Cira is a superfamily with 7 weights and italics under two main styles: sans and serif. The original concept was created for Katachi Media as a corporate font for text and experimentation in an iPad magazine. It has a diversity of outlines with straight angles which create unusual shapes and counterforms. Its middle weights are suitable for text and can be combined with extreme weights at display sizes. Cira is a versatile superfamily with an original and modern feeling and it’s a great option for giving identity to your designs.

Cira is a superfamily with 7 weights and italics under two main styles: sans and serif. The original concept was created for Katachi Media as a corporate font for text and experimentation in an iPad magazine. It has a diversity of outlines with straight angles which create unusual shapes and counterforms. Its middle weights are suitable for text and can be combined with extreme weights at display sizes. Cira is a versatile superfamily with an original and modern feeling and it’s a great option for giving identity to your designs.

Acello – Geometric Sans Serif Font Modern Simplicity Acello, the Geometric Sans- serif font, effortlessly infuses modern simplicity into your display designs. Clean lines and a sleek aesthetic captivate your audience, ensuring a contemporary appeal. Versatile Elegance Crafted for diverse display purposes, Acello seamlessly adapts, adding a touch of versatile elegance to logos, headlines, and more. Its adaptability ensures a refined look for any visual project. Readability Redefined Prioritizing clarity, Acello’s balanced proportions enhance readability. Each character is meticulously crafted for optimal legibility, ensuring your message is clear and accessible to all.

‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

Introducing Akoodi, the ultimate superhero font for all your design projects! This bold and stylish serif font features a superhero theme that’s perfect for creating eye-catching titles and headlines for movie posters and graphic design projects. With its strong, prominent serifs and unique character design, Akoodi is a versatile font that can be used for a wide range of projects, from branding and marketing materials to book covers and packaging designs. The font includes a full set of upper and lowercase letters, punctuation, and numerals, making it a complete solution for all your design needs. With its superhero theme and stylish serifs, Akoodi is a font that will make your projects stand out from the crowd. So why wait? Grab your copy of Akoodi today and start creating designs that are as bold and daring as a superhero! Furthermore, Akoodi is equipped with advanced features that make it easy to use and customize. The font comes with a full set of alternate characters, including a range of ligatures and swashes, which add an extra touch of style to your designs. Additionally, the font is fully compatible with a wide range of design software, making it simple to use no matter what your design process looks like. What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - 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. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Patches is a multi-faceted, victorian-era serif typeface for when you need something more than plain text. Get that extra attention while adding a genuine, original appearance to your message. Patches was designed from scratch to give a sense quality and depth. Its designer Mans Greback has created a typeface with a complex structure, yet one that will be easy to master. This work will suit every style, taste and skill level. It is a decorative and completely hand-drawn design in vintage lettering, with the perks and flexibility of present-day technology, which is exactly what you'd expect from a modern typeface. Whether you are making a decorative floral headline, drawing a cowboy logo, or creating a unique design based on this ornamental font, the hopes are that Patches can give you a set of tools and inspiration to bring out the best of your artistry. Standing on the shoulders of giants, it was inspired by a wide range of works, and will hopefully be able to continue to teach and inspire future artists. Or at least help you become a better designer when you're designing an elegant and classic headline. Set the coloring of Patches to light gold and cream tones to apply a luxurious look, or in dark tones for a more rugged impression. Bold, bright colors will make it appear In the mid-1800s, decorative design flourished in the Western major cities. Victorian style thrived and encouraged techniques such as enamelling, embroidery and calligraphy. From the 1880s onwards, there were a series of reactions to higher Victorian tastes, with Art Deco reaching the heights of the 20th century. However, the Victorian art persisted popularity, as it changed to more sophisticated designs which made it more attractive to specific professions and groups. The evolution of the Victorian style in the mid-20th century was a key factor in the succession of the movement. Classic shops and salons, sport designs and traditional festivals, and later Rock'n'Roll and Harley Davidson-themed graphics ​inspired the continued development of the art. Aspiring to carry on this tradition, this typeface family consists twelve different high-quality variations. The main ones are Patched and Patched In – an outlined variation – and each one provided in five weights: Thin, Light, Medium, Bold and Black. Additionally, the two rough fonts Hangaround and Prospects, that tries to grasp the rough, earthy atmosphere of a shady motorcycle club. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

Round Technocrat is a rounded, geometric font that blends heavy, square shapes with circular curves to create a distinct and modern typeface. The font family is perfect for designs that require a balance of rigidity and fluidity, making it suitable for both professional and creative projects. The Round Technocrat font family features five weights: Thin, Light, Regular, Bold, and Black, offering a diverse selection of styles to elevate your designs and give them a contemporary edge. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

I was inspired to create the Rainier type family during my summer back home in the Pacific Northwest. The concept behind it may be simple - a hand crafted font family - but what it delivers is quite complex! Here is a breakdown of everything you get: FONT FAMILIES: Two sub-families with unique styles - Rainier North and Rainier West WEIGHTS: 4 weights per family, broken down numerically - 100 (light), 300 (regular), 500 (bold), 700 (black) OPENTYPE: In each family, there are tons of OpenType options, offering lots of customizable opportunities (in order to access all these goodies, you must be using Illustrator, Photoshop, Indesign or Publisher). Because Rainier is 100% handmade, contextual alternatives allow each letter has three subtle variations, this way it keeps that authentic hand-drawn look. Additionally, a full alphabet with special descending swashes, as well as start and end swashes for capitals and small caps. Titling alternatives offer a full character set just to help with readability! Meant for captions or smaller text, these letterforms are easy on the eye and a great complement to the regular alphabet. Stylistic Alternatives add a little fun, providing a unified cap height, no matter what case you are using (all caps, small caps or lowercase.) Discretionary Ligatures are created only for capitals, and takes specific letter pairs and creates a unique ligature between them To get a better understanding of everything, please check out the quicker user guide (http://bit.ly/1W0Bfma) and print if you so desire (http://bit.ly/23W9ZV6) that helps you navigate your way around and get the most out of Rainier! Unfortunately those links aren't working right now and soon I will have them fixed. So sorry! ORNAMENTS: In addition to the font, you get a set of awesomely rustic ornaments designed and drawn to go specifically with Rainier! - Rustic Northwest Illustrations - Banners & Flags - Frames - Flourishes - Lines & Line Breaks - Arrows There are a lot of extras packed in this set, so make sure you check out the Ornaments User Guide to get the most out of it! Check it out here: http://bit.ly/1rRVJRx And that’s all folks! Hope you enjoy Rainier!

Boxer Punch - Soft Bold Font Boxer Punch - Soft Bold Font is a stylish and modern font designed to catch the attention of your audience. The font's unique design combines a soft bold shape with a cute sans serif, making it perfect for creating eye-catching designs. The idea behind creating Boxer Punch was to incorporate the concept of understated realism into the font. This is evident in the font's smooth and elegant lines, which make it perfect for a variety of design projects. The font is ideal for those looking to create a professional touch in their designs, while also maintaining a stylish and modern feel. Boxer Punch is an excellent choice for anyone looking for a font that is versatile and can be used in a variety of different contexts. It is perfect for sports-themed work projects, as well as branding, packaging, logo design, album covers, posters, and social media graphics. One of the standout features of Boxer Punch is its versatile OpenType features, including alternates and ligatures, which allow for even more creative freedom when designing with the font. Additionally, the font comes with uppercase and lowercase characters, as well as support for multilanguage, numbers, punctuation, and symbols. Inside the font package, you'll find three different file formats: Boxer Punch otf, Boxer Punch ttf, and Boxer Punch woff. This means that no matter what platform you are using, Boxer Punch will work seamlessly with your software. Boxer Punch is a font that is sure to make your designs stand out from the crowd. Its unique design and versatile features make it perfect for anyone looking to add a touch of elegance and style to their work. If you're looking for a stylish and modern font that is perfect for sports-themed work projects or a variety of other design projects, then Boxer Punch is the font for you. In summary, Boxer Punch - Soft Bold Font is a versatile and modern font that combines a soft bold shape with a cute sans serif to create a unique and stylish design. With its versatile OpenType features, multilanguage support, and uppercase and lowercase characters, Boxer Punch is perfect for a wide range of design projects.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Neuropol Nova is more than just a typeface, it’s a portal to a world of hard sci-fi design. Inspired by Neuropol X, this typeface transports us to a chilling and distant future, one where letterforms are stripped down to their most essential components. The stark, almost clinical aesthetic of Neuropol Nova is reminiscent of a high-tech laboratory or the sterile environment of a spaceship’s bridge. Neuropol Nova pushes the boundaries of letterform recognition to levels that are truly ultra-futuristic. The sparsely connected patterns that make up the letters evoke a sense of ancient cuneiform markings, or perhaps even the language of a highly advanced alien civilization from a distant, unknown future. The choice of three widths, three weights, and italics only adds to the versatility of this incredible typeface. With its strategic overtones, Neuropol Nova is ideal for any designer looking to create a design that screams of a dystopian future. Whether you’re working on a sci-fi novel cover or a video game interface, Neuropol Nova is the perfect typeface to transport your audience to a world of cutting-edge design. In conclusion, Neuropol Nova is more than just a typeface, it’s a masterful creation that seamlessly blends the past, present, and future of typography. So if you’re looking for a font that will truly set your design apart, look no further than Neuropol Nova. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Voltexa is a sans-serif font that offers 10 thickness levels, ranging from thin to extra black. Designed with a bold and firm style, it aims to provide a broad range of options for every designer. What sets Voltexa apart are its sharp curves in each letter, creating an elegant and modern yet strong impression. Tailored to meet diverse design needs, Voltexa can adapt to various contexts. With 10 available thickness levels, designers have the freedom to express their creativity limitlessly. This font also comes with OpenType features for ease of use and flexibility. Voltexa also supports multilingual use, allowing it to be utilized in various languages. Let's bring forth inspiring and powerful designs using the Voltexa font. With its 10 available thickness levels, this font offers designers the opportunity to create unique and standout works. The distinctiveness of each letter will enhance the aesthetic value of every design project. Use Voltexa to add an elegant, modern, and assertive touch to your creative works. With its comprehensive features and multilingual capabilities, this font will be a loyal partner in expressing your design ideas and visions into extraordinary works. Features: A – Z Character Set a – z Characters set Numerals & Punctuations Ligatures & Alternates Multilingual

Introduction to Heidan Wedge Serif Font Heidan – Wedge Serif Font, embodies a classic yet bold style. It’s designed for versatility and impact. The font showcases a traditional serif structure. It’s perfect for both print and digital media. Distinctive Features Heidan stands out with its noticeable contrast. The strokes vary in thickness, offering a dynamic feel. Wedge serifs add a unique character to each letter. This font is not just a typeface but an artistic statement. Versatility and Usability Heidan’s design ensures readability across various applications. It’s suitable for headings, body text, and branding. The font effortlessly adapts to diverse design needs. It’s ideal for designers seeking a blend of classic and modern. Accessibility and Appeal With its straightforward design, Heidan reaches a wide audience. Its simplicity makes it easy to read, yet it retains a strong presence. The font is a go-to choice for projects needing a touch of elegance. Heidan is more than a font; it’s a versatile tool for creative expression.

Teramo™ is daring, sharp and dynamic. Its personality is derived from asymmetry and movement. It is a contemporary serif family full of modern design elements playing with proportions of works of XV and XVI century masters such as Francesco Griffo or Claude Garamond. The family features four optical sizes. Display sizes feature extreme stroke contrast and are intended for fashion, lifestyle, cosmetics, magazine, business, hi-tech and advertising use. Text styles are created for all kinds of body copy — long and short paragraphs, books and websites in any modern design context. They are crafted to be elegant and legible, featuring more generous spacing and scrupulous kerning. Display weights are designed as modern, extraordinary variations on didone style. Teramo’s letterforms are merging classical proportions and precise, contemporary details such as asymmetric serifs, sharp edges and unconventional glyph shapes. Another important factor constituating Teramo’s personality is an angled axis, unusual for didone families and giving the typeface much more organic and dynamic feel. Teramo features a lively true italics strongly related to cursive handwriting. The italic styles imply movement, energy and fluency, introducing a new color to paragraph text, as well as being a powerful and interesting standalone display type. The family introduces additional titling letter variations for headlines and display uses, such as sharp and modern lowercase “y” or uppercase alternates for better all caps typography. Teramo consists of 56 fonts in 4 optical sizes - 28 uprights and their corresponding true italics + 2 variable fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, titling alternates, contextual alternates, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Introducing Plausible, a captivating stylized handwritten font that adds elegance and charm to your designs. With its beautiful style and versatile features, Plausible is perfect for creating exquisite wedding invitations, stunning stationery art, eye-catching social media posts, and more. Let your imagination soar as you explore the creative possibilities with this remarkable font. Plausible offers a comprehensive set of features, including both uppercase and lowercase letters, numbers, and punctuations. Its multilingual support ensures seamless integration of various languages, allowing you to connect with a diverse global audience and communicate your message effectively. Whether you're designing for personal projects or professional endeavors, Plausible provides the tools you need to create visually striking and impactful compositions. With PUA encoding, accessing the amazing glyphs and ligatures of Plausible is a breeze. These special characters add unique flourishes and connections, elevating the visual appeal of your text and giving it a personalized touch. The monoline style of Plausible enhances its sophistication, making it a versatile choice for a wide range of design applications. Unleash your creativity and make a lasting impression with Plausible. This font combines elegance and handcrafted beauty, allowing you to create designs that stand out from the crowd. Whether you're a graphic designer, a creative professional, or an enthusiast, Plausible is the perfect addition to your font collection, offering endless possibilities for captivating and memorable designs.

Campana Script is your go-to for classical elegance. Picture walking into an old bookstore and discovering a handwritten love letter tucked inside a dusty novel. This font brings that level of intimacy and nostalgia to your designs. Designed with heavy lines and intricate swashes, Campana Script suits formal applications like wedding invitations, certificates, and classic logotypes. Use underscore _ to make a swash. Example: Deco_rative Use multiple underscores to make different underlines. Example: Candy__shop Campana Script is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, and includes all the characters and symbols you'll ever need. Behind this exquisite creation is Mans Greback. Known for pushing the boundaries of type design, Greback has ventured into the intricate intricacies of aesthetic diversity with Campana Script. His portfolio is a testament to his versatility and daring, turning simple alphabets into powerful visual narratives.

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Awwam refers to the region of Awwam which is now thought by most scholars to be Ma'rib or the famous temple of Awwam otherwise known as Mahram Bilqis. The Awwam temple—Arabic Haram Bilqis or Mahram Bilqis—is a Sabaean temple near Ma'rib in today's Yemen. It was built by Mukarrib ‘Yada'il Dharih I’ between the 7th and 5th century B.C. Also, one of the most frequent titles of the God ‘Almaqah’ was the Lord of Awwam. Almaqah was the main God of the ancient Yemeni kingdom of Saba' and also the kingdoms of D’mt and Aksum in Eritrea and Northern Ethiopia. Different members of the ruling dynasties of Saba' regarded themselves as Almaqah’s children. Awwam is a wide and headline Arabic display typeface. The main trait of this typeface is the wide, curved, and streamlined design of its wide kashida, letters, and ligatures. This feature renders it as one of the modern stylish typefaces used for headlines, titles, headers, banners, and captions. Among the distinguished letters of Awwam typeface are the “Alef”, “Qaaf”, “Waaw”, “Yaa”, “Gheen”, and others. Moreover, Awwam typeface has a character set which supports Arabic, Persian, Urdu, and simple Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This typefac comes in two styles (i.e., Awwam, and Awwam-Pro) with a single weight (i.e., regular) and nearly 650 distinctive glyphs for each style. Due to its ultra-wide design, Awwam typeface is mostly appropriate for headings and titles in Arabic, Persian, and Urdu. It can be graphically and visually exploited in books, novels, magazines, newsletters, pamphlets, posters, and interfaces of other objects such as clothes and equipment. Moreover, it can be pleasingly used for signs, books’ covers, advertisement light boards, and titles of flyers, and books of children and adults. In brief, Awwam typeface is one of the new wide Arabic typefaces which can be utilized efficiently in diverse graphic, typographic, and artistic works for different languages and cultures.

Chester Chesire - Elegant Font Duo is a digital product featuring a script and serif font duo designed with an elegant and luxurious style. Inspired by classic design with a modern touch, this font aims to provide a captivating and professional impression in various design contexts. It is particularly suitable for magazines, the fashion industry, headlines, printing materials, wedding invitations, and businesses seeking an aesthetic and beautiful font. One of the key highlights of Chester Chesire is its diverse range of alternative characters, allowing for interesting design variations and personalized text looks. It offers excellent compatibility with different businesses and industries, making it a great choice for fashion companies, design studios, creative agencies, advertising firms, and more. With Chester Chesire - Elegant Font Duo, you gain access to an elegant and luxurious font that enhances your design projects. Its rich alternative characters provide flexibility and creativity, while its compatibility with different software and operating systems ensures ease of use. Elevate your visual message and design impression with this captivating font, perfect for magazines, fashion, weddings, and businesses that prioritize a refined aesthetic. Add Chester Chesire to your font collection and enjoy the benefits of its professional appearance and high-quality design.

Meet Moreno – a semi serif typeface full of personality and flavor. A display typeface in its nature Moreno is free and informal yet stable and trustworthy. Moreno comes with extensive OpenType support - with its more than 15 OpenType features Moreno is giving you a great variety of stylistic alternatives as well as wide range of ligatures, tabular lining numerals, oldstyle numerals, fractions and many more. It comes in 8 carefully chosen weights from Extra Thin to Black plus their matching italics. Together with the 4 additional styles, Moreno becomes a diverse type family of 80 fonts suitable for a wide range of design needs like retail, package, food, branding etc. With its language support - over 200 languages, Cyrillic included - it is ready for world domination!

🌿 Embrace the beauty of the natural world and the sophistication of elegant design with the Garmony Typeface. This exquisite font is a harmonious blend of nature-inspired decorative leaf illustrations and a versatile typeface that effortlessly combines two styles: Serif and Elegant Script. Whether you're working on a project for your wedding, branding, or any creative endeavor, Garmony brings the perfect balance of organic charm and refined aesthetics. ✒️ Serif Meets Script: Garmony Typeface seamlessly marries two distinct design styles. The serif characters exude a timeless and classical feel, while the elegant script elements add a touch of fluidity and grace. This dynamic fusion makes Garmony Typeface exceptionally versatile, suitable for various applications and themes. 🌱 Nature-Inspired Decorative Leaves: Each character within Garmony Typeface is adorned with delicate decorative leaf illustrations, reminiscent of lush foliage. These charming details infuse your text with a touch of nature, making it ideal for eco-friendly, organic, or natural-themed projects. 🎨 Dynamic Ligatures and Alternatives: Garmony Typeface includes an array of dynamic ligatures and alternative characters, enhancing the fluidity and elegance of your designs. With these options at your disposal, you can create text that appears hand-crafted and truly unique. 🌐 PUA Unicode and Multilingual Support: No matter where your project takes you, Garmony Typeface is fully equipped to meet your linguistic needs. It includes PUA (Private Use Area) Unicode, ensuring compatibility with various design software and providing support for multiple languages. This international versatility ensures your message reaches a global audience with style. 🌾 Swash and Swirl Delight: Elevate your design with Garmony's swash and swirl elements, perfect for adding an extra dash of sophistication to headlines, titles, and logos. These intricate details showcase the font's elegance, making it stand out in any context. 🌏 Versatility and Style: From wedding invitations to logos, product packaging to blog headers, Garmony Typeface brings unparalleled versatility and style to your creative projects. It's the perfect choice for designers, creatives, and individuals seeking a font that combines the beauty of the natural world with the grace of elegant design. Embrace the harmony of nature and elegance with Garmony Typeface. Unleash your creativity and let your designs flourish with the timeless charm and artistic sophistication that only Garmony can provide. Experience the magic of Garmony Typeface today and elevate your projects to a new level of style and allure.

In July 2014, using my light pen, I completed the work in designing the font - Nizar, which was named in honor of the great poet Nizar Qabbani who inspired millions through poetry and prose. The font depends mainly on the characteristics of the traditional Ruq'ah handwriting, but the spirit of the letters tend to embrace the distinguished style that we knew of the poet in his hand-written poetry books. Due to the fact that I could not find all the alphabets in the great poet's handwriting, I adopted the method of measurement and prediction for structure of the missing letters, Which resulted in a new style of the Ruq'ah Typeface; a closer look at the font highlights the common characteristics of all the usual Ruq'ah writings, which are the height of the character "Alef" and spaces and formation on the line, the contextual replacement and convergence of when a letter meets another, closed and open letters, letters coming down from the baseline, and the forms of dots. That been said, hidden touches in the details of Nizar Typeface can be observed, the characters are all dependent on one pen stroke thickness, and are attracted to the baseline as much as possible when vertically and horizontally formed, and the distance between words and lines grows leading to creating both an aesthetic and typographical touch distinguishing this font from the conventional Ruq'ah – which can be found in some of my previous Ruq'ah projects. It is important to mention that after the completion of the Arabic characters and punctuation, I began drawing the Latin alphabets, punctuation and necessary symbols. I cannot fail to also note that the Arabic characters include the Persian, and the Urdu characters. This Typeface is fit to be used in lengthy texts, especially in literary works, artistic print, and diverse visual display, giving the design striking features, modernity and distinction. Sultan Mohammed Saeed

Introducing Addlethorpe, the sleek and sophisticated three-layer metal typeface that will elevate your designs to the next level. With its unique combination of foreground, fill, and background layers, Addlethorpe offers endless possibilities for customization and creativity. Whether you’re designing for print or digital, Addlethorpe has you covered. The foreground layer, Addlethorpe 1, is perfect for use on light backgrounds, offering intricate detail that will catch the eye and draw the viewer in. But why stop there? Addlethorpe 2 is the perfect fill layer, allowing you to add color and depth to your elevated letters. And don’t forget about Addlethorpe 3, the rectangular background layer that fills in the blanks and ties your design together. With its clean lines and bold presence, Addlethorpe 3 is the perfect finishing touch. But Addlethorpe is more than just a pretty face. OpenType-aware programs allow for the use of lining or old-style numerals, while letter pair ligatures break up the monotony of repeated letters. And with Addlethorpe Web, you can enjoy all of this beauty and versatility with faster load times and simpler forms. So what are you waiting for? Give your designs the edge they deserve with Addlethorpe. Just be patient with your application – with all this detail and customization, it’s worth taking the time to get it right. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

My first font for 2009 was Aerle. It is a new dark sans serif font in my continuing objective of designing book fonts that I can really use. It made a little ripple in the industry, but more than that I found that I loved it with Aramus and Artimas — my latest book font family with the same proportions. In many ways, Aerle is a very different direction for me built on what I have learned on Aramus and other recent developments in my style. The concept came to me while using Bitstream's Mister Earl on a site online—though there is no direct reference. I wanted a more playful heavy sans with a much smaller x-height than I have been using lately, plus taller ascenders. As I was using Aerle, I constantly needed a light and bold version. The new direction I am taking is a result of a decision that my fonts, though I loved the character shapes, produced an even type color that is too dark or a little dense. Aerle was an attempt to get away from that look even though the letterspacing is quite tight. For Aerle Thin I pushed a little further in that direction and increased the letterspacing. The hand-drawn shapes vary a lot, many pushing the boundaries of the normal character. This gives a little looseness and helps the lightness in feel I am looking for. It will be interesting to see where this all goes. Most new type around the world is far too perfect for my taste. While the shapes are exquisite, the feel is not human but digital mechanical. I find myself wanting to draw fonts that feel human — as if a person crafted them. In most ways this is a normal font for me in that it has caps, lowercase, small caps with the appropriate figures for each case. These small caps were very small (x-height as is proper). So Aerle's small caps are a little oversize because they plugged up too bad at x-height size. The bold is halfway between. These size variations seem important and work well in the text. This font has all the OpenType features in the set for 2009. There are several ligatures for your fun and enjoyment: bb gg sh sp st ch ck ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, & small caps; proportional lining figures, proportional oldstyle figures, & small cap figures; plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

The details that work for ITC Bradley Hand™ at smaller sizes, might be a little too distracting for some at larger, display sizes. Bradley Type™, is a little softer, more refined, and a touch more condensed - especially useful if space is an issue. It can be used as a compliment or counterpart to Bradley Hand, or on its own for short bursts of text or headlines. Richard Bradley explains, I designed the family for casual home computer users as well as professional graphic communicators. For anyone who's looking for a handwriting typeface, Bradley Type can be used at a variety of sizes for diverse projects." For added versatility, it's available in three weights, from the lean Regular, through Bold, and Heavy; and a number of ligatures and alternates for variety, and that little added flair."

Introducing Bellefonte Typeface: Where Elegance Meets Versatility Unleash the power of elegance and versatility with Bellefonte, a captivating typeface that breathes life into your creative endeavors. Whether you're a designer, artist, or entrepreneur, Bellefonte is the perfect companion to elevate your projects and leave a lasting impression. Discover the Beauty of Bellefonte: Timeless Elegance: Inspired by the beauty of classic typography, Bellefonte exudes a timeless charm that effortlessly elevates your designs. Its graceful curves and carefully crafted letterforms add a touch of sophistication to any project, from branding and packaging to editorial layouts and invitations. Endless Versatility: Bellefonte's adaptable design seamlessly transitions across various design contexts. From captivating headlines to legible body text, this typeface ensures your message is delivered with clarity and impact, making it a versatile choice for any creative endeavor. Crafted with Precision: Meticulously designed by skilled typographers, Bellefonte boasts an exceptional level of detail and craftsmanship. Each character is thoughtfully created to ensure a flawless and professional finish, allowing your designs to stand out from the crowd. Multilingual Support: Embrace a global audience with ease as Bellefonte offers comprehensive Latin language support. Break language barriers and connect with diverse communities worldwide, enhancing the reach and impact of your projects.

Introducing Signatory, a captivating stylized handwritten signature font that adds a touch of elegance and sophistication to your designs. With its beautiful style and versatile features, Signatory is perfect for creating stunning wedding invitations, exquisite stationary art, eye-catching social media posts, and more. Let your creativity flourish as you explore the endless possibilities with this remarkable font. Signatory offers a comprehensive set of features, including both uppercase and lowercase letters, numbers, and punctuations. Its multilingual support ensures seamless integration of various languages, allowing you to connect with a diverse global audience and convey your message effectively. Whether you're designing for personal projects or professional endeavors, Signatory provides the tools you need to create visually striking and impactful compositions. With PUA encoding, accessing the amazing glyphs and ligatures of Signatory is effortless. These special characters add unique flourishes and connections, elevating the visual appeal of your text and giving it a personalized touch. The signature style of Signatory adds a touch of authenticity and elegance, making it an ideal choice for creating logos, branding materials, personal signatures, and more. Unleash your creativity and make a lasting impression with Signatory. This font combines the beauty of handwritten signatures with a stylish flair, allowing you to create designs that exude professionalism and refinement. Whether you're a graphic designer, a creative professional, or an enthusiast, Signatory is the perfect addition to your font collection, offering endless possibilities for captivating and memorable designs.

Alfarooq is the most widely known epithet for the Islamic figure Umar ibn al-Khattab (c. 586 - 644) who was a leading companion and an adviser to the Islamic prophet Muhammad (peace be upon him) who later became the second Muslim Caliph after Muhammad’s death (pbuh) in 632. Muslims widely know Umar ibn Al-Khattab (may Allah be pleased with him) as Alfarooq (i.e., he who knows and distinguishes between truth and falsehood). Alfarooq is a unique, wide, and headline Arabic display typeface. The main trait of this typeface is the novel design of its letters' tails and its dots which renders it as one of the modern stylish typefaces used for headlines and titles. This can be noticed in different letters such as Ain, Ghain, Jeem, Khah, Seen, Sheen, and others. In addition, Alfarooq font has an Arabic character set which supports Arabic, Persian, Kurdish, and Urdu letters and numerals with a limited range of specific Arabic ligatures. This typeface comes in two ultra-bold styles (i.e., Alfarooq and Alfarooq-Pro) and more than 430 distinctive glyphs with a single weight for each style. Alfarooq typeface effectively offers diverse typographic and digital usages including mainly the very large and wide poster-size works. Due to its strong baseline-stroke, Alfarooq typeface is appropriate for heading and titling works in Arabic, Persian, Kurdish, and Urdu newspapers, magazines, and other printed materials. It is also elegantly suitable for signs, book covers, advertisement light boards, street and city names, products- and services names, and titles of flyers, pamphlets, and posters. The wide style of Alfarooq font’s characters gives it more distinction when it is used in greeting cards, covers, exhibitions' signboards, external or internal walls of malls, and also the exits and entrances of airports and halls.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

DT Squished Stuff is a font made for fun. This uneven simple blocky sans-serif font has wonky letters that adapt automatically and change shape to fit against their neighbours. Use with contextual ligatures turned on to allow Squished Stuff to operate correctly. If a particular letter decides to do something that you don’t want it to, turn ‘contextual ligatures’ off for that letter. But do remember to turn it back on afterwards. This font lives and breathes when ‘contextual ligatures’ are turned on. Also, there are easter eggs and quirky surprises hidden inside. Watch it squish and move to fit together. This is a wacky, crazy, fun, mad, party, toonified font. Enjoy

Introducing "Metal Thorn" – a font that seamlessly blends the raw power of metal with the edgy intensity of thorns, all wrapped up in a cutting-edge cyber aesthetic. This font is a manifestation of metal brutalism, designed to make a bold statement with its fierce and avant-garde personality. Metal Brutalism Concept: Inspired by the industrial strength and unapologetic nature of metal, Metal Thorn embodies the essence of brutalism, creating a visual impact that is both commanding and unyielding. Fierce Thorn Design: The thorn elements within the font give it a sharp and aggressive edge, adding an extra layer of intensity. Each character is crafted with precision, making Metal Thorn a formidable choice for those who seek to convey strength and determination through typography. Modern Cyber Feel: Infusing a touch of cyber aesthetics, Metal Thorn transcends traditional boundaries. Its sleek and futuristic design elements make it perfect for projects that demand a contemporary, cutting-edge vibe. Extensive Glyph Set: With a generous set of 1014 characters, Metal Thorn ensures versatility and flexibility in your design projects. From standard Latin characters to multilingual support, this font caters to a wide range of creative needs. Alternate and Ligature Support: Unlock even more design possibilities with alternate characters and ligatures. Metal Thorn allows you to experiment with different letterforms, providing options for a customized and dynamic typographic experience. Multilingual Support: Metal Thorn breaks language barriers, offering comprehensive multilingual support. Communicate your message globally with ease, as this font accommodates a diverse range of languages. Whether you're working on a poster, branding, digital art, or any other creative endeavor, Metal Thorn is your go-to choice for a font that demands attention. Elevate your designs with the raw energy of metal, the fierceness of thorns, and the modern sophistication of cyber aesthetics – all encapsulated in the captivating Metal Thorn font.

First Ladies is a unique collection of signatures of almost all of the First Ladies of the United States plus the First Lady of the Confederacy in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous women. This font includes 45 signatures for the following First Ladies: Martha Dandridge Custis Washington, Abigail Smith Adams, Martha Wayles Skelton Jefferson, Dolley Payne Todd Madison, Elizabeth Kortright Monroe, Louisa Catherine Johnson Adams, Rachel Donelson Jackson, Anna Tuthill Symmes Harrison, Julia Gardiner Tyler, Sarah Childress Polk, Margaret Mackall Smith Taylor, Abigail Powers Fillmore, Jane Means Appleton Pierce, Harriet Lane, Mary Todd Lincoln, Eliza McCardle Johnson, Julia Dent Grant, Lucy Ware Webb Hayes, Lucretia Rudolph Garfield, Ellen Lewis Herndon Arthur, Frances Folsom Cleveland, Caroline Lavinia Scott Harrison, Frances Folsom Cleveland, Ida Saxton McKinley, Edith Kermit Cardow Roosevelt, Helen Herron Taft, Ellen Axson Wilson, Edith Bolling Galt Wilson, Florence Kling Harding, Grace Anna Goodhue Coolidge, Lou Henry Hoover, Anna Eleanor Roosevelt, Elizabeth Virginia Wallace Truman, Mamie Geneva Doud Eisenhower, Jacqueline Lee Bouvier Kennedy, Claudia Taylor (Lady Bird) Johnson, Patricia Ryan Nixon, Elizabeth Bloomer Ford, Rosalynn Smith Carter, Nancy Davis Reagan, Barbara Pierce Bush, Hillary Rodham Clinton, Laura Welch Bush, Michelle Obama, and Varina Howell Davis (First Lady of the Confederacy). This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

Meet Halagar! a versatile font family that brings a dash of masculine charm to your creative toolbox. With a diverse range of 8 weights, Halagar offers endless possibilities for your design projects. Whether you're crafting a bold brand identity, designing eye-catching packaging, laying out engaging body text, creating striking titles, composing captivating posters, or sharing vibrant social media posts, 'Halagar' has you covered. Its strong and assertive presence adds a touch of confidence to every piece. With Halagar, you're not just getting a font; you're getting a reliable design companion that elevates your work to the next level. Explore the endless potential and let 'Halagar' be your go-to choice for all things branding, packaging, and beyond. Unleash your creativity with 'Halagar' today and make your designs stand out in style!

Respondent is a flowing and handwritten font. Drawn, created and published by Mans Greback in 2021, this script family has a genuine and empathic personality, while being wild and vivid. Respondent can be used in a product or company logo, or in any digital design where you want the appearance of true, released handwriting. Originally inspired by the lettering on the cover of GTA Vice City, over the design process is has evolved to a very diverse typeface that can be used in a wide variety of contexts, much more than a Grand Theft Auto font. The Respondent Family is provided in five weights: Thin, Light, Medium, Bold and Black The different styles supplies a flexibility in both character and size. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Ordinary Boys - Elegant Font Duo is a delightful and versatile font combination that consists of a modern sans-serif font and a playful handwriting font. With a perfect blend of modern elegance and fun, this font duo offers creative possibilities for various design themes. The sans-serif font exudes sophistication and is ideal for modern and elegant projects, while the handwriting font adds a playful and enjoyable touch, perfect for fun and lighthearted designs. Whether you're creating logos, headlines, titles, invitations, greeting cards, printing materials, or designs for children, Ordinary Boys will bring charm and character to your projects. The modern and playful style of Ordinary Boys is what sets it apart. The sans-serif font showcases clean lines and a sleek design, conveying a sense of elegance and professionalism. On the other hand, the handwriting font injects a fun and whimsical vibe, adding a touch of enjoyment and personality to your text. The versatility of this font duo allows you to seamlessly switch between elegant and playful designs, making it suitable for a wide range of projects. Ordinary Boys - Elegant Font Duo brings the best of both worlds to your design projects. Its unique combination of modern elegance and playful fun allows you to create a diverse range of designs, catering to different themes and styles. Whether you're designing for sophisticated brands or playful children's themes, Ordinary Boys will elevate your designs with its charming and delightful touch, making your projects truly stand out with its versatility and character.