Blestive Script is a cool calligraphy typeface. This marker lettering is provided in Regular, Italic, Bold and Bold Italic. Perfect for a logotype or headline, use this handwritten type to express life and optimism. Use underscore _ anywhere in a word to make a swash underline. Example: Won_der Use # after any word to make a swash letter. Example: Cute# Use multiple underscores after any word to make swashes of different length. Example: Weat___her (Download required.) 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.

Here’s what happens when your trusty felt tip marker takes a trip to cartoonland. Each of Valentina’s plump characters has a rough and splotchy texture. Some letters even bounce up and down like a 3-year old. As cartoon faces go, Valentina is a bit on the imperfect side. But that’s normal for a funny face. Use it in a variety of comical situations. Make convincing captions under your own artwork or design greeting cards with it. You can even blow it up to huge sizes to create a wild and crazy look. Valentina Medium is now available in the OpenType Std format. Some new characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

SK Akropol is a sans serif and condensed font. Designed by Salih Kizilkaya in 2020. There are six different options: Regular, Italic, Medium, Medium Italic, Bold and Bold Italic. Includes 6 fonts and 1122 glyphs.

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

Essay is an elegant serif typeface intended for setting books, with many stylistic alternates and other typographic goodies, designed by Stefan Ellmer. It is a highly legible text face with a natural flow of reading. This is enhanced by a slight slant of the roman, the combination of open and closed apertures and the amalgamation of organic strokes and counters with a static, fully straight baseline. Essay Text Regular looks back to the spirit of the french Renaissance, when the roman typographic letterforms came to full emancipation. Departing from that historical reference, Essay Text gets rid of all sentimental antiquity and becomes a contemporary interpretation of the “archetypes” of that period. Essay Text Italic refers to that more vaguely, resulting in a formalised look with fairly upright and open shapes and little cursiveness. As in the Renaissance, before the mating of roman and italic, Essay Text Italic works as a separate text face and a perfect secondary type. The name Essay derives from the literary meaning of the word, attempt or trial. Therefore, the typeface Essay can be seen as an attempt to express an opinion about reading, the omnipresence of history, the importance of calligraphy and the importance to deviate from that calligraphic source; as well as an attempt to crystallise lettershapes in balance between convention and the designer’s personal idiom.

ITC Flora is the work of Dutch designer Gerard Unger, and is named for his daughter. He started by doing calligraphy experiments with felt-tip and ballpoint pens, and developed these drawings into a formalized script typeface. Swiss typographer Max Caflisch advised the Dr.-Ing Rudolf Hell GmbH technology firm to add a new round-nibbed script face to their Digiset type library, and in 1984, Flora was released by Hell. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the International Typeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines.

A humanistic sans serif The first version of this font was created in 1994 within the framework of the bid placed by the city of Graz to become the location for the Winter Olympics in 2006. Appropriately, its original name was ”Olympia.“ The font is intended to embody classic ideals as well as to meet modern demands. The proportions of Charpentier Sans are directly derived from Roman capitals and the humanistic book-face. The contrast between strokes and thin strokes is based on medieval uncial script. And thus, a modern serif sans was created emphasizing thick and thin strokes together. Thanks to its traditional form language, Charpentier Sans is very legible, adapts to various forms of content and expresses a kind of calmness and certainty. Details resulting from writing with the quill guarantee that the font doesn’t appear too rough and unemotional. Even the tiny, pointed mini serifs contribute to the unmistakable appearance of the font. They create an exciting contrast to the soft flowing forms of the letters and are, to a great extent, conducive to the legibility. Consequently Charpentier Sans always appears with an extremely sharp and clear outline. Charpentier Sans Italique has an even more distinct ductus derived from writing. Especially the rounded forms from a, e, f, g and y reflect the handwritten humanistic cursive. Charpentier Sans is comprised of many ligatures, including discretional ones, plus proportional medieval and capital figures for the normal type as well as disproportional tabular figures with a consistent width. Above and beyond the ”normal“ Latin typeface system, small caps are available as an especially elegant form of distinction.

Dalgond Script is a classic font, I built it with my relaxed hands. designing a classic font but having a modern element in it, which makes it particularly suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, in fact for any design work that requires a clasik, formal or luxurious. Try Dalgond Script, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Includes multilingual support Your download will include OTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

Seriguela is an ultra condensed sans serif typeface with a unique personality. It comes in normal and display versions, each with 9 weights, as well as italics and reverse italics totaling 54 fonts. Seriguela is flavor in motion and each part of its system works together to captivate you, combining emotion and usability, allowing you to create attractive and unique designs. Seriguela followed a very distinctive recipe to design its alphabet: it started with a grotesque base and applied movement and joy in a very original way. The blacker and more contrasted, the tastier. The contrast in its display version is one of the most important features of Seriguela: the unconventional relationship between thick and thin lines, as it does not strictly follow any historical model of contrast construction and makes it noticeable. Its high contrast is not present in every single character and it is often in the “wrong” places. The original charm of Seriguela is maintained throughout all its styles. With peculiar details: the verticality and its proportions, as well as terminals that resemble hooks in some curves, a characteristic that breaks with the vertical modular rhythm. Seriguela is a versatile font system, designed primarily for display uses with a need of visual impact.

Colonial Press is a font based on serif typefaces designed by William Caslon I (1692-1766) and various revivals thereof. Caslon is cited to be the first original typeface of English origin, but some type historians point out the close similarity of Caslon's design to the Dutch Fell types, presumed to be the work of Dutch punchcutter Dirck Voskens. Colonial Press harkens to the look and feel of newspapers in Colonial North America around the mid 1700s without the rough edges commonly associated with colonial printing and many reconstructions. The rough quality of the American typeface is believed to be the result of oxidation from the exposure to seawater during the long voyage from England to the Americas. Colonial Press is a heavy font that retains some of the handcut quality of these fonts while smoothing out the irregularities that make many of these fonts so visually distracting at larger point sizes. For the italic version of this font, I chose to emulate the more ornate letterforms that I have encountered, giving the italic characters a more ornamental feel. Colonial Press comes with full punctuation and a 362 glyph character set for most Western European-based Latin alphabet languages. It is a font that is designed both for normal typing and for larger, decorative display.

As mentioned on previous released font Axeo (freeform serif), now, the original sanserif font is released with similar name, Axeo Sans. Axeo was release first when Axeo sans is still in minimal glyphs and font weights. However, Axeo sans is released with more fonts, 7 font in roman and 7 in italic/oblique versions, instead of semi condensed. 7 fonts is in roman form of weight: Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black; and 7 fonts in italic/oblique versions of its weight, respectively. This font weight offers the user to use the best fit to the usage. Axeo sans is neutral typeface, designed for general use. This font has also more glyphs variations and OpenType features. More than 700 glyphs for each cut. While the OpenType is equipped with: Large unmarked Basic Latin caps (ss02-ss05); normal character variation for some letters (ss01); Small caps (c2sc and smcp); superscript for 1, 2, and 3; ordinals for a and o; 5 basic fractions; standard and discretionary ligature; kerning; case sensitive and ornaments. Large Caps is unique setting, additional letters for font variations lover/user, applicable for first letter of paragraph, sentences, for design mean, just for fun or other usage.

The casual characters of Allura Regular are simple and clean and very legible, with an almost handwritten calligraphic appeal. The script and formal sets offer a softer, more formal look. This exceptionally diverse font was designed with advertising, display and package design in mind. The OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give the professional designer maximum flexibility.

Watermint Script is a formal typeface that epitomizes the essence of elegance and sophistication. Envisioned for formal settings, its calligraphic strokes evoke a sense of classic beauty, making it an ideal choice for invitations or logotypes that demand a touch of class. Watermint Script is a harmonious blend of cute and lovely, wrapped in a feminine and romantic design. Its light and fresh appearance breathes life into each word, offering a clean and flawless presentation. The font's perfection lies in its attention to detail, with each character exuding a classy aura that enhances the overall visual experience. The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual 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. Designed by Mans Greback, Watermint Script is a testament to his commitment to creating fonts that are not just tools of communication, but artworks that enrich the visual landscape.

Multi is an extensive sans serif typeface family that consists of two subfamilies: Multi Text that comprises three weights (roman & italic) and Multi Display (seven weights, roman & italic). Vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches. This is clearly noticeable in Multi Display: the roman lowercase’s asymmetric stems are very softly tapered, with bevelled, sharp upstrokes. Furthermore, all weights consistently share these idiosyncrasies from Thin to Poster. With its lower contrast, wider proportions, shorter ascenders and descenders, Multi Text was purposely adjusted to meet all the requirements of a legible typeface for newspapers in paper and screen, as they were manually hinted. It also has a few new features, such as the outstrokes of the roman ‘l’ and the italic ‘a’, which bring a subtle calligraphic feel to the text flow.

Zosimo is a neo-grotesque typeface created by designer Ron Gilad (Delicious Type) in cooperation with renowned typographer Oded Ezer based on his ubiquitous Alchemist typeface. Carefully drawn curves, robust shapes and a range of OpenType features make Zosimo a great choice for designing logotypes, signage, titling, texts and more. Zosimo now comes in three families: Standard (full Latin support), Cyrillic (basic Latin and Cyrillic) and Pro (all included). Totalling in 9 weights, roman and italic, Zosimo can accommodate all your type-related design needs in one big happy family.

We created a serif version of our popular "Werk" Sans Serif that will greatly enhance the Work family of fonts. Like “Werk” Sans Serif, “WerkSerif” is a sturdy, well-tuned font that is a true “werkhorse” with plenty of character without being overbearing. “WerkSerif”is an ideal choice for corporate branding offering a complete typographic solution with the sans and serif range of fonts — also a prime choice for distinctive and dynamic logotype use. “WerkSerif” comes in a range of offerings from Light to Regular, to bold and Black with matching Italics.

Autor is a medium-contrast sans serif font with a dynamic stroke modulation. Its clean look and angled terminals give your designs a ‘sharp’ and contemporary feel. Autor Family comes in 7 weights, ranging from Thin to Black, with matching italics, resulting in a total of 14 styles. Autor is well-suited for editorial design, body text in books and magazines, headers and titles. It can also be used—as a display font—for logotypes, branding, advertising and publishing. The font includes a character set containing more than 400 glyphs that support over 200 languages.

Copyman is an experimental one for the creative ones. Monumental & minimalistic, great for the contemporary & urban design, this font is a good choice for confident branding & logotypes as well as for brutal or futuristic interfaces. Copyman’s title is an anagram for a Company. First of all, this font was created for branding purposes of businesses, who want something as practical as a little bit different from what they already get used to. This chamfered typeface contains 8 styles, Regular & Italic, both Cyrylic & Latin, 287 glyphs, 8256 pairs, 119 groups, has well–balanced kerning & clever spacing.

VISIA Pro - Our flagship Geometric Sans-Serif typeface, a perfect blend of elegant, minimal and premium design aesthetics at it's level best. A perfect typeface for logotypes, headlines, branding, marketing graphics, corporate identities, all web & print purposes. This pack comes with a total of 14 fonts: 7 Weights (Extra Light / Light / Regular / Semi Bold / Bold / Extra Bold / Heavy) 7 Weights of Italic versions (Extra Light / Light / Regular / Semi Bold / Bold / Extra Bold / Heavy) Each weight includes extended language support including Western European & Central European sets. A total of 258 glyphs are included.

If you like a bold and powerful all-caps sans-serif font to make your message stand out, Gunterz can be the choice to maximize your goals. Available in four weights and its matching italics, Gunterz is designed to meet font needs in a variety of different situations. To make it more attractive, Gunterz also provides opentypes features such as stylistic alternates and a stylistic set. Others, this font also supports Cyrillic language. Gunterz is suitable for poster titles, packaging design, headlines, logotypes, motion graphics, movie titles, sports promotion and future technology.

D Hanna Soft is a sans serif type family of 9 weights plus matching italics. It is inspired by the geometric style sans serif faces with a mix of rounded shapes and a little bit of black in some corners. The medium weights serve very well in body text, while the thinner and bolder styles make an excellent choice for headlines . D Hanna Soft is equipped with a complete set of opentype features including alternative glyphs, fractions, ligatures and many more. It is perfectly suited for highlighting lettering, magazines, web, interaction design, advertising, logotypes, etc.

Zosimo is a neo-grotesque typeface created by designer Ron Gilad (Delicious Type) in cooperation with renowned typographer Oded Ezer based on his ubiquitous Alchemist typeface. Carefully drawn curves, robust shapes and a range of OpenType features make Zosimo a great choice for designing logotypes, signage, titling, texts and more. Zosimo now comes in three families: Standard (full Latin support), Cyrillic (basic Latin and Cyrillic) and Pro (all included). Totalling in 9 weights, roman and italic, Zosimo can accommodate all your type-related design needs in one big happy family.