Merosa is an experimental display serif font that I crafted for fashion design. You can also use this font for other purposes such as logos, labels, invitations, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels, any type of advertising and etc. Feature : - Alternates and Ligatures - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, and Adobe InDesign, and even works on Microsoft Word. We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. Thank You!

Proudly Presenting, Aprillia Wijaya a Handmade Lettering Font. Aprillia Wijaya come with Stylistic-Alternates, Swash and Multi-Lingual Support which will fulfill your need with many choices. 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. Aprillia Wijaya is perfect for any tittle, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

Proudly Present, Fake Nice a Handwritten Font which will give you an abstract impression with rough detailed brush. Fake Nice come along with Multi-Lingual Support to fulfill your need. 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. Fake Nice is perfect for any tittle, logo, product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank You!

Introducing a creative font named No rules. It's a very unique typeface with modern experimental shapes. It includes five different styles for letters and numbers. No rules font can help you to create an unexpected texture and graphical rythm. Each next letter will be automatically switched to another variation using OpenType contextual alternates feature. Using capital or lower first letters will make a different looking words. Also letters set can be changed using stylistic alternates feature. Please note: Only english alphabet and numbers have five glyphs variations. Multilingual characters have only two of them for capital and lower case letters.

Namira is a modern calligraphy script font. Namira is suitable for branding, logotype, apparel, T-shirts, Hoodies, product packaging, quotes, flyer, poster, advertising, and more. What's Included? 1. Uppercase and lowercase characters 2. Multilingual support 3. Numerals, punctuation 4. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word. Please message me if you're unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries. Omotu Studio

Lontare script typeface works really well for Logos and Apparel Design. It's also great for creating Prints or Merchandise, as you can use the illustrative qualities of the shapes to create an art piece. Lontare script typeface includes many different alternates for each lowercase letter. It's extremely fun to use as each word can be transformed to your liking. Files Include : Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multilanguage Support Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

Broken letters[1] (German: gebrochene Schrift literally "broken writing"; English: blackletter) or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Grogoth is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Grogoth font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts. Thank you, and don't forget to check out our other products.

Armature Neue is an extension and clarification of the original Armature family released in 1997. We made the distribution of weights more even, and added italics extra light and black weights. Originally consisting of four fonts, Armature Neue has twelve: six weights with accompanying italics. Although conceived as a display face, a number of alternate characters are included that can be used to regularize the type for text setting. Armature is one result of my interest in typefaces that are constructed, rather than drawn. Although it is basically a monoline design, there are subtle details throughout that compensate for a monoline’s evenness. As with all fontBoy fonts, there are dingbats hidden away in the dark recesses of the keyboard. When I first started designing this face in 1992, I called it Dino-I thought I would name all my fonts after famous pets-so the dingbats for Armature are dinosaurs. Designed by Bob Aufuldish with editing and production by Psy/Ops.

Lush was a formal script until it had a few too many drinks and, as a result, loosened up a little bit. Harkening back to the handlettering of the 40s and 50s, Lush has evolved into a casual, but well-dressed script that maintains a rather aggressive rhythm. Transitions often whip back quickly, forcing the letters to reel from the movement and resolve efficiently. It is not as warm as some scripts, intentionally so, so as to distinguish it from its predecessors. Type and lettering fans will revel in the options afforded to each character—in some cases there are up to 15 different variations with multiple glyph recipes available to produce the most unique and fluid lettering combinations possible. An often overlooked segment of contemporary script fonts, the uppercase letters have at least 3 options to work with that mesh well with the 36 ornamental flourishes to add even further embellishment. In total, there are over 1,650 glyphs in the typeface that includes these OpenType options: Stylistic Alternates, Contextual Alternates, Swashes, Titling, Historical Forms, Initial Forms, Oldstyle Numerals and 3 additional Stylistic Sets. With this release, I have tried to provide as much flexibility and 'forgiveness' within the typeface so the lettering enthusiast can have fun and explore thousands of iterations… and it's pretty easy math to figure this out: with over 970 alternates and 270 ligatures, I intended this typeface to be one that keeps on giving. One important fact to note… this marks the first release of a smooth, non-brushed, non-textured script from me—but it won't be the last. That said, I will have to admit that the brush has influenced many of the characters and their construction. Enjoy :)

Micro Fleurons has small decorative motifs to use in small and soft design projects. Works great when flourish and ornament like assets are needed. Micro Fleurons are a family of 17 fonts (and growing up) with thousands of ornaments to your choice.

Picture this: you are in the woods, hunting for Elk, when all of a sudden you hear the sound of battle horns coming from the village. Troll attack! Thank Wodan you are armed with this brand new font: Trollslayer. Let the fight begin!!

The thirty images contained in Printers Parts JNL are another assortment of wonderful dingbats from various vintage sources. Brackets, ornaments, end caps, arrows, pointing hands and advertising phrases are part of the wide and various choices and styles found within this font.

CS are the initials of Carsten Strinkau, a young German graphic and type designer who studied in Hamburg. CS Fuzzy Logic combines coincidence and logic. The individual glyphs of Fuzzy Logic are almost dissolved but keep its sharpness and readability in texts.

Somatype Skwosh was born out of a desire to ignore traditional rules for condensed character forms in favour of contrasting vertical and horizontal thicknesses and the interesting shapes produced by re-scaling along only one axis. Somatype Bold was the starting point.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Strak is a font that was born out of admiration for the work of E. Vermeulen, a Belgian artist known for his tight, precise line and an unseen masterpiece that is spread around the world. He has published and exhibited his work in London, Liverpool, Angoulême, New York, Geneva, Amsterdam, Lyon and Turku (in Finland) and he even signed for the New York Times. Based on a few characters, a complete font was composed by Kustomtype. After a few sketches, Strak came to life. The name Strak, in this case, refers to the slender, beautiful woman with the correct waistlines and proportions. The font is designed this way; it is completely hand-drawn, digitized and can be used in all modern and graphic media. Strak is available in 8 different styles, has class and will make many people's mouth water when they see it on your designs. Do you want quality and style? Then Strak is the font-perfect solution!

Trapped home during the Coronavirus outburst of March 2020 the Zetafonts team found some solace from the world-wide anxiety by designing letters for the #36daysoftype challenge. To fight dark thoughts and spread some good karma we decided to add a free font twist, selecting the best glyphs drawn to develop a collection of ten free typefaces for download. We did our best to make this little gift to the community valuable, though developed in record time: although playful and excessive, these typefaces all stem from our current research in contemporary trends and historical design solutions, bridging calligraphy and design. The typefaces have been published daily starting Monday, March 30. You can download and use the typefaces in any way you desire, as they are totally free for commercial and non-commercial use. We are not asking anything back, but feel free to share the good karma and, if you want, please consider a donation for hospitals.

When work started on the design of Gelica, there wasn't the same glut of retro-ish soft serifs there is today, and if I'd managed to complete it quicker, it might have been more trendsetter than bandwagon jumper, but that's the way it goes sometimes! I still think it's useful and unique enough to be a worthwhile addition to your typographic arsenal. Although obviously influenced by Cooper, it actually owes more to the lesser known Goudy Heavyface and Ludlow Black, particularly in the concave serifs. I wanted the family to be friendly and approachable, but not overly cutesy, and usability was always the prime concern. A nice weight range with matching italics was a must, along with useful OpenType features, and various figure styles. This is a display family first and foremost, but is also comfortable at smaller sizes for longer copy, and so works well in a supporting role to a more exuberant titling font.

This font has a great retro-yet-modern feel that is slightly reminiscent of the dawning of the digital awareness age of the 1980s that gave a slight nod to the mid-20th century neon craze. It can be ideal for retro-themed events & promotions, health & cosmetic lines, or wherever you may need a sleek, minimalistic rounded style of lettering.

Hand lettering on the packaging for an Arrow "Commander" Staple Remover seen in an online auction is the inspiration for the unusual and angular typeface comprising Staple Remover JNL. The Art Deco era of the 1930s and 1940s offers many wonderful examples of stylized and experimental lettering, and this, by far is one of the more eclectic styles of the time.

This font is based on a lot of the downtempo culture in Paris. Smoky bars, jazz clubs, that sort of thing. How a font can be influenced by intangibles is a question that I can't quite answer, but I can say that when I created it, it strongly reminded me of a couple of times spent in Paris back in the mid-90s.

RMU Siegfried Pro is another breathtaking Art Nouveau font from the fin-de-siècle period which underlines your stylish projects in a remarkable way. The font was carefully redesigned, some oddieties abolished, and the font was extended to make it usable for Central European languages too. Three embedded graphic elements let you make a fitting frame. The letter k has an alternative form, so look for all OT features in this font.

Sheet music for the 1939 Hoagy Carmichael composition "Hong Kong Blues" features the Far East-influenced hand lettered title that was the basis for Asian Imports JNL; available in both regular and oblique versions. Carmichael performed the song in the 1944 Warner Brothers film "To Have and Have Not", (which first paired Humphrey Bogart and Lauren Bacall). The sheet music was a reissue to capitalize on the song's use in the film.

Dunelm is a typeface that was inspired by the type used in an English book from 1636. The typeface used in the book was unique and the goal in creating this font was to emulate the printing feel of the 17th century. The authentic ink-blotted and imperfect feel of the letter-pressed type was preserved with care. For best effect, this font should be used at text and smaller title sizes.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

The regular style of this family was inspired from the typeface used in Nuremberg, Germany, by Johannes Petreius in 1543 to print the famous “De Revolutionibus Orbium Coelestium,” the well-known mathematical and astronomical essay by Nicolaus Copernicus. Petreius was also using an original italic style, as he did for the “De Sculptura” by Gaurico Pomponio, in 1542. Unfortunately, nobody seems to know who was the punchcutter of this Jenson-style font. Also included is a title file, containing initials (without diacritics) and small caps (with diacritics). In our three styles (Regular & Italic + Titling), font faces, kerning and spacing are as closely as possible identical to the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and long-s ligatures in regular and italic styles. Both have twin-letter ligatures, but the italic style has extra (genuine) ligatures for f and t with vowels.

SansduskiMono is a sans-serif decorative/display family that is monospaced. Its very high x-height and tight spacing make it more suitable for use at large point sizes than small point sizes. (There are better options if one wants a readable text font.) The letter O is a rectangle with rounded corners and this shape motif is carried over to other characters that are usually rounded. The origin of this face is in a previous typeface, BigStripesMono. That family was designed to use the OpenType feature Contextual Alternatives (calt) to put stripes on letters. It had only upper-case letters in one weight. SansduskiMono adds lower-case letters and eight more weights plus italics and outline styles for the black weights. For a proportional rather than monospaced version of this design idea, see Sansduski. SansduskiMono is appropriate for titles, posters, advertising, and other uses that benefit from simple letter forms that are geometric and clean.

This is an extension of Mikolaj's Grabowski first typeface. Formerly known as EPILEPSJA, now coming as ACHTUNG. Adding lowercase and small caps, as well as additional language support including Cyrillic script and some dingbats. ACHTUNG Color Type Family has a range of application from warnings and safety signage to propaganda posters and anarchist graffiti. Every place where you need an indisputable message, be it in headlines or titles, this font comes in handy. It’s a stencil, it’s layered and impossibly dimensional. Download the specimen HERE. I advise you to do so in order to being aware of how the layers work and how to use color fonts. Total of 1020 glyphs. Languages: Afrikaans, Albanian, Bosnian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Macedonian, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian, Vietnamese, Zulu. OpenType features: small caps, localizations, superscript, fractions, ordinals, proportional and tabular figures, case sensitive forms, stylistic alternates, contextual alternates, and proper mark attachment.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! CALLING ALL CREATIVE PEOPLE and any other creator who wants their work to stand out. Edcosmic is an urban glyphic font that pours unique character into your creation. The traditional way of having graffiti style is to draw every letter manually. For every styles that you want to create, you’ll have to draw each letter by hand. This will take you days and most likely months to finish your project. With technical development, it limits the use of graffiti style in real life because it is so time consuming. Edcosmic is a graffiti font with an elaborate character set that makes creating the new styles easier than ever before. You don’t have to draw every single letter by hand anymore. What took months can now be done within hours if not minutes! You are still limited by your own creativity instead of time consumption. Edcosmic is a font with a new graffiti character set that gives creative freedom to your world. The font has very detailed characters, this will make your design different from all the others. By having a special font you can create a new style and make the world your own! A Million Thanks www.colllabstudio.com

Elliptical The squareness of curves. That was the elliptical – in more than one sense – notion being explored in the making of FS Hackney. The squareness of curves and vertical terminals to create a gentle, soft sans serif, with a little bit of magic. A momentary thought – “It doesn’t have to be like this” – provided the spur to explore the verticals and skeletons of letterforms beyond conventional type design limits. A 12-month gestation period gave rise to a font with a larger-than-usual character set, including non-lining figures, small caps and superior and inferior numbers. It’s a collection that speaks confidently for itself. Assertive It was the Hackney carriage – the black London cab – that gave this font its name, not the north London neighbourhood. Solid, dependable, effective and built to last, FS Hackney was honed to perform in all conditions. Cool, compelling lines and a satisfying overall simplicity lend FS Hackney its assertive air. Assured, versatile and effective; just like a black cab (but without the grumbling). Machined Over a string of meetings, Jason Smith and FS Hackney designer Nick Job worked out how to infuse Nick’s sketched letterforms with Fontsmith’s familiar geniality. “Nick is very meticulous and produces very clean design work,” says Jason. “Hackney is ideal for branding as it’s very clear and its quirks are sensible ones, not odd ones, that don’t distract from the message.”

The current design of "iogen" is a result of years of alterations since it's original concept was born in 2010 and it needed a hallmark to make it authentic. The idea of "a typeface speaking pleasantly" is the basis on which "iogen" is constructed. Hereby, the letter forms are based on sharp directional changes and curved vertical strokes, allowing it to speak clearly and pleasantly. The sharp corners, open apertures and open counters of iogen also ensure legibility in smaller sizes. The Iogen family has 6 members with 3 basic weights with sans and serif styles. It supports the Latin extended character set and opentype features like stylistic alternates, ligatures, fractions, denominators, numerators, superscript, subscript and ordinals. Iogen is a good fit for all of design needs with it’s wide range of character sets and features.

The Parliament typeface was designed by Jonathan Hoefler beginning in 1995. A burlesque typeface in the Regency Blackletter style, Parliament was inspired by the ‘Four-line Pica Black No. 1’ typeface of William Caslon Jr (1821), whose enigmatic design for the letters E, G, I, N, V and Y hinted at a broader ambition to modernize the arcane shapes of the gothic alphabet’s capital letters. Parliament completes this project for the first time by including two sets of alphabets, one archaic and one modern, along with a third set of ‘small caps’ that restores to the blackletter the versatility of Roman type. Parliament was first used for the 1998 ATypI Conference in Lyon, and was published by Hoefler&Co in 2022.

Fontology-E is an experimental font designed by Fabrizio Schiavi. It was created for the cover of the Fontology catalogue. Schiavi's need was to build an optical false modulation effect with versions of the logotype and typical rectangles of an empty font chart. The basic idea was to create a page that contained many rectangles in order to demonstrate the modulation. At the same time, it was important to understand that Schiavi inserted 8 versions of the same logotype each time the corresponding letter is digitized in e, a, d, f, g, h, c and b. The inside of the catalogue has the same layout and text, which is revealed by fanning the pages. Schiavi confess that Fontology-E is a highly experimental typefont.

With its animated contours, and set in an appropriate size, the Garamond Rough typeface attempts to simulate printed hot metal typesetting. Its roughened edges make it appear softer and less crisp, and, thus, takes the harshness out of the type image. The size of the offered type complement as well as the number of its affiliated symbols makes it ideal for differentiated text setting. Furthermore, its display types make surprising visual accents possible. The origins of the design of Garamond Rough go back to the middle of the 16th century. They are ascribed to Claude Garamond who was one of the first typographers who designed typefaces specifically for the setting of books. During the course of the past centuries and decades, many different variations and new design interpretations of the Garamond typeface were developed to accommodate the most diverse typesetting and printing practices in many different countries. As such, today’s designers can take advantage of a comprehensive digital repertoire for text and display applications. Translation Inga Wennik

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

The productivity of the Berlingska Stilgjuteriet was made possible by the development of modern typeface art in Sweden in the 1950s. The typeface Berling was designed by Karl-Erik Forsberg for the Berlingska Stilgjuteriet in Lund. It belongs to the modern text typefaces and like most of these markedly shows the influece of the Neorenaissance. Berling Antiqua appeared in 1951 with a matching italic and by 1959, it was expanded to include five weights. Linotype offers Berling in four of them, roman and bold with their respective italics. In 2004 the Swedish publisher Verbum commissioned a complete redesign of Berling for the 21st century. Linotype assisted the designers of this new typeface, which came to be called Berling Nova.

The Orbi type system is a low contrast antiqua of elegant design with a well developed set of members. It consists of 10 roman and italic faces of different proportions and weights and 3 decorative calligraphic fonts. It also contains 3 additional fonts with various decorated initials. The roman includes small capitals. Thanks to its variety of styles the font is suitable for a wide range of applications - the basic styles are good for books and periodicals; the narrow styles work well in the columns and tables of business papers; the decorative styles are ideal for ceremonial typography where swashes, calligraphy and initials are usual. The fonts were designed by Natalia Vasilyeva. Released by ParaType in 2010.

M Razor is so called ""neo Sung-style"" typefaces. Crossbars (橫) and stems (豎) are orthogonal and upright. Their entry and finial points are squarish, parallel without flare. Contrast of strokes is extremely high. This creates sharpness, stiffness in the midst of elegance of Sungti. Even distribution of space, careful positioning, size and proportion of radicals create a slightly expanded, opened and balanced construction. Zhonggong are slightly expanded, its relatively less inter-character spacing makes the line of text better coupled and aligned. Its features and construction create a feel of wholesome, elegance with contrasting sharpness and stiffness. It is best suited for casual, creative display eye-catching text, set upright (non-slanted), non-condensed.

Sworded is a font family of 8 fonts that was inspired by such diverse things as architecture, tombstones, video games, watching old movies or reading comic books. The art of creating beautiful letters has slowly declined with the rise of the digital age and its solid-colour, 2D fonts. And most of the time, the care given to typography in cultural products just isn't what it used to be anymore. This was the inspiration for Sworded, a family of 4 layerable fonts that can bring a feeling of depth to its letters, and offers endless possible combinations. Sworded Regular is the basic shape of all the characters. Sworded Deep gives an impression of depth to characters or acts on its own as an illusion. Sworded Bright can be used as the bright side of a bevel. Sworded Dark can be used to flesh out the dark side of a bevel. Sworded Shadowed is a contour font with a shadow effect. Sworded Wire is a wire font without depth indication. Sworded Outline is an outline font. Sworded Hatched is a variation of Sworded Shadowed with lines giving a gradient illusion. But of course, any font can be combined with any other font(s) to obtain various results. There are hundreds possible combinations with these eight fonts. Have fun!

Obsession has taken me completely in its spell. I could go on forever creating new forms for this script. But I have other fonts to do, so this is as far as my obsession goes for the moment. There are six different cuts and all letters can be mixed.