Blue Sugar is a grunge font which has one letter-shape in white set within a different grunge letter-shape in black. The Regular and Dirty versions have their characters in conventionally upright positions; and there are 3 varieties with the characters in various states of disorder and at slightly varied angles and sizes - called Twirled and Whirled. The Mixed Caps version introduces no new characters, but combines straight capitals and jumbled capitals in the same font, for convenience, in which Upper Case A-Z displays conventional upright Capitals, and lower case a-z displays jumbled Capitals. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions of a font on the same machine.

Duluth, Minnesota's Horace P. Brouillet Syndicate (later known as Syndicuts, Inc.) was one of a number of stock cuts providers to the letterpress trade in the decades preceding paper, then electronic clip art. Brouillet's "Typeps" catalogs offered a wide range of images covering numerous subjects, as well as cartoons, catch words and automotive logos. Many of these images have been reproduced in a number of royalty-free clip art publications over the years. Twenty-Six of these newly-redrawn catch words are found within Business Helpers JNL in two styles. On the capital keys are the original white-on-black designs, modeled from the vintage source material. The lower case keys have the phrases separated from the decorative ovals and are in black type.

Grandis ("chainlink") was initially intended for a first person shooter’s UI, so this guided the design. The font had to be readable while maintaining sci-fi feel and also to not rely on kerning (most video games don’t support it). This meant a large x-height, steep diagonals and squared bowls to reduce the amount of white space between letters. Tabular numbers as default facilitate UI design where timers or tables are involved. What makes the font stand out from similar grotesks is the letters’ classical proportions with wide bowls and narrow rectangles. The result is a readable, versatile workhorse with an interesting dynamic rhythm and where extreme weights/widths can also be used for display purposes. Supports multilingual Latin and Cyrillic, including Bulgarian and Serbian alternates.

Rodeo Clown is a revival of an old classic font that you may have known under the name of Carnival. The Rodeo Clown family includes Fill fonts that you may layer behind the letters to add color or set to white so any background image doesn't show through the letters. The half fill should be layered on top to change the color of the top inlay design. The fill font for Rodeo Clown may also work as a stand alone black weight. In our sales images you'll see a sample of the fill font being used, we've intentionally offset the fill font to give it a misaligned printed look which was common to see with fill fonts in the 1800's

Liebfraumilch is a vivid handwriting script that relies on the OpenType features Contextual Alternates, Discretionary Ligatures and Stylistic Alternates, which are available only in OpenType-aware applications such as the Adobe Creative Suite or Quark Xpress. Liebfraumilch or Liebfrau(en)milch is a style of semi-sweet white German wine which may be produced in the regions Rheinhessen, Palatinate, Rheingau and Nahe. The name is a German word literally meaning "Beloved lady's milk". The original German spelling of the word is Liebfrauenmilch, given to the wine produced from the vineyards of the Liebfrauenkirche or Church of Our Lady in the Rhineland-Palatinate city of Worms since the 18th century. The spelling Liebfraumilch is more common on labels of exported wine. (Wikipedia)

Narcissus Open is a heavy typeface designed by Walter Tiemann in 1921 for the Klingspor Foundry in Germany. It is a shaded wide roman using a very modest amount of white highlighting. Serifs are extremely delicate, almost ornamental. This elegant old typeface gives a feeling of importance and authority and is highly effective when used in large display sizes. Narcissus Solid lacks all highlighting and becomes more useful in smaller sizes. Narcissus Open and Solid are also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Once upon a time, in the days BC (that's Before Computers) there lived a very talented group of men and women whose job it was to render ads by hand. So skillful were these people that some say it was possible to actually identify the typefaces that the layout artists were emulating. Their renderings were swift and slick, no time for detail as it was necessary to do a whole bunch of variations, usually within ridiculous deadlines. Their only tools: bullet-tip markers and bond paper - often mistakes resulted but no time to re-do and white paint was totally unacceptable - just let the slipups be. Here's a simulation of their craft, we don't really know what typeface this was supposed to represent… any ideas?

Dense and strong, this family is inspired by the lettering on the poster of a short expressionist play by the astonishing and highly skilled Austrian painter, printmaker and writer Oskar Kokoschka in 1909. If the typeface itself is already deeply vigorous, the font programming makes it shine, making great use of OpenType features. Contextual Alternates will cycle alternate glyphs, providing a more realistic handlettered feel. Ligatures will not only trigger special glyphs, but also build new combinations through a smart kerning adjustment. And yet there are also some stylistic alternates to add that extra-twist. The family counts with a nice textured version, also an oblique and a very handy assortment of extras, making this family an impressive toolbox for expressive designs.

Introducing Anttisol, a handwritten brush font with a natural, rough, dry, and fast stroke. This font is perfect for signature logos, handwritten quotes, weddings, product packaging, fashion magazines, photography, merchandise, branding projects, poster, social media post, book covers, and advertising. You can create more easily with alternatives to each letter and make it as if you wrote it yourself. Anttisol contains upper and lowercase characters, numerals, ligatures, alternates, and a large range of punctuation. More information about how to access alternate glyphs, you can see on this link : http://goo.gl/ZT7PqK ) If you have any questions at all, feel free to send me a private message, I’m always more than happy to help you along :) Thank you! Happy creating. Enjoy!

Aabak is a sumptuous modern typeface family. The high contrast, super elegant, didone like shapes were infused with a little fluidity from 60’s psychedelic lettering, the results is a contemporary face that screams freshness. It is ideal for branding, advertising, headlines, posters, movie titles, and much more! This design deliberately sabotages a lot of white space to have that compressed punchy look. The tear drop terminals and the melting serifs create a surprisingly superb combo. Sharp joints were smoothen to convey a warm and subtle feeling. Aabak comprises a total of 18 styles, 6 weights in 3 different cuts: Upright, Italic and Swash. The Swash styles have also a terminal forms feature that gives that extra lush feel. Have fun playing with it!

Compact sans, ideal for setting long texts in small or very small type sizes: for packaging, instruction booklets, drug information leaflets and anything else that has to be legible at very small sizes. Lean and rhythmical, designed ideally to be used at less than 8 points (Brevier was the old typefounders’ name for 8-point type), Brevier holds up well even under adverse printing conditions. The apparently geometric letterforms hide Renaissance characteristics, the x-height and openings are very generous and the strokes slightly modulated. In order to offset ink spread – which is inevitable when printing very small sizes of type – Brevier has large white spaces between the letters. All internal angles have deep ink traps and many connections have been left open.

"A capital titling face with numerals, erroneously labelled in Figgins specimen book of 1817 as an 'antique' or roman. With a very bold, nearly monoline construction and squared serifs as thick as the main stroke, this type surpassed even the fat face style in blackness, it was popularised by the advent of handbills and early advertising posters, which needed bold type styles to project commercial messages from a distance. A sign-writer friend of mine theorises that the Egyptian style originated with the North African campaigns (hence Egyptian) of Napoleon Bonaparte, and the type historian Ruari McLean also suggests that the Egyptian style originated with signwriters 'block' letters, just like the prototypical (and contemporary) sans serif of Caslon IV." (Ben Archer)

A reminder of the days of flower power, Satron is quite a bit different, slightly hippy and slightly grungy. Although it is not in any way an attempt to emulate the fonts used in that era, it evokes the mood of the time. There's two different shapes making up each character, with a grungy black one in front of a hippy white one. The combined effect however is quite novel and modern. There's also a jumbled version with the letters rotated and whacked around, in case you want it funky-flavored. There's all the main characters plus lots of extra accented letters as well. The package contains both OTF and TTF versions - install either OTF or TTF, not both versions on the same machine.

Capital Love just contains capital letters decorated with hearts. By pressing a lowercase button a alternative to the uppercase letter will appear. All shapes are drawn individually and do not oblige a geometrical system. The lighthearted vivid ductus remind me of a quality that can be found in the dynamics of Keith Haring drawings. Capital Love is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Sutro Deluxe is a bold slab serif with a double drop shadow. It was originally conceived as a simple black and white display alphabet. But it seemed unfinished, begging for something more. I decided to try adding a couple layers of fill and detail to try and make it interesting. The result is this five-layer chromatic font family. The Primary Font is the Main Font. The other fonts ( Fill, Inline Fill, Inline and Shaded Inline) only exist to support the Primary Font.There is some color trapping going on.To make sure you are laying the fonts on top of one another in the optimum order, I recommend the free PDF User Manual. The downloadable PDF Sutro Deluxe User Manual is in the Gallery section for this family.

ROARRR! THE STYLES -Pantera Pro is the most complete style, and although its default look is mono-rhythmic it gets really playful and crazy like the examples of the posters by just activating the Decorative Ligatures button in the Open-type Panel of Adobe Illustrator. However, I recommend using also the Glyphs Panel because there you'll find much more variants per letter. Pantera Pro is in fact, coded in a way the combination of thicknesses will always look fantastic. -Pantera Black Left, and Pantera Black Right are actually “lite” versions of Pantera Pro: They have very little Open-Type code, so what you see here is what you get. Pantera Black Left has its left strokes thick, while Pantera Black Right has its right strokes thick. -Pantera White is a lovely member in this family that looks lighter and airy, hence its name. With the feature Standard Ligatures activated (liga) the font gets very playful. -Pantera Caps is based on sign painters lettering and since it follows the same pointed brush rules as the other styles, it matches perfectly. -Pantera Claws like its name suggests, is a set of icons that were done by our dear panther. THE STORY It is said that typography can never be as expressive as calligraphy, but sometimes it can get close enough. I tend to think that calligraphic trials, in order to work well as potential fonts, need first to go through very strict filters before going digital: While calligraphy is synonym of freedom (once its rules are mastered), type-design, in the other hand, has its battlefield a little tighter and tougher. When I practice pointed brush lettering, there are so many things happening on the paper. And most of them are delicious. The ones who know my work may see that although many of my fonts are very expressive, my handmade brush trials are much more lively than them. With that in mind, this time I tried to go further and rescue more of those things that are lost in the process of thinking type when first sketches are calligraphic. I wondered if I could create something wild, hence its name Panther, by understanding the randomness that sometimes calligraphy conveys and turning it to something systemic: With Pantera, I created an ordered disorder. Like it happens a lot in many kinds of lettering styles, in order to enrich the written word the scribe mixes the thickness of the strokes and the width of the letters. Like one of my favorite mentors say (1), they make thoughtful gestures Some lively strokes go down with a thick, while some do that with a thin. Some letters are very narrow, meaning some of them will need to be very wide to compensate. Why not?. The calligrapher is always thinking on the following letters, and he/she designs in his head the combination of thicks and thins before he/she executes them. He/she knows the playful rhythm the words will have before writing them. It takes time and skill to master this and achieve graceful results. Going back to the font, in Pantera, this combination of varying thicknesses and widths of letters were Open-Type coded so the user will see satisfactory results by just enabling or disabling some buttons on the glyphs panel. I'm very pleased with the result since it’s not very easy to find fonts which play with the words' rhythm like Pantera does, following of course, a strong calligraphic base. I believe that if you were on the prowl for innovative fonts, this is your chance to go wild and get Pantera! NOTES (1) Phrase by Yves Leterme. In fact, it’s the title of a book by him. EPILOGUE Esta fuente está dedicada a mi panterita

It's 1984 and everything has sideburns. Shoulder-padded "dress for success" is in, with power suits for women, black and white layers for men, neon brights for the youngsters. Maggie's "enemy within" and "no society" speeches preface the arrival of shopping malls and corporate status symbols. The economy is a philosophy and accountants carry ambiguous but very sophisticated-sounding titles. Thousands of words and expressions are reduced to initials or monosyllabic sounds. Synthesizers are very refined and the music is very catchy. The Macintosh and MTV are making waves. Brands are lifestyles. "Yuppy," Yummy," "Bobo," "Dinky" and "Woopie" are standard consumer categories in advertising lingo. The Volkswagen identity, only 5 years old now, is all the rage in design. VAG Rundschrift, by all appearances a rounded and slightly condensed Futura, is everywhere. Tube design is king. Fast forward two dozen years. Replay, but bigger and much louder. Fab. Let's dance. Fab is Canada Type's tribute to the Eighties. It's a five-font unicase family that brings tube design into the 21st century. The main font is an all-in-one treatment of the shiny roundness that the 1980s were. Fab White is a tightly packed thick outline font that conveys luscious contentedness like nothing else. The Fab Trio package is very useful for layered and colorful design, with the Black style serving as a backdrop, the Bold style as the front forms, and the Fill style for inlining. Fab comes in all popular formats and contains support for Western, Central and Eastern European languages, as well as Baltic, Esperanto, Maltese, Turkish and Celtic/Welsh languages.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Picture it: a bustling city street in the 1920s, when the world was changing and women were fighting for their place in it. Billboards line the road, but one catches your eye—it’s Skygirls, a typeface that takes you back to a time when advertising was an art form. This typeface is no ordinary script. It’s a tightly wound, joined design that exudes elegance and urgency. Its steep angle draws the eye up, making your message impossible to miss. Skygirls is inspired by classic metal scripts like Herald, Signal, Hauser, Penflow, Veltro, Kurier, and Bison, so it’s no wonder it feels so timeless. With Skygirls, you’re not just writing a message—you’re making a statement. It’s the perfect typeface to convey the frantic, fast-paced style of the roaring twenties. Your words will flow seamlessly together, creating a sense of movement and momentum. And when you set it on an upward slope, it’s like your message is soaring to new heights. If you want to make an impression that lasts, Skygirls is the typeface for you. It’s a perfect fit for any project that requires a touch of vintage charm, and it will leave your audience with a lasting sense of style. So why settle for the ordinary when you can have something truly extraordinary? Choose Skygirls and let your message take flight. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Kinesthesia, the hypermodern typeface that channels the sleek, futuristic aesthetic of liquid crystal displays. With its sharp diamond points and hi-tech letterforms, Kinesthesia is the perfect choice for anyone looking to communicate their message with a cool, technical tone. Whether you’re designing a cutting-edge website, a high-tech advertisement, or a bold logo, Kinesthesia will give your work an unmistakable edge. But what sets Kinesthesia apart from other typefaces on the market? For starters, it offers a wide range of monetary symbols, as well as numeric ordinals, primes, and OpenType fractions. So whether you’re writing a report for work or creating a digital design for a client, you can be confident that Kinesthesia has all the symbols and characters you need to convey your message with precision. And of course, let’s not forget Kinesthesia’s angular design. With its sharp, diamond-shaped points, this typeface is the perfect choice for anyone looking to add a contemporary edge to their work. Available in Ultra-Light, Extra-Light, Light, Regular, Semi-Bold, Bold, and Heavy with obliques, Kinesthesia offers a wide range of weights and styles to suit any design need. So if you’re ready to take your design game to the next level, look no further than Kinesthesia. With its technical aesthetic and wide range of features, this typeface is the perfect choice for anyone looking to make a bold, unforgettable statement. 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.

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione

The Spaghetti playful cute font includes the main & alternative uppercase, and main & alternative lowercase, and the full set of double letters in an upper and lowercase, and a large range of numerals and punctuation. The Spaghetti font will be perfect for use in all your fun design projects be it logos, labels, packaging design, blog headlines. Also, it will look great on mugs, cards, kids books headlines, or other typographic projects. Spaghetti cute playful font contains the Cyrillic glyphs too. The Cyrillic part of the font contains a full set of uppercase lowercase, and the Spaghetti Symbols is an additional font with 52 hand-drawn doodles, catchwords, arrows, and swashes and can help to make your design more original. Combine and arrange swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z and a-z keys in the included Spaghetti Symbols font). A different symbol is assigned to every uppercase or lowercase standard character so you do not need graphics software just simply type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian and Ukrainian languages. Thanks!

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

Axiforma was designed with the single idea of creating a font that starts with the letter A, because let's face it, this is the best letter. For those of you who didn't see it coming, Axiforma is a /drum roll/ geometric sans in 20 weights. If you are thinking "Oh boy, another geometric sans", you clearly know your stuff. Yet, Axiforma is different in at least three crucial ways: 1) It's made by me 2) It's not free 3) It's polite and humble Additionally, Axiforma is packed with Opentype such as oldstyle numbers, fractions, case sensitive alternates, localized forms, stylistic sets, cyrillic alphabets (Bulgarian & Russian) and many more. Basically it's quite extensive and kinda great. Upon using Axiforma, clients will start to behave differently around you and may even start paying you. Your spouse will start working out again just to gain your attention and your kid will become instantly popular at school. After all you are using Axiforma and rumors do spread quickly. That's what we are talking about - raw font power. With Axiforma regular typed text is suddently transformed into first class design. That includes branding, posters, headlines, display, presentation materials, websites, logotypes, etc. The world will now be your playground. To sum it up, Axiforma is badass, thus you should have it and use it everywhere.

Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

Avantgarde fonts Batory and Batoswash are monoline sansserifs designed by Bo Berndal. The futuristic Batory (think Bladerunner and Total Recall) and the spicier relative Batoswash come in three versions: Narrow, Middle and Wide. The font family is available in Truetype and Postscript for Mac and PC. Bo Berndal, born 1924, has been designing typefaces over 56 years, for Monotype, Linotype and other foundries. "Batory is a monoline reaction to my many calligraphic fonts", says Bo Berndal. "That is also the reason I did several widths instead of weights. Batory has short stems and high x-height. Batoswash is a Batory gone wild!" The successful Batory has already been used for logotypes, vignettes in magazines and as headline type.

Seconda XtraSoft is the extra soft companion of Seconda and Seconda Soft. Friendlier, easier on the eye, more informal, more fashionable — but still the refined and reliable Seconda. Seconda XtraSoft’s extra softness comes from the moderate rounding of both the edges and the inner corners of its characters. Seconda XtraSoft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. When using Seconda XtraSoft in small text sizes, it will be a reliable and legible text face. When using it in big display sizes, it will show its interesting details. For more information about Seconda XtraSoft, download the PDF Specimen Manual.

Praysire is a sophisticated sans serif with beautiful swashes. It has many alternates which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. The unique letterform makes this font one of a kind! Perfectly to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

SAMURI is our newest font with Japanese style features, developed with an exotic and relaxed shape, this font is extremely attractive to match your extraordinary project, using this font will instantly make your project look exquisite, charming, and everyone will be glad to view the look. Unlike the rest, your project will be one-of-a-kind. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

StudioSans — is a modern representative of the class of sans-serif fonts inspired by the traditional Swiss design and typography of the mid 20th century. This is a minimal, clean and open font family with friendly forms. Focuses on functionality, has a high x-height and short ascender and descender elements. This is combined with soft circles and high legibility of characters contributing to comfortable reading. The family contains six weights from ExtraLight to ExtraBold. Each of them has in its arsenal more than 450 glyphs and knows more than 50 languages. Support for OpenType Features focused on the Oldstyle Figures (including signs of currencies and interest), Case-Sensitive Forms, Standarts and Discretionary Ligatures, Slashed Zero and Etc.

Bozon™ is a modern, minimalist geometric grotesk typeface. Letter shapes are crafted with the highest care for proportions and legibility. This clean, sharp sans serif is a great choice for all kinds of modern projects including branding, logo design and display use. Bozon™ family consists of 10 weights with corresponding italic styles, that give total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. The family has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular, circled and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Gastella Night is a handwritten font family consist of script, casual handwritten, and unique all caps font. In other words you can get four styles of fonts at once, all styles in this family is well matched to each other. Gastella Night Script font comes with few ligatures to make it looks more natural, also comes with slant style named Gastella Night Script Italic to make it looks more delicate when used as signature. Gastella Night Regular is a casual handwritten font, so it will be suitable to all kind of design, as tagline, quotes, etc Gastella Night All Caps consist the uppercase only, add this font to beautify your design with it's unique style.

I'll admit right off the bat here -- I've never been to a party in a barn. I don't even know if they still do barn dances and parties, or if that's something out of the musical Oklahoma! or something. But this font gave me kind of a homey, rustic feel, so the name felt right! Like many of my fonts, this one has been refined with crafters in mind -- smoothed curves and reduced nodes, for easy cutting and printing. It's also packed with over 600 characters total! The usual alphabet, numbers, and punctuation, plus 30 double-letter ligatures, over 300 diacritics, and a full second alphabet coded in as Stylistic Alternates. Enjoy!

This is not an historically accurate font but rather one intended capture the spirit of ancient Roman manual type. It was inspired by various patterns used in documents and books created by Latin scribes between the second and fourth centuries. They used either calamus and ink on papyrus, or a pointed metal stick on wax tablets. We have created the font for contemporary use; distinguishing between U and V, I and J, which had no meaning for ancient Latin scribes, and adding thorn, Oslash, Lslash, W, Y and common accented characters that did not exist at the time. A lot of titlings and contextual alternates complete the set. Available only in TTF and OTF format.

Brugenfield is a modern serif display with a unique ligature. This typeface has been crafted with care to ensure a premium quality and luxurious feel. The binders make this typeface unique and stand out from regular serif fonts. It is suitable for logos, headlines, titles and various other formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any kind of advertising purposes. We highly recommend using a program that supports the OpenType feature and the Glyphs panel such as many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Email us to zamjump@gmail.com if you need anything! Happy Designing!

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Trustee Modern Retro Bold Serif . That has a unique style & luxurious look. is great for logos, editorial, web design, craft projects, shirts, decoration, wedding invitations, packaging, stickers, social media, quotes, magazines and more!. The unique sharp serifs mixed with thin strokes give off a bold mid century architectural vibe. Trustee features: · Alternates And Ligatures · Uppercase And Lowercase · Numerals & Punctuation · Accented characters · Format File: OTF,TTF,WOFF,WOFF2 · Multilingual Support · Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day

Proudly present "Mango Crush - A Retro Serif Font" Mango Crush is a retro serif font with smooth curve. You can fell the groovy and sweet of this font in every shape of letter, this font also has a beautiful ligature and alternate , so you can create your design more stunning. Mango Crush perfect for any kind design project like branding, logo design, invitation, cricut project, embroidery also you can use it in canva / procreate. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you