Cordially Yourz is a bouncy, witty little font. Sometimes there are no caps, or there are only caps… there is no real baseline… it is a headline font but can be used sparingly as body copy. I wouldn't set a whole book in it but a paragraph could be fun. And fun is what this little font is all about. Cordially Yourz can be seen in the 2012 Typodarium Page-A-Day Calendar on 5-29-2012.

Type designer Friedrich Poppl is perhaps best known for his classic text faces and elegant scripts, but it seems he had a playful side as well. This frisky face is based on Dynamische Antiqua, which Poppl did for the Stempel foundry in 1960, but which was never released. Bright, bold and bouncy, it’s the perfect choice for headlines with impish impact. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

Ellabette™ is a script font that was created by a wedding stationery designer after working in the industry for over a decade and getting request after request for script fonts that were formal but legible. Ellabette is warm and inviting, playful but elegant. Perfect for all things weddings, branding, editorial, social media, and websites. Designed with weddings in mind with fun special ligatures like "RSVP" "and" and "to" and works beautifully for legible address lists and envelope printing.

The Brush Strike Family is an exercise in dynamic, gestural brush type design by Francesco Canovaro. The typeface contains no lowercase set, but it doubles the uppercase with a strikethrough alternate set to be used for dynamic logo design and unusual word highlighting. Two weights are available with consistent design: the light weight (Brushstrike Light aka Lightstrike) can work together with the heavier regular weight but can also be used in white on dark background for light effects.

Smurrie means ‘sludge’ in Dutch. It is not an exact translation, but as good as I could find. The name refers to the rounded, blob-like shape of the glyphs. I think this font would look very good on posters, book covers and T-shirts. Smurrie is an all caps font, but upper and lower case differ and can be used together. Smurrie oozes with charm, fun and happiness and comes with a whole bunch of diacritics.

Batchelder Ruff is a "battered" version of the typeface used for titling in the catalogs and advertising of the Batchelder Tile Company in Pasadena, California in the 1920s. The original source characters were smoother, but they were also handlettered, so that every character was different. This digitized version contains uniform characters, but its "rough" quality preserves the hand-drawn look. It is designed primarily as a headline font, and thus is best used in All-Caps in larger sizes.

Big headlines, big mastheads, big cover art. Big, big, big–big is best when big. The exquisiteness of Freight Big Pro’s hairline strokes and elegantly pointed serifs provide a striking contrast to its surroundings. Very useful when you really wanna knock someone’s socks off but with the touch of a feather so they’ll know something happened but not how it happened. Freight Big Pro, sublimely subliminal. Go ahead, slip one on (or under) your covers–we won’t tell.

In Hammered all the letters are made up of hammers and an occasional nail. It is caps only, but the characters on the lower-case keys differ from those on the upper-case keys. It has a large set of accented characters. It is not often that one needs a typeface made of hammers and nails, but if one does, there is a font for that. For related, tool-based typefaces, see Screwged, NailsNStaples, and WrenchedLetters.

Config was influenced by geometric sans with circular forms but the proportions have been condensed by incorporating straight sides for a design that is sturdy and efficient yet friendly. The neutral design with subtle details makes it functional for type setting in small and large sizes. Its clean nature makes it readable at small sizes but the touch of character—as seen in the notched joints, rounded details, and horizontal/vertical terminals—make it interesting at large sizes.

Well, if you found this page via Google and what you're looking for is NOT a Slam Bang display and logo font (made famous by the logo of our sister company's flagship comic book title, HIP FLASK), but in fact a small metal bottle suitable for brandy, whiskey or the spirit of your choice, then we deeply apologize. If you've read this far, then we'd like to point you to eBay where you'll find a wide selection of the items you're looking for. While you're there you might also like to consider how difficult it is for HIP FLASK fans to find back issues of our comic amongst all those pewter and stainless steel christmas gifts for your golfing friends and fellow alcoholics.

FACE FRONT, True Believers, This is The Issue You’ve Been Waiting For! In response to requests from our Hawkeyed customers, we’re making this Super Team of fonts -- which our fontmeister Assembled for the pages of THE AVENGERS -- available for the first time! A handsome collection of characters that would put a Norse God to shame, FACE FRONT is composed of Earth’s Mightiest regular, italic, bold and bold italic faces -- in UPPER and lower case. And now, these Living Legends can now be yours! Rick Jones not included! Remastered Face Front includes improved spacing and kerning, an upright Bold weight, Central European & Cyrillic characters,Crossbar I Technology™ to place it in exactly the right spots, plus hearts, stars & music notes for Manga lettering.

When they say everything’s already been invented, they’re exaggerating a bit. But not much. When we design new typefaces, whether we like it or not, we have in our memories the historical legacy and invention of our predecessors. That’s also true for more detailed work on optical sizes, intended for the largest or the smallest typesetting. Although for display sizes we give room for fantasy and elegance when shaping fine serifs or smooth drawings full of refined details, for styles designed for footnotes and other small texts we do the exact opposite – pragmatically and rationally, with knowledge of the optical properties of small text. And that’s precisely the case for the Tabac Micro subfamily, a sans-serif typeface derived from Tabac Sans.

We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.

Studio Neon is an all-caps display font constructed with three rounded-end strokes; the lowercase set is included as a repeat of the uppercase to make setting type just that little bit easier. It’s a modern rendition of neon sign lettering, with a decidedly art deco pedigree, and is intended for use in larger sizes of type, upwards of 36 pt. It’s perfect for a design that wants to imitate neon — use Photoshop layer effects to light it up! I originally started this font with only a few letters, since I could not find a neon-style font made with 3 strokes that looked modern. (Once I started, I found out why. It's a LOT of work!) Most traditional neon fonts include a “bent tube” element in the design; however, not all modern neon signage is constructed with the tubes bent. I also wanted to design a fun font that would have more life than just as an imitation of signage — something to inspire designers who love the geometry of art-deco type. So I made all the corners consistent, with no references to bent tubes. Use this font for any application that needs a bold and decorative look. Studio Neon should work well for sign production and even vinyl cut applications at larger sizes.

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!

Introducing Starboy - The Hottest Bold Serif Display Font of the Moment! Starboy is here to redefine your design game with a boldness that's right on-trend. This dynamic font duo features both a regular and outline version, making it the ultimate choice for designers who want to stay ahead of the curve in today's design scene. The regular version of Starboy is a powerhouse of bold serifs and stylish sophistication, perfect for creating designs that make a bold statement. The outline version takes this to the next level, adding an extra layer of modernity and versatility to your projects. In a design world that's constantly evolving, Starboy stands out as the go-to font for capturing attention and creating memorable visuals. Whether you're working on cutting-edge branding, striking headlines, or contemporary packaging, Starboy's duo of fonts ensures your work aligns with the latest design trends. Here's what you get: Regular, Outline All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Cas Pixalatte Typeface - Dive into Y2K Nostalgia with Pixel Perfection Unleash the power of pixelated aesthetics with Cas Pixalatte Typeface, a cutting-edge font inspired by the iconic Y2K era. This unique typeface is a masterful blend of typography, graphic design, and pixel art, crafted to infuse your projects with a distinct visual style that's both nostalgic and contemporary. Two Distinct Pixel Font Styles Tailor your designs with precision by choosing between the 'Regular' and 'Rounded' styles, allowing you to achieve the perfect balance between retro charm and modern aesthetics. Multi-Language Support Cas Pixalatte goes beyond borders, offering comprehensive support for Latin-based languages across Western Europe, Central Europe, South Eastern Europe, South America, Oceania, and Esperanto. Why Cas Pixalatte? Here's what sets it apart: Visual Versatility: Whether you're working on a gaming interface, website design, or branding project, Cas Pixalatte adds a unique visual flair, making your creations truly stand out. Easy Integration: With a range of file formats, seamless integration into your design workflow is guaranteed, ensuring a hassle-free creative process. Global Appeal: Break language barriers with multi-language support, allowing you to reach audiences around the world without compromise. Elevate your design, embrace nostalgia, and make a lasting impression with Cas Pixalatte Typeface. Discover the possibilities, unlock creativity, and transform your projects into unforgettable visual experiences.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Boardwalk Avenue is an elegant type collection of three styles and two weights of each. It’s divided into Boardwalk Pen, Boardwalk Antiqua and Boardwalk Serif. Boardwalk Avenue’s core is a connected mono linear script that works fantastic when paired with either of the impressive serif styles. All the fonts work great on their own but try putting them all together for a complete display font setup for a project. Here’s a short introduction on what’s included: Boardwalk Avenue Pen is a connected Script. It’s great for headlines, quotes or in packaging. It has a casual hand drawn vibe to it but it’s clean and legible. It’s equipped with automatic Contextual Alternates that keep the connections smooth and versatile. For instance when you type double letter another of them will automatically change to add variation. Or if you type “i” for example, as a first letter after space or after capital letter the code will add starting point to the letter to keep the letterforms more balanced. If you need more ambitious letterforms you can try Swash or Titling Alternates -there’s alternates for every standard letter and seek for even more alternates from the glyph palette. Boardwalk Avenue Antiqua is a high contrast serif with strong character. It’s great for glamorous headlines or as a logotype. Boardwalk Avenue Serif is a low contrast serif with bulky character. It’s great for strong and sturdy headlines or as a logotype.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

The serifed companion to the popular Billy family comes in 3 very different but complimentary weights that when combined create a very strong, playful and persuasive style.

XComputerBugs is a pictorial font of insects, mostly butterflies and moths. A few are based on actual species, but most are fanciful and meant only for decoration.

Grunt Grotesk is a modern Ukrainian sans-serif typeface with a number of distinct characteristics, which make it unboring but still great in the massive text blocks.

Pepper was first conceived as an authentic alphabet of runes, but that was far too serious so it ended up as a greater spotted version of Salt.

CrosswordBill was created by scanning a finished crossword puzzle, done with a failing ballpoint. A complete character set with numbers and most (but not all) special signs.

Univers and Helvetica Compressed are most often used for movie posters, but they lack variants. Therefore I made a compressed family with seven weights for more versatility.

Salt was first conceived as an authentic alphabet of runes, but that was far too serious so it ended up as a lesser spotted version of Pepper.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Hello Everyone, Introduce our new collection, Neurock - Futuristic Font Sans With 2 Style, Inspired from famous logos of Futuristic Style and brands that have very strong characteristics, very suitable for posters, packaging, branding, logotype and more. Neurock font with strong and challenging nuances. very suitable for the title, typography, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

Hello Everyone, Introduce our new collection, Keawneta - Authentic Display - Bold Display With 15 Ligatures, Inspired from Modern logos of brands that have very strong characteristics, very suitable for posters, t-shirt, packaging, branding, logotype and more. Keawneta font with strong and challenging nuances. very suitable for the title, typography, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

Introducing our new product the name Xander Swordfish Luxury Ligature Serif Display Font. Modern Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

Hi guys! How are you guys? I bet it's great! Introducing our latest product, we call this product the Non Blok font Non Blok hight is a display type font With a unique and firm touch Non Blok hight font is great to use on: fashion magazines, logos, photography, landing pages, flyers, social media and so on What's included - multilingual support - alternatives - ligatures Thank you, best regards Liarttyype

Introducing our new product the name Decology Futuristic Sans Serif Font. Modern Sans Serif font that feels beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.

Cheer up This is a cute and unique handmade font, with a simple appearance and an impression that is comfortable to read and easy to understand, there are several alternatives that you can use and combine, use this design for all purposes clothing, books, titles, magazines, comics, story books, youtube, posters, and other design needs include : Cheer up Cheer up extras numeric punctuation latin Thank you very much

Hi guys! How are you guys? I bet it's great! Introducing our latest product, we call this product the convero hight display font convero hight is a monoline display type font With a unique and firm touch convero hight font is great to use on: fashion magazines, logos, photography, landing pages, flyers, social media and so on What's included - multilingual support - alternatives - ligatures Thank you, best regards Liarttyype

Introducing our new product the name The Sectarian Serif Font comes with 2 different weights. Modern Serif font that beautiful classy, elegant, and modern. This font is perfectly suited for a wide variety of projects, such as signature, stationery, logo, wedding, typography quotes, magazine or book covers, website headers, clothing, branding, packaging design, and more. Also for fashion-related branding or editorial design and displays both masculine and feminine qualities.