Apocalypso is a pictogram font for the end of the world. The name Apocalypso is a portmanteau of the words apocalypse (end of the world) and calypso (joyful improvised music), with a meaning analogous to the idiom ‘fiddling while Rome burns’. The Apocalypso family is more of an art project than a practical font and contains a series of crosses and pictograms. The crosses add decorative detailing to typographic layouts, whilst the pictograms can be deployed to express the forthcoming apocalypse. Apocalypso was originally published in 1997, a few years before the turn of the millennium. It is both a document of the ideas of the time and a scarily prophetic vision of a possible world that has now largely come to pass.

Ottine Slab Comes with a Slab Serif style typical of the 80s typeface, which gives a retro and classic style but has a unique and elegant style that gives an extraordinary impression. It is equipped with features to add a kind that makes the project impressionable. Ottine Slab is also equipped with various languages so that it allows Ottine Slab to be used in all your projects. Ottine Slab is very suitable for use in multiple purposes or projects, including Sport, Poster, Product, Logo, Branding, and many more that you can apply with this Ottine Slab Typeface. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Igbo, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Metaʼ, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Wolof, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y. Adobe Photoshop goes to Window - glyphs Adobe Illustrator go to Type - glyphs. Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Weaving is a family in which the letters fit together so that wavy lines separate them both horizontally and vertically. It creates this effect by alternating letters on upper-case keys with those on lower-case letters and this alternating is done automatically in applications that support the OpenType feature of contextual alternatives (calt). (The upper-case can be used alone but it unlikely that the lower-case characters could be used by themselves.) The family is a thinner and condensed version of the typeface Woven, but in condensing it, the tessellation properties that a were in Woven are lost. It is a decorative display face but because there are few typefaces similar to it, it is hard to predict what uses it may have. Be creative!

Brume font is a bold, attractive and beautiful font. "Easy to read, modern and elegant look but stylist", this will be the first words that your client says to your design using this font. Comes with uppercase and lowercase. It has many alternates character with nice curve that you can arrange to create a nice logo lettering, or use it as a display face on a poster and add a few alterations to it to make a beautiful eye catching words. Brume font is best for logo lettering, headlines, product packaging, t-shirt design, wedding theme, poster, book cover, wedding invitation, Christmas and more To access alternate: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Type - glyphs

In Holland, all kids have a six week long school holiday during the summer months. To prevent chaos, traffic jams and other madness, the government has divided the country in three regions (North, Middle and South) and school holidays start a few days to a week and a half apart. For kids this is the best time of the year, as they can have fun for a month and a half, but for us parents this sometimes is a bit of a logistic nightmare, as we still have to work! Six Week Holiday is an ode to the chaos of summer. It is a cute handmade ‘school’ font that will put some sunshine in your designs! Comes with extensive language support.

With Royale, Resistenza reinvented the bifurcated Tuscan genre in a contemporary, warm and playful form. Now our aim was to complete this decorative family with an italic version of the font. Rounded terminals, fabulous fancy fun spurs with elegant and extravagant flourishing - Royale italic comes in 8 weights which can also be layered to create polychromatic effects in another nod to the Victorian era these styles were popularised. While inspired by days gone past this Royale is far from a revival as unlike the classic Tuscans which inspired its structure Royale is monoline and sophisticated in its simplicity. Perfect for display and emphasis, Royale will command attention and leave a memorable impression wherever it is used. Check out also Royale

First things first: I am really not a Star Trek fan. I did come up with this name, which I thought had a good ring to it. When I checked whether the name was already taken, I found out that Black Cluster is a term from Star Trek. Now you want to know what a Black Cluster is, so just check out poster 2 and read all about it. For me, Black Cluster is a handmade ink font, with a lot of jumping glyphs, a lot of diacritics and a handful of ligatures. It may be rough, but you will be pleasantly surprised by what it can do to a design! May the font be with you. Oh, no, that was from Star Wars…

Hunterland is a modern signature font. This font was created to look as close to a natural handwritten as possible by including some alternates lowercase, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. AminMario

This font was patterned after a few characters on a genuine old 1913 small portable typewriter. It looks like those early typescripts, rough, irregular and eroded, suggestive of mythical famous authors, such as Hemingway, as well as “serie noire” movies or anonymous state employee working in a gloomy Kafkaesque office. It is a complete alphabetic full font. It can be used as web-site titles, poster design, or book editing. It may be preferable, if possible, when printing, to choose a pale color a little rather than condensed - dark grey instead of heavy black, for example - to give the best appearance and to benefit from the full details. The old typewriter character size is 11 to 12 points, but this font easily supports enlargement.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Bill Hiffith is an Organic Script, a gorgeous font that can be used for making multiple things. it includes smooth brush stroke, simple and soft. Its elegant taste is one of the most gorgeous fonts. This typography is reflected in this exquisite font family. The type is clean and simple yet fun and stylish. It is beautiful, better for headlines style design or logo design. Or you can have it on your website’s body style. Grab it now, Bill Hiffith could elevate your elegance brand design. A Million Thanks Colllab Studio www.colllabstudio.com

Gearing is a typeface that is widely associated with the extreme music genre of death metal. It is characterized by its dark and aggressive appearance, evoking a sense of brutality and chaos. The font is typically designed with sharp edges, bold and angular letterforms, and intricate or distorted shapes. The death metal font typically features strong upper and lowercase letter variations, often with sharp, exaggerated serifs or thorn-like spikes. These embellishments contribute to its menacing and threatening aesthetic. The letters may also have broken or damaged elements, giving them a weathered or decayed look. Though death metal fonts come in various styles and variations, they often prioritize legibility and impact over ease of reading. This means that certain parts of the letters may be missing or disconnected, making them appear jagged or incomplete. Ligatures, which are unique letter combinations, are sometimes included in the font to add a sense of continuity or artwork to the overall design. In terms of color, death metal fonts are commonly depicted in monochromatic shades such as black, grey, or dark red to maintain their sinister appearance. The color contrast often enhances the sharpness and intensity of the font, making it more visually striking. Due to its association with the underground music scene, the death metal font has become an essential element in album covers, band logos, posters, and merchandise. It effectively conveys the aggressive and rebellious spirit of the genre, becoming instantly recognizable to fans and enthusiasts.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Originally designed in 1985 and released by Letraset for dry transfer Lettering, Kestrel has, until now, never been digitized. The face now has been completely re-drawn and digitized for all formats. It is a heavy formal script similar in form to Commercial Script.

In the early 1970s Ed Benguiat drew the International Typeface Corporation's logo, a flowing script that many have hoped would one day be expanded into a complete font. From 2008, Jim Wasco of Monotype Imaging - with Benguiat's blessing - took up the challenge. After two challenging years, Elegy™ was completed. I knew that developing the typeface would present many challenges, but I felt strongly that Ed Benguiat's lettering deserved to be preserved as a font that graphic designers could take creative advantage of." - Jim Wasco Elegy makes good use of modern OpenType features to really make this script shine, and introduces some of the spontaneity of Ed Benguiat's original logotype. And what did Ed Benguiat have to say about the completed typeface?"WOW! It's absolutely beautiful. Jim Wasco has done a magnificent job of turning my logo into a great typeface design."A glowing tribute for a very fine typeface. Do take a closer look at this elegant and very accomplished script." Featured in: Best Fonts for Tattoos

This family was created inspired from the Garamond patern set of fonts used by S. Millanges "imprimeur ordinaire du Roy", in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curés (Instructions to parish priests), from Jean Gerson. The set contains two styles, Normal and Italic, the second one with a lot of caps and ligatures variants. The initials, except a few decorated letters (six in total) where only large caps, covering no more than three lines. Added are a few fleurons. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very elegant and legible font... This font supports strong enlargements as easily as small size (legible from 6 points when printed) remaining very smart and fine. Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, can be used with this family without anachronism.

Polyphonic is a highly versatile slab serif typeface comprising 60 fonts across 6 weights and 5 widths. It is a no-nonsense, clear and legible type family whose multiple voices will suit numerous typographic applications. Its overall personality is polite, understated and formal – there are no frills with this typeface, it conveys messages simply and efficiently without hyperbole. Polyphonic’s lighter weights are great for body text and its heavier weights the perfect complement for branding, titles, headings and logotype options. Small Caps are included with each font and available with one click, as are Old Style Figures, there is extensive language support too – European/Latin only. Key features: • 6 Weights in Roman and Italic • 5 Widths – Condensed, Narrow, Regular, Wide, Extended • Small Caps • Old Style Figures • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Polyphonic microsite.

Akon Font Family comes in 2 weights; Regular and Bold. It is completely hand-drawn. The Akon Font Family has a few ornaments and stylistic alternates, ligatures, small capitals, Scientific Inferiors and so. This font family would fit in your mobile application designs magnificently and is a great choise for poster design. With this font family, you can create eye-pleasing and nice works such as posters, printings, t-shirts, adds, magazines etc.

Numpty is a word of Scottish origin and means ‘someone who, by speech or action, demonstrates a lack of knowledge’. I use this word quite often (as this world, unfortunately, seems to be full of numpties). And guess what? Now you know what it means, you can use it too! Hooray! Numpty is a fat, rounded display font. A little uneven, a little weird, but with enough panache to make your designs stand out.

The 52 characters assembled by this Gothic font, Prince of Darkness, were once interred in coffins onboard the Russian cargo ship Demeter, when it set sail for the sleepy shores of Whitby, Northern England ages ago. Hunted down by Vampire Hunters for century after century, this noble Transylvanian set has hidden for years in England and Eastern Europe. Now, Prince of Darkness is available as a font with more Layers than Dracula has Lairs.

Let Me Call You Sweetheart was one of the most popular songs of the early 20th Century, and a piece of vintage sheet music for this tune had its title hand lettered in a square, narrow block lettering style. With a few adjustments and adaptations, this led to the creation of Tall and Narrow JNL, a digital version of the type design which is a perfect alternate to the more conventional condensed faces.

Port Play ... Based on Density Slab Serif, now with other styles, Normal and Expand, equipped with alternative letters that are so wide that they give a strong, clear, masculine feel, and have good legibility. Port Play comes in regular, oblique, outline, and outline oblique styles along with regular and oblique variable files. This font is perfect for every project. suitable for branding logo, badge design, or apparel design. This font also comes with multilingual support.

Chola Boba is a friendly font with an innocent and youthful look. This font has best for a lot of print, digital, and net designs. Chola Boba is a font it really is best for any layout project. It is available in nine unique weights with a contented sans serif style. This font will make your textual content readable & without problems recognizable for your audience. So move ahead, use Chola Boba in your subsequent project!

A wonderful, very condensed, 3D font. A few years ago, I was commissioned to digitize the letters from this typeface for the words 'LEGENDS OF RODEO' and liked the look of it so much that I went ahead and digitized the rest of the alphabet. This CastleType revival is very clean-cut and contains uppercase, numerals, and punctuation. Sculptura was originally designed by the Swiss designer, Walter J. Diethelm (1913-1986) in 1957.

The original Carbon is a popular face at T26. It was released in 2003 under influence of modern typewriter and OCR typeface. Carbon Plus, a re-work version, was commissioned by local communication technology firm and is now available for commercial release. This revised version was designed with more sensible letter forms in order to add some human touch to the face. The initial release of this font also known as Carbon C6.

Make a little extra impact with this strong athletic font with big geometric muscles, clean lines and sharp teeth, too. Originally created for a local pro basketball team in Minnesota, this sporty and big-shoulder poster font is now available directly to you for the first time ever to add some punch to your printed or web designs. Crisp and clear and ready for action a concise variety of weights and styles!

Keltichi typeface is based on the Book of Kells, the Irish uncial manuscript, the most beautiful European medieval style of writing. Keltichi contains many Opentype features, which make this font absolutely awesome. It looks great, specially titling uppercase sets, simulating the real Book of Kells scripts. Work on this project lasted 1 year, and now, I believe, Keltichi it is the best font simulating the Book of Kells scripts. Glory, glory to the Celts!

Qafidut Groovy is a psychedelic-inspired retro typeface with a bold and playful character. It’s ideal for branding, product packaging, or even just to add a little flair to your editorial work. This elegant typography has a simple and contemporary look but with a touch of beautiful simplicity to give a modern feel to every curve of the letter. what are you waiting for start using this font to create your own special project now!

Addictive font duo is a sophisticated & contemporary, hand-made script font. With personal charms and character. allow you to create flowing hand-lettering.Addictive fonts are designed to be a winning combination. this font will perfect for many different project, Designed to feel comfortable with variety projects including advertising, campaigns, poster design, wedding, branding, logo, fashion, magazines, social media. Here is what you get in the Addictive package: 1. Addictive • A hand-made High quality script font containing upper & lowercase characters, numerals and a large range of punctuation + OpenType features (Ligatures&Alternates). 2. Addictive Caps • A bold hand-made brush font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Addictive Script Both fonts Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya. TTF and OTF files are included for both fonts. Access all OpenType features alternates&Ligatures, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, Microsoft word and Etc.. Thanks for looking If you have any questions about license or anything else,feel free to leave a comment or send me a message. I'm always more than happy to help:) hope you enjoy! Michael