“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Introducing the Buckwheat Font Collection; Each and every font within the Buckwheat Collection was carefully created to be timeless, super versatile, and effortlessly cohesive. An essential kit to come back to time and time again for any number of design projects; from clean and modern, to rough and organic. What's Inside? - Buckwheat TC Regular: A condensed heading/titling font boasting real small caps (along with numerals, currency glyphs and more to match the small caps). - Buckwheat TC Sans: A rounded sans-serif font with several stylistic alternatives for various capitals (A, B, G, H, J, K, P, and R). - Buckwheat TC Script: Tying everything together, a simple yet effective monoline script font designed to look great big or small. - Rough and Smooth Styles: All of the aforementioned fonts are available in both smooth and textured styles. The textures are consistent throughout the collection, improving the cohesion of the fonts and eliminating the need to texture them yourself. - All of the typefaces within this collection include multilingual support and a full western character glyph range.

I have always been fascinated by Tengu - a mythical creature from Japan. Tengu are usually depicted with a red face, a very long nose, white moustaches and a funny hat. They used to be regarded as harbingers of war, but over the centuries, their image softened and they became the protective spirits of mountains and forests. Daitengu means ‘greater tengu’ and stems from the Genpei Jōsuiki - an extended version of the ‘The Tale of the Heike’ - an epic account of the struggle between the Taira and Minamoto clans for control of Japan. So, now you know about tengu, end of the history lesson! Daitengu is an epic brush font. I made it with a soft brush and China ink (like most of my brush fonts), but instead of forming the glyphs I saw in my head, I let the brush do the work. A more ‘zen’ approach to brushwork if you will! The result is a messy, organic brush font with a lot of spirit. Comes with diacritics and double letter ligatures.

Metrisch is new sans serif typefamily of seven weights plus seven italics uprights in each weights. The typefaces designed based on traditional geometric construction that have been built with letter size wider, the x-heights taller and short descender that almost proportioned with the basic letter shape. With little details added like clean vertical cuts on the terminals and optimized sharp corners that makes this fonts smooth and refined looks. It was represents the flavor of the most common humanist typefaces style and grotesk feels. The weights comes from extra light to extra bold suitable to make display appearance, and the book and medium weights also works well as small/medium text sizes to accompany your design, such as editorial fashion magazine, solid headline, websites heading, poster, advertising, logo, signage, etc Also, Metrisch type-family fully loaded with OpenType features such as some stylistic alternates, case-sensitive forms, fractions, small capitals,and another most common numerals features such as super & subscript, tabular & oldstyle figures, numerator-denominator, and has more extended latin diacritics characters.

Those who design books for young children should consider the different needs of their readers. When laying out pages for young readers, particular care should be taken over word spacing. Don't forget that justifying short lines disrupts spacing. Justification should be used only when absolutely necessary. In the research undertaken with young readers the importance of consistent spacing was clear. It also appeared that the poorer readers profited from wider word spacing, while spacing that suited the poorest readers, positively annoyed the better readers. These typefaces have built-in letter spacing because of their exit strokes, as well as extra clarity designed into them. Sassoon Primary Medium Condensed is a compact style for headlines combining the right amount of weight, yet in a friendly style. When used at large sizes the friendliness of Sassoon types really shines. Why not use it for headings throughout a book. You can find many other new ways to use this typeface. Ideal perhaps for the masthead or a magazine? Free to download resources: How to access Stylistic Sets of alternative letters in these fonts

Goldbill is modern sans serif typeface which designed based on geometric shapes. It is not just another geometric typeface, the uppercase letters were designed to have more squared form instead of circular and the lowercase retain the circular looks. It was designed with 2 axes variable; x-height and weight that generates 54 fonts with 3 different x-heights and 9 different weights. The basic version of Goldbill is the best for text, while the Goldbill XS with the narrowest x-height is ideal for display text, logo, etc, and the one with the largest x-height, Goldbill XL would be good for heading, shorter paragraph text or web font. Goldbill type family with its 3 different x-heights would be a great type system for any modern graphic design and typographic work. Each font has 470+ glyphs which covers Western and Eastern Europe Latin based languages, and also equipped with some OpenType Layout Features, such as: Denominators, Fractions, Standard Ligatures, Localized Forms, Numerators, Ordinals, Scientific Inferiors, Subscript, Superscript, and Tabular Figures.

Have you been looking for a serif font? Do you sometimes have an appetite for a bit more wholesome typography? Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? Wait no more, we will give you the best choice. Misslena-A Serif Font One of the most elegant, exquisite yet strong fonts. Misslena is made to bring out a modern and stylish view of what you make. This font contains upper & lowercase characters, all punctuation, and numerals. Also features ligatures and alternates characters to help the text flow naturally and add a custom-made feel. Its lighter weights are well-suited for body text. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look. Misslena includes Multilingual Support to make your branding reach a global audience. Inspire your audience, clients, or guests with this beautiful, statement font. Features: Ligatures Alternates PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Middle Thread is a Script Font with a retro style. Soft curves are combined with high-contrast glyphs, conveying an attractive retro and vintage quality. This font consists of 4 Middle Thread Fonts Regular, Extrude, Swash and Swash Extrude, with many unique ligatures and alternatives provided. Great in layout design for quotes or body copy, best used as a display for posters, headings, logos, branding, magazines, product packaging, and a wide variety of things. Mix Regular and Swash to create a unique and very beautiful look, especially when you add the Extrude feature of the font, it really adds uniqueness and interest by looking even more amazing. What do you get: Middle Three Regular, Swash, Extrude and Swash Extrude OTF, this font is accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, it even works in Microsoft Word. Fully Encoded Characters are accessible without additional design software. Fonts include multilingual support. Images used : All photos/images/vectors used in the preview are excluded, for illustration purposes only. (www.vecteezy.com) Feel free to follow, like and share. thank you very much for checking my store!

Dialogist is a display serif font animated in balanced beauty with curvy lines on each letters’ edges to make it look elegant and classic. Due to its bigger size than any other serif fonts, it becomes a noticeable and eye-catching font design. Proportions among letters equal to low contrasts, but it is still legible due to the font’s wide spaces. As a result, you may apply this font for any text sizes. Additionally, you can enjoy various features available here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Dialogist fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Your selected font type has a big influence on your customers’ perceptions on your designs. It can even beautify or destroy them. With White Hiltony, worry no more about a perfect font for your designs as it is a lovely display sans serif font applicable for elegant, stylish designs. This font has no serif making it look more modern and simple. Furthermore, White Hiltony has regular structures to make it legible enabling you to freely use the font due to its great legibility. Enjoy the features available here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations White Hiltony fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, greeting cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

Just as most buildings are based on a structure of vertical columns, horizontal floors, square angles and the occasional arch, most Latin typefaces are designed within a largely uniform, static, alphabetic structure that provides a framework for playing with the style of the terminals —serif, sans-serif, slab-serif, flared, Tuscan— without significantly modifying the deep anatomy of the letters. Orgánica Pro, by contrast, proposes a different structure: curvilinear, subtle and sophisticated, beyond the typical «sticks and balls» model. Organic anatomy, in one word; deliberately dynamic and asymmetrical. Over this radically distinct structure, terminals play a characteristic, expressive role that challenges easy classifications: Is this a serif or a sans font? A semi-serif? A semi-sans? For text or display? Modern or ultra-modern? Joke or serious? All answers are valid. Anyway, its six stylistic variants allow for multiple, diverse uses in text setting, headings and logotypes. In spite of —or perhaps thanks to— its innovative, uncommon structure, Orgánica’s personality is sweet to the eyes, wittily elegant and surprisingly legible.

Is your branding missing something wonderful that makes people going crazy impressed? Have you thought about how you can add that touch of that something to your branding and projects? Want to transport your audience to a world of gorgeous, elegant, wonderful, versatile, yet modern? Then, we have the solution for you. Introducing Wonderful Branding-A Handwritten Brush Font Giving you a simple, yet wonderful solution to your branding. This font is more than just another handwritten brush font. It encapsulates the essence of modernity and elegance. With elegance and passion edged into every curve and twist of this brush font - you’ll be sure to boost your sales and make the best impressions. Use it for headings, logos, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Wonderful Branding includes Multilingual Options to make your branding globally acceptable. Features: Beautiful Ligatures Stylistic Sets Multilingual Support (84 languages) PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

AmpleNuSoft is a display type family derived from the AmpleNutypeface by softening the edges. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which help to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of twelve styles which include six upright weights and their italics. AmpleNuSoft has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNuSoft is designed by Aakash Soneri during the period between 2020-2021.

A handmade font is a creative designing way to catch attention. That is what this pretty font does. White Birds is a script font in handmade cursive styles with decorative and the dancing basic line characteristics showing the fun, elegant, modern nuances. To be visually attractive, its letter heights are made uneven for a purpose. In addition, White Birds gives you a special bonus called the clipart. Use this font for any text sizes due to its legibility and make use of the available interesting features to beautify your designs. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations White Birds fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Internacional, inspired by the International Style, is a Latin American-flavored neo-grotesque sans serif typeface made with organic ingredients and sweetened with organic sugar and chocolate. Internacional is well-suited for corporate identity, branding, publishing projects, logotypes, magazines and advertising. Its large x-height and small difference between x-height and cap-height make it a high-impact font, ideal for powerful headings, while providing legibility. Internacional was designed for use with short and mid-length paragraphs that require a balanced type color. Internacional is an extended width font with rounded forms and angled terminal ends, in characters such as “c” or “a”, which make it suitable for use in advertising and branding. The proportional relation in height between uppercase and lowercase letters may be useful when composing text in German language. The Internacional font family comes in 7 weights with matching italics and includes an alternative version, with the same number of styles, yet it tastes differently. Special thanks to everyone in the Latinotype Team (especially to Rodrigo Fuenzalida) for their support, help with corrections and digital editing.

Futura is a classic geometric sans serif, one of the crucial typefaces of the 20th century. It remains relevant today and is widely used in logos, headings, web and print. Futura was designed by Paul Renner for Bauersche Gießerei (Bauer) in 1927. The typeface is based on simple geometric forms and is close in the aesthetics to 1920s-30s constructivism and the Bauhaus. Futura PT is the most complete Cyrillic version of Futura. It’s a type system of 25 styles: 16 regular and 9 narrow, from Thin to Extrabold. Futura PT has linear and old style figures, subscripts and fractions. The typeface supports more than 100 languages: Western and Central European Latin and the Cyrillic-extended. The Cyrillic version of Futura was designed by Vladimir Yefimov in 1991–1995. He partially redesigned the typeface in 2007, making it a wholesome consistent system, and Isabella Chaeva added new styles. The typeface was released under the name Futura PT. Isabella Chaeva returned to work on Futura in 2022. The typeface has three new styles, old style figures and extended Cyrillic support.

Modern Brush Style is a font duo combinations of serif and script font to express modern, elegant impressions in your designs. The serif font is characterized by scratches or hooks connecting the letters. On the other hand, script font is designed in brush styles of which letters are interconnected looking similar to a curve writing. You can use this font mixture as a beautiful set or separately as their own lovely characters. Additionally, this font duo has some unique features to enable you to maximize your designs. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Modern Brush Style fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Are you trying to find a font to get your brand globally accepted? Worry no more as Decking is the key to unlock the door. Decking is a racing-themed script font to give you artistic, firm impressions due to the balance between solid designs and unique strokes on the edges of each character. The font’s thickness is able to show you the power to any title or header you make. In addition, Decking is still suitable to apply to smaller-sized texts owing to its good legibility. The available features in this font are: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Decking fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Thank you and wish you good luck with your designs.

Say hello to our new retro bold font, Swipe! Swipe - An seventies font that has both a retro and fun look. It comes with a smooth curve and soft bold with a regular and oblique style that will make your project more stunning with nostalgic feels. Swipe - Have 105 beautiful alternates and ligatures which consist of 4 stylistic sets. Contains 2 styles regular and italic, this font is best used for headings, logotype, quotes, apparel design, posters, flyers, packaging, book cover, and many more. Super-versatile, have a scroll through all the previews to see how wide the range of uses that can be with Swipe, it's so limitless! What you get Letters, numbers, symbols, and punctuation Has 105 beautiful alternates and ligatures Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Andriani is an elegant display typeface. It is characterized by its sleek and sophisticated appearance, making it suitable for use in headlines, headings and other prominent design elements. The elegant display typeface exudes timeless charm with its graceful, thoughtfully crafted letterforms. Each character is imbued with a sense of sophistication, featuring subtle serifs or exquisite details that enhance the overall aesthetic. The typeface features a harmonious balance between sleek strokes and subtle ornate elements, contributing to a refined and luxurious appearance. The design of this typeface reflects attention to detail, with curves and lines seamlessly intertwining to create a seamless flow. The letterform conveys a sense of luxury and refinement, making it an ideal choice for high-end branding, invitations and editorial designs that desire a touch of class. Whether used in large headlines or smaller display settings, elegant display typefaces attract attention and leave a lasting impression. Its timeless appeal ensures versatility across a wide range of design applications, adding a touch of sophistication and refinement to any project.

Binario is a simple and friendly font with three weights and matching obliques. The geometric and modular characteristics of this typeface subtly reference the Art Deco and early modernist periods. It is an ideal choice for achieving a clean, distinctive, and contemporary aesthetic, making it suitable for branding, posters, and screen-based designs. The light weight of Binario is good for body text. The regular weight exudes confidence, making it suitable for both body and heading text. For impactful headlines, the bold weight is superb. The clear weight distinction of this family make it easy to create organized text. Binario was designed in Siena, Italy taking some inspiration from train stations and shop signage. The name Binario means train platform in Italian. Other aspects that informed the design of this font are modularity and efficiency. The interior rounded forms of the letters (counterforms) are based on shape of the Roman arch. Binario has a sibling, Binario Soft. This version has gently rounded stroke ends, which make a softer impression on the page.

Grogie font family consists of 06 families,is a high-contrast typography inspired by transitional and contemporary typography. Fonts extend their use by giving weights ranging from thin to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. Featuring beautiful, excellent weight and extensive language support. The elegant modern font creates a unique design and is sure to steal the eye of the design target audience. Besides being unique, the Grogie font also has a luxury simple character that makes the design charming and luxurious. Grogie excels in display settings such as headlines, titles, branding projects, Logo design, packaging, magazine headings, advertising, short or long text. Grogie Features: Multilanguange PUA Encoded Alternates Ligatures. Open Type LatPro To be able to access alternative fonts, make sure the software you use can support opentype features such as Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. If you need help, please contact me :)

Introducing Magedo Vintage – Fluid Font Looking for a font that’s both fluid and exudes vintage charm? Look no further than Magedo Vintage – Fluid Font. This versatile typeface offers a blend of modern fluidity and classic vintage aesthetics display that will elevate your designs to the next level. Fluid Elegance Magedo Vintage boasts a fluidity that adds a touch of sophistication to your projects. Its smooth curves and flowing lines make it perfect for logos, headings, and invitations, creating a sense of dynamic movement that captures attention. Rustic Hand-Drawn Appeal Embrace the hand-drawn trend with Magedo Vintage. Its rustic, imperfect strokes give your text a unique character and a cozy, artisanal feel. Whether you’re designing a rustic wedding invitation or a quaint cafe menu, this font adds that charming touch. Timeless Stamp Effect Magedo Vintage also offers a stamp-like effect, reminiscent of classic imprints. This effect adds a sense of authenticity and nostalgia to your designs, making it ideal for vintage-themed posters, packaging, and labels.

It is complicated to find an aesthetically charming font in a professional look. The thing is that a wrong font choice can damage your projects. For that reason, Honey Ponds is here for your needs. Honey Ponds is a simple display font in a plain, yet interesting, professional design. To create a better display and to be legible, the font’s form or geometry is presented in a simple style without many details. Additionally, this font provides you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Honey Ponds fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

It can be a real challenge to deliver messages through designs due to the very ordinary display fonts lacking prominent characters. Let us present you the Happy Land, a prominent display font to add firm touches to any of your designs. The letters made all in capital can enhance certain effects on your designs. The font’s simple shapes with strong contrasts affect the legibility. As a result, it is suitable to apply for big text sizes. In addition, this font provides a clipart bonus for you. Enjoy the available features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Happy Land fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Sticky Written is a round, soft display font expressing funny, cute, fun nuances in every design. The letters look like soap bubbles flying around in the air in flowing shapes and balanced proportions. The Sticky Written font will live up and charm your designs in order to suggest positive and cute vibes to your target audience. You can apply this font, which provides a clipart as a bonus, for big text sizes to make it more legible and attractive. In addition, you can make use of some available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Sticky Written fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

SATURDAY CHAMPAGNE is a monoline modern calligraphy script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). This font is written by the amazing hand letterer and fellow artist of mine, Leah Chong, and is a collaboration project. The character set contains Western and Eastern European accents and extra characters, symbols and the following open type features: Ligatures: ff ll oo rr th tt ty Finals: b c d l g p y z Instagram: @leahdesign @rolandhusedesign https://leahdesign.sg https://rolandhuse.com Awesome background image for main poster by Simon Buchou from Unsplash https://unsplash.com/@simon_buchou Background mock ups for Girls Night Out and White Sea Cosmetics are from graphicburger.com http://graphicburger.com The Quote "Reality aligns with your mindset" is my favorite and is from Matt Lopez from the Lambo Goal podcast, picture is taken and photoshopped by me. Thank you I hope you like this font & good luck with your project! Roland

Black History is a handwriting script font to express personal, artistic nuances and is made in brush designs to produce casual and natural displays. The thick letter weight will show bolder impressions and emphasize the desired elements in the design. Combination of low contrasts, when the bright and the dark parts of the letters are not very significant, will create smooth effects. Unlike the other handwriting fonts, Black History’s letters are not always interconnected to each other. Furthermore, you can apply this font for big text sizes to be greatly legible and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Black History fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Your corporate design project is one of the factor of the business where you can attract the customers and get their first impression. Make the moment count by making it as stand out as your business. With Clearstone, you can showcase a delightful yet fancy viewing experience that may powerfully highlight your values and communicate well with your customers. Clearstone is a script font that resembles the actual handwriting style. This font is elegant, readable, and has a timeless quality that never goes out of style. Furthermore, this awesome font has fascinating features that allows you maximize your design. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuations PUA Encoded It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

AmpleNu is a display type family derived from the Ample typeface. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of sixteen styles which include eight upright weights and their italics. AmpleNu has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample typeface has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNu is designed by Aakash Soneri during the period between 2018-2020.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

Doing your design work in magical way? Yes, please. With Against Perfection you can boost your design performance to the max. Against Perfection is a brush script font combined with a pleasing serif font. This pairing of script and serif offers just enough sensuous curves for appealing design result. Together, these complementary fonts convey modern and elegant looks. The swoosh and brush style details make the whole word look custom-designed. On the other hand, the serif font has a nice, solid weightiness combined with smoothed-off shoulders. Further more, this font has fascinating features that helps you maximize your design. Features: Alternates Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Have you ever missed something in creating a pretty design and thought of adding your magic touch to it? Margita is more than just a script font as it expresses luxury and elegance in each character from which you will increase your sales and leave the best impressions. This font has great legibility and thickness level options to make it more special. As a result, you have more freedom of how and where you will use it. Include 8 different weight fonts: Margita Hairline Margita Thin Margita Light Margita Light Margita Regular Margita Medium Margita Semi Bold Margita Bold Features: Multilingual Options PUA Encoded Numerals and Punctuation Margita fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Thank you for purchasing our font and happy designing.