Saral, meaning simple in Hindi, is a monolinear design supporting most Devanagari based languages. Derived from the older Linotype typeface Rohini, it has been greatly expanded into three weights and a wide character set. Saral Light, Regular, and Bold are made to coordinate with the respective weights of Helvetica. This design works well in many environments, such as corporate designs, advertising, packaging, signage, and especially for bi-lingual texts. The OpenType font format accommodates hundreds of pre-composed conjuncts, accurate placement of vowel signs, and supports varying length matras. Saral's Unicode encoding guarantees your text is rendered correctly and is compatible across different software and computer platforms. Please note that due to current operating system and application limitations the OpenType features in complex scripts such as Davanagari are not universally supported. Saral is designed to be rendered correctly in Microsoft Word on Windows running the latest version of Uniscribe. If using a Mac or Adobe products such as InDesign then many features may not function as expected. This is including glyph reordering, substitutions, and mark positioning. In the case of small passages of text, alternate input methods can be employed. Apple's character palette and Adobe's glyph palettes are two readily available options that can be used to manually insert glyphs as needed."

In parts of Africa, in the poorer, rural and peri-urban areas there are many small shops or convenience stores which are called "Spaza" shops. The owners of these shops often don't have access to commercial signwriting and write their signs themselves. The font "Spaza" is based on these hand-lettered signs. This lettering has a refreshing simplicity and spontaneity, yet retains great legibility. In the font "Spaza", there are three styles: - Spaza Regular - with normal upper and lower case; - Spaza Small Caps - in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Spaza Double Caps - in which the lower case characters have been replaced by an alternate set of capital letters. The font thus contains two sets of differing upper case characters. You can use characters from both these sets to give a true feeling of randomness because if the same character occurs twice in a word, different versions of the character can be used. Spaza can be used with great effect in a great variety of applications such as advertisements, flyers, posters and in magazine pages. Spaza contains a full character set and has been carefully spaced and kerned.

In 2007-8, Carolyn Puzzovio developed this OpenType typeface: Lagoon which is based on an Armenian model from the Mechitarist monastery, Venice, 1810. This project was supported by a grant from the AHRC (Arts & Humanities Research Council, UK) and won a first prize in the Granshan 08 type design competition. Oſten, Armenian digital types are designed to match the forms of Latin type characters and ‘Latinized’, by uprighting the forms; truncating ascenders and descenders and raising the x-height – but in this case the Latin characters in the OpenType font have been designed to blend in with the traditional Armenian proportions which are based on cursive forms – also incorporating some of the quirky shapes from the original model. Faithfully following the original created difficulties of ‘clashing’ characters, particularly those with long descenders, so the font contains over 100 alternative characters in the Armenian part, which will normally substitute automatically where necessary. The sloping lower case characters and upright capitals are traditional in Armenian – capitals are used less in the Armenian language. Three new characters for the Armenian unicode range are included: the Armenian dram (currency) symbol; the eternity symbol; and the index number symbol. This font which will be one of the first OpenType fonts to incorporate these newly unicoded characters.

Webdings™ is a symbol font designed in 1997 as a response to the need of Web designers for a fast and easy method of incorporating graphics in their pages. Webdings contains a wide variety of Web-related images of the kind found in common use across the Web, as well as some more unusual drawings. User Interface icons suitable for creating page navigation elements are also included. Webdings is ideal for enriching the appearance of a Web page. Because it is a font, it can be installed on the user's system, (or embedded in the document itself) is fully scaleable and quick to render. It's a perfect way of including graphics on your site without making users wait for lots of graphic files to download. Each Webding has been fine-tuned to ensure high quality and clarity on the screen, regardless of the complexity of the individual symbol. Character Set: Picture/Symbol This version of Webdings is the licensable equivalent to the font versions coming preinstalled with Microsoft Windows® since version 8. It is identical regarding font name, language coverage and other font behaviour and is perfect for document exchange with machines that are not running the Windows® operating system.

“Hand Stamp Play Rough Serif” is a rough and dirty serif Font with authentic & real stamp look. Original Hand Stamped. A–Z, a–z, and 0–9 are each 3× different forms (every letter/glyph has two additional alternate characters) and is intended to show the hand-made nature and the vibrancy of the display font. The different pressure (velocity) of the stamp on paper creates a liveliness in the typeface. Ligatures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffj, ffi, and additional logotypes like and, the, by, tel fax, web, www … and a Versal Eszett (Capital Letter Double S) give the Font more life and shows that despite their retro-looks works with modern OpenType technology (from ❤ love is, from luck will ✤ … ). Replacing the glyphs “E” instead of “3” to convey that typeface invites you to play. It is the desire to experiment and promote uninhibited experimentation. A variety of alternative letters and a few glyphs follow her own head @, &, ₤, £, “,”, * … The typeface has its quirks and downright human characteristics to “just love.” Have fun with this font – Just Stamp It. Application Area The serif font works best for head­line size. Logo, Poster, Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, party flyer, movie pos­ter, music pos­ter, music covers … How To Use – awesome magic OpenType-Features in your layout application ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Technical Specifications ■ Font Name: Hand Stamp Play Rough Serif ■ Font Weights: Regular, Bold ■ Fonts Category: Display for Headline Size ■ Desktop-Font: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph coverage: 617 ■ Language Support: Albanian, Alsatian, Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Bislama, Bosnian, Breton, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong, Hopi, Hungarian, Ibanag, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Islandic, Istro-Romanian, Italian, Jèrriais, Kashubian, Kurdish (Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Samoan, Sardinian (Sardu), Scots (Gaelic), Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Latinized), Tuvaluan, Uyghur (Latinized), Veps, Volapük, Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu ■ Specials: Alter­na­tive let­ters, Ver­sal Eszett (Ger­man Capi­tal Sharp S), symbols, dingbats, digits, accents & €, incl. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (numr), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Super­script (sups), Slashed Zero (zero) ■ Design Date: 2014 ■ Type Designer: Manuel Viergutz

This script font was inspired by the type called “Bastarde Flamande”, a much appreciated one in the Duke of Burgundy’s court at the end of 1400s for handwritten books. A book titled Histoire Romaine (Roman history), from Roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawing the lower case characters and many of the upper case. Each character was written by hand with a quill pen on rough paper so as to look like the originals as much as possible. This font includes “long s”, naturally, as typically medieval , also a few ligatures, final and initial characters but there aren't any abbreviations because the text was written in French rather than Latin. Instructions for use are enclosed in the file and identify how to keyboard these special characters. This font can be used for web-site titles, posters, fliers, ancient looking texts, greeting cards, indeed for many types of presentations as it is a very decorative, elegant and luxurious font. Large type size shows this font at its best.

The softening of edges in the Shabby Chic aesthetic are markers of age, warmth, authenticity and use. The charming style popular with Bohemians and artisans has a soft, relaxed and romantic feeling. Resistenza used their highly successful monolinear script Mina as the basis to explore how to recreate the spirit and charm of the Shabby Chic design style in a typeface. Drawn by hand with dry brush pen for rustic warmth and distressed edges. Shabby Chic has long connections between letters creating a visual rhythm that echoes the form and pace of gentle waves lapping at a seashore. Each character has an expressive touch, OpenType enabled alternates, for character combinations, initial and final forms allow effortless customisation, flair and a realistic handwritten-sign appearance. (The alternates are accessible by turning on 'Stylistic Alternates' and 'Ligatures' buttons on in Photoshop's Character panel, or via any software with a glyphs panel, e.g. Adobe, Quark...etc) Introduce some rustic romance to your font library. Shabby Chic is perfect for cards, invitations, labels and logos where you want to convey intimate, friendly, warm and genuine sentiment.

PB Roman Uncial Vc is a font face designed for imitate Roman uncial writing style found in manuscripts from 4th to 5th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, abbreviations, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

A new happy handwritten sans serif font has arrived! Little Boxes has been designed with felt pen on smooth paper to create the illusion of human craft and then digitalized. Three different fonts Regular, slanted and dance. Optimized shapes to obtain the best readability without loosing the analogical feeling of the original designing tool, makes this font perfect both for printing and digital environments and it allows the use of the font on any project with different media supports. This fresh font family is ready for text, but check your opentype features window while using the font and discover a beautiful set of alternate letters. Create catchy words and add more fun to any layout, which makes it a perfect match for titles and display too. A friendly typeface to give a whimsical touch to your projects. We highly recommend using Little Boxes for App, web, ePub, digital Ads, Video games, and a great fitting for printing; headlines, posters, DIY hand-lettered artwork, books, holiday cards, invitations, T-shirts, labels, packaging, artisanal goods, etc.

Kompakt is one of the early typefaces of type designer Hermann Zapf, whose Palatino has long been a standard in almost every area of application. Kompakt consists of a single weight and was designed in 1952, two years after Palatino. It was produced by the foundry D. Stempel AG in Frankfurt am Main, Germany, where Zapf was at the time in the artistic department. The figures of this extremely strong and heavy typeface are decidedly those of a broad tipped pen. When enlarged, the sharp outlines of the characters can be clearly seen. The unique dynamic of the alphabet is a result of its strong serifs, which on the lower case letters almost connect the letters in a line. Together with the slight slant to the right, this gives Kompakt the character of handwriting, making it look like it is always striving to go forward. Kompakt is an excellent choice for advertisements, especially for posters which should display a hint of nostalgia, and should be used only in headlines.

PB Beneventan XIc is a font face designed for imitate Beneventan minuscule (also called Lombardic, Casinense, Langobarda, littera Longobarda, Longobardisca) from southern Italy found in 11th century manuscripts. All characters are handwritten by use ink and pen, scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) and historical characters (mediaeval abbreviations, ligatures, ancient punctuation). OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Case-Sensitive Forms, Stylistic Alternates, Contextual Alternates, Stylistic Set 1-14, Contextual Ligatures, Historical Ligatures, Standard Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Additional glyphs are mapped to Private Use Area codepoints. OpenType features automatically exchange some default glyphs by stylistic alternates and create ligatures for better historical appearance.

Omnipop is a potent display pack with three styles. All the fonts have firm yet clean and velvety character. Omnipop Brush is a forward leaning brush script with a somewhat heavy complexion. It has a large x-height and it makes nice smooth and even texts. Omnipop Brush is equipped with Standard Ligatures and Contextual Alternates that are automatically on as they should be kept. In addition it has Swash, Stylistic and Titling Alternates for extra show-off. Omnipop Script is a monoline connected script simulating a smooth felt-tip pen. Script is equipped with Standard Ligatures and Contextual Alternates to keep the connections smooth. In addition Omnipop Script has Swash, Stylistic and Titling Alternates and even more extra characters can be found in the glyphs window. Omnipop Sans is a sturdy rounded all caps sans with a sort of geometric vibe to it. Anything you type with Omnipop Sans will look cheery and approachable. Omnipop fonts rock on their own but they also play great together in any order.

PB Roman Uncial IIc is a font face designed for imitate Roman uncial writing style found in manuscripts from 1st to 2nd century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes") and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Alternative Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints.

Risotto Script is a sexy font designed by Felipe Calderón, it represents the texture, sound, smell and flavor of food that come in those interesting packages with different concepts. This font makes you want to eat it because it is designed with a unique texture like a lot of vegetables, it has flourishes that suggest herbs and country roots. Calligraphy with folded pen and food packaging were two of the inspirations to develop this project that will work well wherever it is applied. Risotto Script Pro has 672 glyphs that have the purpose of covering a lot of writing options with different results, by applying OpenType programming as: - Standard ligatures - Stylistics alternatives - Contextual alternates - Discretionary ligatures - Swashes - Terminal forms - Stylistic Set 1, 2, 3 and 4 - Initials (it includes leaves in some endings) NOTE: The X height is generous, in order to design signs to 8 and low size. You`d better get the “extras” for a more complete experience. Most of the Standard ligatures include Stylistics alternatives with detailed endings Multiple language options.

The typeface Belwe, created in 1926 by German typographer and teacher Georg Belwe, has an uncommon style that is difficult to describe. It is a synthesis of many different genres: it is a slab serif with Art Nouveau style but also with many blackletter influences. The angled serifs on the ascenders and the calligraphic flourishes on the the upper and lowercase V, W, and Ys reference marks made by pens. There are also many other special characters that are unlike any other designs. Have a look at the fun lowercase a, the quirky lowercase f and g, and the unique C, F, L, and R for the uppercase. This design works especially well for display sizes, but is also good for short amounts of text. The mood and image suggested by this typeface is great for menus, invitations, and signs when you want to send a personal and friendly message. It's Art Nouveau roots also give it a place in history for designs from the Victorian period up through the 1920's and 30's

Lyllo is a casual script font with a huge personality and a bouncy baseline. Each glyph was drawn by hand with a calligraphy pen for later, to be digitized with great precision, carefully guarding the authentic look. It is perfect if you want to convey individuality and style. Lyllo has 745 glyphs: a lot of ligatures that help to sustain the natural flow of handwriting, swashes, finishes, initial shapes and a lot of alternatives for a realistic look with handwriting and for you to give a personalized flare to your designs. Lyllo also offers many catchwords and adornments that complement the charm and uniqueness of the font. To activate the optional glyphs you may click on buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. This lovely font has already an extended character set to support Central and Eastern as well as Western European languages.  Lyllo is a perfect choice for greeting cards, posters, labels, t-shirt design, logos, and more. Lyllo was made to make your project more beautiful and attractive!

Zapfino Arabic is designed by Nadine Chahine as the Arabic companion to Hermann Zapf’s iconic Zapfino typeface, with the approval of Prof. Zapf. The design is an evolution of Arabic calligraphic traditions that combines Naskh and Nastaaliq to form a backward slanted calligraphic style. The character proportions refer to Naskh traditions but the isolated and final forms bring with them an exaggerated swash-like movement that references the extravagant ascenders and descenders of Zapfino. The font contains a large number of contextual variants that work to create a smooth flow of pen movement, as well as 10 stylistic sets. The character set supports the Arabic language as well as basic Latin. Zapfino Arabic is meant to be used as a display typeface, for logos, greeting cards and short headlines. It could also work for short pieces of text, for poetry or chapter introductions, when used in a generous type size and with ample space around it. Its design is soft and elegant, and leaves a lot of room for typographic playfulness.

Weisy Signature is a modern calligraphy font that is light, smooth, modern with original pen strokes. This script includes holes or spaces in strokes, because all handwritten strokes with brushes use the ink flow structure. Suitable for branding, signatures, wedding invitations, and cards. Weisy Signature includes a complete set of upper and lower case letters, numbers, various punctuation marks and binders. All lowercase letters include the beginning and end of swash, giving a realistic handwriting style. All uppercase letters include the beginning of swash, which makes the font look great! If you don't have the Glyph panel to use swash, don't worry. You can type -1 instead of swash. For example, if you type -1A, the initial "A" swash appears and the "a" swash ends. If you type-1, the initial "a" swash will appear. PLEASE NOTE: With a Standard License you are NOT permitted to sell digital goods using fonts in editable software such as Templates. Please, contact me for a license extension. Thank you and enjoy MIX.Jpg

The Quarantinus font was created during the 2020 covid 19 lock-down. Tranquility being all around, the JOEBOB graphics studio almost felt like a monastery, and as a result my style of writing and my choice of pen had to fit. All this writing was turned into an authentic handwritten script font with over 150 ligatures, which make it look very credible and spontaneous. The font is especially suitable for personalized 'handwritten' notes, cards and messages. It can be used on T-shirts and on shop-windows. It has an 'instant logo' quality, it can be used for tattoo-designs and it screams home-made everything. And in case you are a writer you now have an option to print your work in a way that seems as if you wrote it yourself. Please note that even though the font comes with a complete set of Western characters, accents and special signs, the Cyrillic and Greek characters that are in the font do not make a complete set.

Bernhardt Standard, which was designed in 2003 by Julius de Goede, is a flowing Bastarde script. Bastarde is one of the sub-categories of Blackletter typefaces. The term Blackletter refers to typefaces that have evolved out of Northern Europe’s medieval manuscript tradition. Often called gothic, or Old English, these letters are identifiable by the traces of the wide-nibbed pen stroke within their forms. Of all of the various sorts of Blackletter styles, Bastarde scripts are the most flowing, or Italic. The first Bastarde typefaces, cut in the late 1400s, were based on French handwriting styles, especially those styles popular in Burgundy. The flowing nature of Bernhardt Standard makes it similar to some other sorts of Blackletter typefaces as well. Bernhardt Standard, because of its handwritten roots, is also similar to Kurrent, a style of handwriting that was popular in Germany prior the 20th Century. Bernhardt Standard is a very calligraphic face, suitable for formal applications. This typeface would be an excellent choice for certificates or awards. The old style figures in the font allow for nice short settings of text as well.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.