Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

The handwritten cursive by the famous Italian Casanova has inspired Petra Beiße to design a new script, the “Casanova Script Pro”, with a complement of over 1400 characters and symbols. “Petras Script”, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because “Petras Script” became such a huge success, she decided to release this new design for digitization. Under the guidance of Günther Flake, Jessica Franke enlarged this font to contain over 1400 characters. Further information about Petra Beiße and her present workshops can be found under www.handlettering.de.

The handwritten cursive by the famous Italian Casanova has inspired Petra Beiße to design a new script, the “Casanova Script Pro”, with a complement of over 1400 characters and symbols. “Casanova Script Regular” is the basic version of this font with a reduced West-Layout. “Petras Script”, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because “Petras Script” became such a huge success, she decided to release this new design for digitization. Further information about Petra Beiße and her present workshops can be found under www.handlettering.de.

Initially, letterform was inspired by the gothic style of Romance decorative letters in transitional art in the Middle Ages. The conservative type in the Gothic era, especially in decorative romance, has led to the Victorian style being embedded in several forms as accents related but not forced to be combined. Rounded serif seems conventional combined with historically relevant letterform to create a harmonious blend. The art nouveau style also inspires this typeface. Approach to architectural ornamentation from 1880 to 1915, adopting the dynamic lines and curves typical of the civilization of the time. Continue time travel; we also present a more modern form influenced by the digitalization of art nouveau derivatives, familiarly called the psychedelic style. Paying homage to predecessors, we presented The Onamura font in a Japanese Ukiyo-e style that influenced the fine arts movement that broke old conservative art in Europe. We designed this font carefully with the information about the Middle Ages, Ukiyo-E, & Art Nouveau that greatly influenced art worldwide. In this font family, there are collaboration vibes. Both are the basis of the phenomenal blend of idealism between western and Japanese artists. Consisting of 10 fonts in 10 weights, it features an extended charset of over 850 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Artographie is a Art Deco sans-serif family. The lettering was designed by Måns Grebäck during 2019 and 2020. It gives any project a moderist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The typeface is a family containing five styles: Thin, Light, Medium, Bold and Black. The weights are top quality and created to balance perfectly against each other. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Fregan Typeface is sharp serif font with an elegant feel. Unique character by combining geometric shapes with organic curvy details. It is a unique typeface for your individual personality. Inspired by old-style serif and contemporary fonts. And additional Fregan Sans, working in harmony with Fregan Serif to create typography awesome creations. Perfectly for elegant branding, magazine design, logo design, headlines, posters, packaging, cards or your wedding invitation and more. 4 styles: Regular and Bold Latin based languages. OpenType features, including ligatures. OTF files. If you need help or advice, please contact me by e-mail "seniorsstudio@gmail.com" Thank you!

Benord is a bold elegant modern serif, it comes with stylistic alternates and creative ligatures. The idea behind Benord was to modernise an old style serif for today’s design industry. The main aim was too creative a serif take has a nostalgic vintage feel with a modern twist. Benord is an ideal font for graphic designs and advertising agencies who are looking to create beautiful logos and designs. Benord was designed to look great in both large and small type settings, making it perfect for cover and layouts. With its great multilingual support, Benord can produce a large number of different languages.

Introducing Stone Orbit – a very cool font for those looking to make a bold statement. This rough tough brush font is sure to give your project an edge! It's carefree and packed with attitude. Its unique letter forms create an interesting texture that stands out from other fonts, making it ideal for posters and logos. It's versatile enough to fit any style — whether it's grunge, urban, or old school! Stone Orbit font includes : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations works on PC & Mac Thank You and Happy Designing!

Thermind is a bold script typeface with a unique angle and is easy to read so that it is comfortable to use. This font is made with an old feel which is perfect for vintage/retro themed events. You can also use them as logos, badges, badges, packaging, titles, posters, t-shirts/clothing, greeting cards, business cards and wedding invitations and more. Flowing characters are ideal for crafting a compelling message to your taste. mix and match with many alternative characters to suit your project. It will be more interesting if you add Extruded Fonts and alternatives.

Tabarnak started out as an assessment and correction of an old concept by George Wilkens. The original idea was for a bold upright alphabet reminiscent of Oz Cooper’s work, but ornamented with some shocard/signage traits. That idea was radically redrawn and reinvented to become a simple 21st century font made to turn heads and induce a friendly rush. Tabarnouche is Tabarnak’s “jittery” incarnation. Just as great for packaging as they are for ads, posters, book and magazine covers, both Tabarnak and Tabarnouche come with about 600 characters, including tons of alternates, and support for the majority of Latin-based languages.

Introducing Lagerta it's bold monoline script with vintage texture inside the shape. This font comes with a retro style for a retro design, Lagerta a combine from modern script touch with some little roughness inside the shape to make this font look more like an unfinished old style. Lagerta will be perfect for designs such as logotypes, headlines, branding, signage, clothing, label, packaging and etc. Features: Ligatures Numerals & Punctuation Accented characters Multiple Languages Supported HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs

Nubian was one of the first typefaces ever designed by G-Type and is an elegantly proportioned, crisply modern sans serif family. Comprising five weights from Thin to Bold with true matching italics, each font also includes two sets of figures (lining and old-style numerals) and an extended European character set. Nubian has a noticeably open, semi extended appearance providing very even 'colour' and excellent legibility when set as text. The contemporary letterforms work well at all sizes in print and on screen making Nubian a great choice across all media. The family has been updated to OpenType with extended language coverage.

This is long awaited thorough revision to Skarpa family. The revision has inculded both another look at letter shapes as well as kerning and metrics of the files. The shapes encapsulated in this font stem from old time architectural drawings hand executed at drawing board with tracing paper and rapidographs. Think of lettering stencils sliding across the tracing paper and craftily exectuted drawing descriptions. The font is based on geometric forms devoid of excessive flourishing. Would suit modern designs either in fashion, technology or laboratory setting. Would look good on door plaques in pharmacy or simple drawer plaques - especially Medium or Bold specimen.

Teenage Tropics is a vintage typeface display font that exudes a unique blend of retro style and tropical vibes. This font is designed to capture the essence of the 1950s and 1960s, with its bold and playful letterforms that are reminiscent of old-school signages and advertisements. The characters have an artistic touch, featuring curved lines and ornate flourishes that add a sense of whimsy and nostalgia. Teenage Tropics is perfect for projects that aim to evoke a sense of fun, adventure, and a retro aesthetic, such as retro-themed designs, vintage-inspired logos, posters, and packaging.

Alkeno is a rounded bold display font with an elegant old-school look. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with the script, sans, or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Grotica is a versatile geometric sans serif contains 7 weights from Thin to Bold. IIt's inspired by the beautiful logotype on old labels and by exploring the Retroica font we've created in 2020. This font is suitable for movies, TV, advertising, packaging, logos, posters, music, branding, posters and so on with a modern design style. With over 600 glyphs per style, Grotica supports around 150 languages in Latin and Cyrillic script. Grotica OpenType Features including alternate glyphs, fractions, contextual alternates, oldstyle and lining (proportional and tabular) numerals, numerators/denominators, superiors/inferiors, and a variety of symbols.

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

Million Dreams is an elegant and bold display font. Unique, playful and versatile serif Fot that you can combine to get curves and beautiful shapes just in seconds. Play with the ornaments to create a more stunning display. This font is suitable for use in many design forms, for example magazines, postcards, logos, vintage look, old classic ,60s, 70s, 80s era, wedding projects and many more. We recommend using Adobe Illustrator or Photoshop. Fall in love with its incredibly versatile style and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and much more! Cheers! Sansakerta

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

Our sans serif font, Named Bentto. This simple, dynamic and exotic themed font has a character that is suitable for you to use in formal and informal design themes, both feminine and masculine design characters. this font will look beautiful. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Amaris is a nostalgic serif fonts features high contrast between thick and thin strokes, and traditional letterforms. They evoke elegance, sophistication, and tradition. Ideal for formal designs and branding. You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, poster, pop vintage design, retro design or any purpose to make your art/design project look pretty and trendy? Feel free to play with this typeface!

Brumery Condensed is a sleek condensedfont. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Alonida is an Elegant script font that comes with very beautiful character changes, a classic copper decorative script type with a modern touch, designed with high detail to present an elegant style. I also offer a number of decent stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations and others If you need help or have questions, let me know. I'm happy to help.

Introducing, Black Stable - A modern blackletter typeface. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as Logo, Clothing, Fashion, Headline, or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation stylistic alternate multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Brusley is a classy script. This typeface has nostalgic feel because of its style, so the font is really match for your project with classic/vintage theme. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Stefania is an elegant chancery script, designed with wedding invitations specifically in mind. A contemporary take on chancery scripts, Stefania retains a traditional calligraphic feel. Its features include a more pronounced slant for an elegant and dynamic flow and plenty of swash capitals. With ample flourishes and frills, including a score of alternate characters, Stefania works well in a variety of creative uses. This formal script is perfect for projects that call for a sophisticated appearance.

Roelandt BT is another beautiful script font drawn by calligrapher Rob Leuschke. Perfect for informal invitations and documents, the standard semi-connecting glyphs are simple, yet elegant. An OpenType font, Roelandt also contains a set of Swash characters. Using the OT Swash feature to access these alternate glyphs, you can quickly transform your text into a stylish and more formal presentation complete with generously sized uppercase swashes. Basic and alternative glyphs in the font support Central Europe.

This typeface was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. Because of its formal characteristics, recalls the popular Cooper Black and probably was the reaction of Linotype to counter the popularity of this font distributed by the "American Type Founders" was acquired. It's a heavy typeface, ideal for headlines or for use in creating logos, rounded shapes and gestures evoke dynamism and make it perfect to highlight specific words or phrases.

Kinesta Sans is a variable sans serif font with with 7 weights. You can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

Merry Brook is a beautiful signature script based on manual hand writing. The stylistic alternate, ligatures and the tick and thin stroke kk make this font looks a real hand writing instead of typing a font. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Introducing, Marker O Type. Marker O Type is new signature font like a child's handwriting. The unique typeface brush also feels childish look similar like comic sans. Great for body text in comic book. A unique brush typeface with chill out. This font is perfectly made to be applied mainly in logos and various other formal forms such as invitations, labels, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

La Portenia pays homage to the spirit of early 20th-century show card writers and type designers. This face has two variations: La Portenia de Recoleta is slightly more formal and polite, while La Portenia de la Boca has longer, more extravagant flourishes and indulges in more interletter space. This showier variant is reminiscent of signs found in Buenos Aires. Both have been designed by Diego Giaccone and Angel Koziupa, and engineered and expanded by Alejandro Paul.

Introducing Fubiox our exquisite elegant style font, designed to bring sophistication and grace to your designs. With its refined letterforms, delicate curves, and timeless beauty, this font is perfect for projects that require a touch of elegance and class. Inspired by the elegance of classic typography. This font exudes a sense of refined aesthetics. Its graceful strokes and balanced proportions make it an excellent choice for luxury branding, high-end invitations, editorial design, and formal occasions.

Pouri is a classic script with a modern style that is very suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classics, formal or luxurious looks. Pouri includes a wealth of OpenType features. If you don't have a program that supports OpenType features like Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows).

MVB Fantabular proves that monospaced faces needn’t be formal or bland. Inspired by the letterforms of older typewriters, Akemi Aoki designed a playful family of three weights with italics. With every character the same width MVB Fantabular works wherever a monospaced font is needed, but the face is so loose and carefree it hides its fixed pitch construction well, allowing it to be used in other settings too. A sans serif version—MVB Fantabular Sans—is also available.

MVB Fantabular proves that monospaced faces needn’t be formal or bland. Inspired by the letterforms of older typewriters, Akemi Aoki designed a playful family of three weights with italics. With every character the same width MVB Fantabular works wherever a monospaced font is needed, but the face is so loose and carefree it hides its fixed pitch construction well, allowing it to be used in other settings too. MVB Fantabular Sans is the sans serif version of MVB Fantabular.