short movie or else for a toilet door sign in a hipster lounge bar. With HyperBrush, it's easy to put more hyper into any project!

Impetus is a powerful capitals-only geometric sans in a solid and inline variant. Built around a framework of a circle and square, it echoes angular Deco or Italian Futurist "moderne” forms, and is about as heavy as it is possible for a font to be. Alternate forms are provided in the lower-case keystrokes for the S, G, J and W, and there is also an alternate 1. The two styles can be combined in one setting for effect. Use Impetus where maximum impact is required.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

These six faces are interpreted from examples shown in Rob Roy Kelly's "American Wood Types" They are not merely scanned copies, but have been redrawn from scratch with various optical adjustments. Kelly points out that the true glory of the American Wood Types are the negative spaces, which are, in their dynamic active forms, the antithesis of the anemic flimsy letters produced by type foundries in the 19th century. The Alphabets Wood Types are designed with digital manipulation in mind. Stretch, curve and distort at will! These designs were released prior to similar revivals from Adobe. Each font has two full alphabets (one full height, one smaller) and numerals. However, certain points and accents will not be found.

Golondrina, spanish for swallow, a bird that cannot carry a coconut but migrates form north to south like the angles in this font. Also, like the bird, Golondrina can adaptate to different needs, going from a traditional blackletter with small lowcase characters and ornamental capitals, to a hardcore uppercase and sharp small caps. The right font for designs with a medieval, traditional spirit or a coarse lettering for a Heavy metal band.

Introducing Mistress Benedict Font Duo - a pair of hand brushed fonts attentively designed to work together, helping to produce beautiful typography! This pack of two fonts works so well together and can be used for so many projects, from food packaging to a simple quote that you upload to Instagram. Use them on your t-shirts, mugs, cushions, handmade card designs, anything you like! What do you get? Benedict Font has a neat, handwritten style to it and it's tall ascenders gives that added elegance. With it also being hand brushed Benedict is perfect for all hand lettering typographic designs and works well for short advertising headlines and sub-headers. Benedict has a full set of uppercase and lowercase alternates giving you a different style - it's like two fonts in one! Mistress Benedict Brush includes ligatures, discretionary ligatures and a full set of alternate characters. It also has international character support. Mistress Benedict Caps was hand brushed with the same brush pen and is the perfect companion for Benedict. It's an all caps font where the alternates are actually the lowercase letters. It looks gorgeous on it's own too! Like the brush version, Mistress Benedict also supports international languages. Well, there it is! I really hope that you enjoy using this font duo and please ask if you have any questions. Jo

Introducing Narcis, the delightful retro bold script font that's bound to add a touch of nostalgia and flair to any project! This charming typeface boasts a unique blend of boldness and elegance, making it perfect for various design purposes. With its alternate and ligature glyphs, Narcis offers a wonderful range of creative possibilities. These additional characters add extra variety to your text, giving it a truly personalized and artistic feel. Whether you're designing a logo, poster, invitation, or any other project, Narcis' alternates and ligatures will help you achieve a distinct and eye-catching look. But that's not all! Narcis is also impressively versatile when it comes to language support, accommodating up to 87 languages. This means you can confidently express yourself in multiple languages without compromising on the font's aesthetics or legibility. Narcis comes in both regular and italic styles, allowing you to emphasize specific parts of your text or create a dynamic interplay between the two styles. The regular style offers a bold and confident appearance, while the italic style adds a touch of sophistication and movement to your design. Whether you're a seasoned designer or just starting on your creative journey, Narcis is sure to become your go-to font for adding that retro touch with a modern twist. Its warm and friendly demeanor will instantly win you over, making every project a joyful and visually captivating experience. So go ahead and give Narcis a try – you won't be disappointed! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Based on Corradine Fonts font Emblema 65, Emblema Headline is a powerful tool for modern designers who need a vintage art deco style font with personality and high quality. The Emblema Headline family has four layers, each one with three or four different looks, for a total of thirteen different variations. Non-OT-users can select a font from these thirteen variations, also with specific flavors: Basic, Deco, Swash or Extraswash. Explore the great possibilities of Emblema Headline in your next project.

P22 Brass Script is a new font from an old source. This script font was discovered in a booklet from Dornemann & Co. of Magdeburg Germany, circa 1910. The book was titled Messingschriften fur Handvergoldung, which roughly translates to “Brass types for hand foil stamping.” The mini catalog called this type simply “Script.” It has not been previously digitized or seen in standard metal type form. The antique specimen book featured most of the characters needed for a full alphabet, but a number of letters were not shown. Since no other examples of this style could be found, P22 enlisted the assistance of master calligrapher Michael Clark to draw the missing characters in the same style as the original. The style is very loosely based on the secretarial hands and reminiscent of “French Hand” with a very early 20th century, pre-modern feel. It has an unusual flow that is neither too casual nor too formal. The font would be useful for wedding invitations or packaging and advertising. P22 Brass Script Pro features include: automatic ligatures for common pairs such as ll, tt, qu and a variety of f ligatures, full CE language support including Turkish and Romanian and a variety of swash underscores for different length words that can be added manually in OpenType ready applications with the glyph palette or with the contextual alternates. The length of the word will automatically select the best length of swash for the work.

Offhand Brush is a fast and spontaneous brush font with quite a messy feel, a great option for book covers, packaging projects, album art, web titles, and even small chunks of text. It looks messy, but don't get it wrong: on the inside, it's a laborious piece of work, with four alternates for each Latin letter and two for numerals, as well as two options for Cyrillic and Greek letters. To make things even more uneven, there are still a few different letter designs programmed to pop up when specific combinations of three or four glyphs appear in the text. These are managed by the OpenType 'Standard Ligatures' feature, although they are far from standard and are not quite ligatures. And why so? Because this way it will usually be on by default, making the font way more interesting. Hey, wait! There are some ornaments too. And a couple of contextual kerning pairs, hell yes! Use it big!

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Introducing CADHO TOYS, an exciting and playful bubble display font that will add a touch of whimsy to your designs. This font features a unique alternate ligature style that combines bubbles and letters, creating a fun and engaging visual experience. With its lively appearance, CADHO TOYS is perfect for various design projects, especially those aimed at children, toys, games, or anything that requires a cheerful and vibrant aesthetic. This font is carefully crafted with 707 characters, ensuring versatility and multilingual support. Whether you’re designing in English, French, Spanish, German, or any other language, CADHO TOYS has got you covered. The font includes special characters, punctuation marks, numerals, and a wide range of glyphs, allowing you to express your creativity without limitations. One of the standout features of CADHO TOYS is its support for PUA Unicode. This means that you can access the font’s extensive character set through private use area codes, giving you even more freedom to customize and personalize your designs. Let your imagination run wild as you combine different characters and ligatures to create captivating typographic compositions. CADHO TOYS will bring joy and excitement to any project it graces. Whether you’re designing posters, logos, packaging, websites, or any other creative endeavor, this bubble display font is bound to make a lasting impression. Its alternate ligature style adds a touch of uniqueness and flair, setting your designs apart from the crowd. So why wait? Get your hands on CADHO TOYS today and unlock a world of creativity, fun, and boundless possibilities. Let this font take your designs to new heights and bring smiles to the faces of your audience. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

Linotype Banjoman was designed by Paul Veres. Most of its basic forms are constructed although some characters, like the a, g, or p, are more freely designed. This font is available in a variety of weights and styles. The bold weights are best for headlines or emphasis in text and the balanced Text styles were designed specifically for running text. Linotype Banjoman is an independent yet well-mannered font suitable for a variety of purposes.

Meet Gnuolane Jump, the lighthearted typeface that bounces with personality. Inspired by early twentieth-century grotesque designs, Gnuolane Jump is a typeface with a playful 1960s twist. Its superelliptical appearance gives it a unique charm that sets it apart from other headline fonts. Gnuolane Jump features old-style numerals, adding to its vintage appeal. But what really makes this font stand out is its OpenType ligatures. With tailored combos that automatically substitute common character sequences, Gnuolane Jump creates a bouncing effect that brings your text to life. If you’re looking for a more subdued style, be sure to check out Gnuolane and Gnuolane Stencil. But if you want to inject some fun and personality into your headlines, give Gnuolane Jump a try. Its lively spirit and unique character will add an extra touch of charm to your design. 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.

Clementhorpe is inspired by the lettering on an early 20th century enamel advertisement-for chocolate. From the dozen or so hand drawn letters found in that source Greater Albion Typefounders have constructed a family of Roman faces for display and text work, with bold weights, an italic form as well as condensed, small capital and title forms, all preserving the fun of their inspiration. The Clementhorpe family provides a complete solution for early 20th century inspired design work with Character, offering all the faces needed to complete a project or a range of projects within one family. Give this flexible family a try in your next project!