Creative Wonder is a Modern Handwritten Font. Our handwritten font takes inspiration from the fluidity and uniqueness of human handwriting, ensuring that each letter carries a sense of character and charm. With its graceful curves and delicate strokes, this font adds an intimate and personal feel to your written words. Perfect for creating notes, memos, journal entries, or beautiful quote designs, our handwritten font elevates your messages with a sense of authenticity and warmth. It transforms your ordinary words into a beautiful composition, breathing life into your writing. - also multilingual support Enjoy the font! Feel free to comment or feedback! Thank you!

A sturdy and solid presence, CamingoSlab is defined by its heavy serifs, low stroke contrast and elliptic curves. Yet it retains a light touch, and feels vivid and friendly, thanks to the humanistic tone that derives more from handwriting than from strict construction. Special attention has been paid to compatibility with the other members of the Camingo series — With their consistent line heights, an equal grey value and the same formal language it can be seamlessly combined with CamingoDos and CamingoMono. CamingoSlab comes with a Pro version that contains small caps, ligatures, 10 different figure sets, stylistic alternates and two sets of arrows.

Kaikoura is a small town on the east coast of the South Island of New Zealand. It is a very pleasant, laid-back place where the mountains meet the sea. Kaikoura is also the best place in the world to spot sperm whales. Kaikoura font is quite similar in appearance: it is laid-back and beautiful, has sharp peaks and generous curves. I am still trying to find out how to add whale watching to this description… Kaikoura is an all caps font with a lower case alternative for the o and y. It comes with an ocean of diacritics.

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Introducing MUNISH, a playful and nostalgic font that is in style. It has an unique 1970s feel because to its massive curves. MUNISH seems really at work among those vintage designs, logos, and brands. It has separate lowercase and uppercase letters, numerals, punctuation, and multilingual letters, in addition to punctuation. Ligature typefaces are useful for anything you can think of! 2 Styles Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

MERLOVAZ is a bold, vintage-style font that has beautiful curves. This font is basically a classic serif font that is thick and has a slightly beautiful feature because the strokes have beautiful bends so that even though it is sturdy it still has a beauty side, it is very suitable for vintage designs such as a brand logo badge, liquor label, but also can for more modern designs like magazine headlines. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

Say hello to the Editor's Note Family, an editorial serif display that includes 16 fonts, regular and italic, from Hairline weight to Bold, and still has all the clean lines, tight curves, and trendy minimalist vibes! I've been loving the clean, editorial type trend happening in design right now (let's be real, there's always a place for timeless editorial type). Editor's Note is a stunningly crisp upper and lowercase typeface that looks incredible in both large settings as a display text (think big headers, pretty quotes, calls to action, etc.). I've been loving combining the regular and italic, especially in big, bold quotes.

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

Normaliq is a geometric and modern sans serif family that exudes a unique and minimalist charm. comes in nine weights, ranging from Thin to Black, combined with an Italic style, as well as the addition of Black Outline and Black Italic Outline. The balance of hard lines and subtle curves provides strength and eye-catching for every weight of the family. Each font in the family can stand alone, dynamic and authoritative. This font family offers versatility for a variety of design needs, designed specifically for looks such as titles, branding, logos, books, branding and other impactful editorial work.

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

Introducing **Dafilea** font, a lightweight elegance in romantic curves with a glitchy and fluid aesthetic. 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!

Meet Voga. Voga is a condensed modern Didone typeface with three weights: Regular, medium and bold. My aim was to create a very elegant and “sexy” typeface with some unique letterforms based on the principle of contrast - curves vs. strong straight lines - thin hairlines vs. thick stems - ball terminals vs. geometric serifs. These contrasts make it a glamourous display font for titles and large typography settings, yet readable at text sizes. Voga was inspired by iconic typefaces such as Bodoni and Didot. It has an extensive glyph set that supports languages for the Americas and most of Europe.

Introducing Kagnue Serif Font - A Brand New Serif Font with Classy and Modern style, Kagnue Serif font made with combination from classic italic font and modern shape. Kagnue Serif font come with More Opentype Feature, more neat curves. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! Fully accessible without additional design software. I really hope you'll get pleasure using Kagnue font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

Gioties is an adorable display font that radiates an irresistible charm and playfulness. With its cute and whimsical letterforms, Gioties encapsulates the essence of innocence and joy. The rounded edges and friendly curves of each letter exude a sense of approachability, making it the perfect choice for designs that require a touch of sweetness and lightheartedness. Gioties effortlessly adds a delightful flair to children's books, playful merchandise, and cheerful branding. Its unique character variations and vibrant energy create a captivating visual experience, ensuring that any project adorned with Gioties becomes a canvas of endearing cuteness and boundless creativity.

Xaver Nature is inspired by nature. Thus, it is characterized by curves and dynamic thickness of the stroke. At the same time, all letters are anchored on the baseline, which makes the font look calm despite its organic appearance. The Schrit contains two weights: a basic weight that guarantees great legibility even in small sizes. A decorative cut that integrates plants into the typeface as decorative elements. This is particularly suitable for headlines and titles. Furthermore, it offers language support for the entire European region, the North American region, as well as for South America and Oceania.

Ranille is a modern, classy, bold serif and display font. It includes a great number of of alternates and ligatures. Ranille is inspired by retro curves style from the 50-60s era and brings it into modern design with bold weight. Ranille comes with over 200+ alternative characters (PUA Encoded) that give you a wide range of typographic design results. Ranille is a versatile font that ready to make your designs more stand out such as posters, magazines, branding, logos, label, merchandise, presentation, advertising, cards, quotes and so much more! Check out Novante which is a great pair for Ranille.

Chofines is a serif font with a retro style that is suitable for a variety of design purposes. Has a very soft curve, looks elegant and attractive when applied to the design. Equipped with opentype features such as Stylistic Alternate and rich Standard Ligature. It can be used in various countries because it supports Multilingual, adding to the maximum power of this font. You will get including: This font includes 2 styles, regular & oblique. It is very profitable to buy the Chofines font. Get it Now ! I hope you enjoy it and thank you. Viaction Type

Sundash versatile typeface with wide allternate allcaps. This bold modern font explores the style of Allcaps, we add a wide character to make it look more flexible. based on forms inspired by free urban culture, Sundash has a modern and vibrant spirit. Sundash explores how the shapes and curves of letters change their Focus. This font has a variable weight of 5 Light, regular, medium, bold, extrabold to make the sundash more solid. Sundash has 247 glypghs with a unique and bold character perfectly suited for a wide variety of applications from editorial design to branding, advertising, publications and digital.

SmoothSoul is a display sans-serif font with a smooth shape and a retro style characterized by its lack of decorative lines, which gives it a clean and modern-retro appearance. The smooth curves of this font create a sense of fluidity and ease, while the lack of serifs makes it feel relaxed and informal. The retro style of this font is evocative of the 1960s and 70s, with a nod to the playful and carefree design sensibilities of that era. Overall, this font is perfect for conveying a sense of fun and approachability, while still maintaining a sense of professionalism and modernity.

Nightmare font is a simple attempt to convey the essence of a handwritten font with strong lines. In a real handwritten font, you would find more variation in line thickness, curves, and other design elements that contribute to the overall style. Creating a visual representation of a handwritten font using lines can be a bit challenging in plain text, but I'll provide a simple ASCII representation that may give you an idea of a strong handwritten style. Keep in mind that this is a very basic representation, and actual fonts would have much more detail and nuances.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Pellegrino Artusi was a celebrated Italian food writer, who is credited with the creation of one of the most influential cookbooks in the history of Italian cuisine. Taking inspiration from his legacy, Francesco Canovaro decided to work on a typographic homage to the delicacy and finesse of Italian traditional cuisine. Aptly named Artusi, the typeface is an enchanting combination of traditional Italian style, contemporary refinement and a playful touch of innovation. It is a transitional serif typeface with both text and display versions, developed on a wide range of seven weights and including a huge range of alternates, OpenType features and ligatures. Each weight of Artusi works like a different course in a balanced meal. Lighter weights are our starters, with their high contrast between thicks and thins, delicate curves, balanced proportions and subtle spiky serifs. The main course are naturally the regular and bold weights, where traditional Italian old style is enriched with a peppery kick of modern details. For dessert, the heavy weights offer luscious curves, opulent calligraphic swashes and eye-catching details, suitable for packaging and logos. When it comes to typography, let Pellegrino Artusi’s legacy inspire you. From packaging to web pages, Artusi typeface will bring a feeling of tradition, craft and quality to any project. Because, as Pellegrino would say, “To make a great impression, you have to choose the finest ingredients”... Buon Appetito!

Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it. Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full range to explore a whole host of applications, while the fonts outlined give a real modern feel to any project. Any specific license questions or questions, feel free to contact zamjump@gmail.com zamjump

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

Sofia Pro is a geometric sans font family who dares the modernism and the harmony of the curves. Created in 2009 and completely redesigned in 2012, it has become over time a popular alphabet and has received many accolades from graphic industry professionals. It has very rounded curves with very open terminals that makes this font family elegant, friendly and contemporary. Sofia Pro has been designed with a higher x-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences, circled numbers, and more alternative characters to give personality to your projects. This typeface already has a powerful home kerning system called “Pro Kerning”. With all its specificities, Sofia Pro is a geometric sans that can meet the needs of professionals who want a family of clean geometric font; elegant with a wide character set for more than 130 languages of Western Europe, Europe Eastern, Central Europe, Greek and Cyrillic for international communication.

Elliptical The squareness of curves. That was the elliptical – in more than one sense – notion being explored in the making of FS Hackney. The squareness of curves and vertical terminals to create a gentle, soft sans serif, with a little bit of magic. A momentary thought – “It doesn’t have to be like this” – provided the spur to explore the verticals and skeletons of letterforms beyond conventional type design limits. A 12-month gestation period gave rise to a font with a larger-than-usual character set, including non-lining figures, small caps and superior and inferior numbers. It’s a collection that speaks confidently for itself. Assertive It was the Hackney carriage – the black London cab – that gave this font its name, not the north London neighbourhood. Solid, dependable, effective and built to last, FS Hackney was honed to perform in all conditions. Cool, compelling lines and a satisfying overall simplicity lend FS Hackney its assertive air. Assured, versatile and effective; just like a black cab (but without the grumbling). Machined Over a string of meetings, Jason Smith and FS Hackney designer Nick Job worked out how to infuse Nick’s sketched letterforms with Fontsmith’s familiar geniality. “Nick is very meticulous and produces very clean design work,” says Jason. “Hackney is ideal for branding as it’s very clear and its quirks are sensible ones, not odd ones, that don’t distract from the message.”

Medici Script is an elegant calligraphic script. The Medici Script font is ideal for use on invitations, greetings cards and business cards. Medici Script™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions.

Moklan is an all caps bold display font that has a funky and playful style. suitable for logotype, branding, social media, posters, advertisements, and so on. contains standard English letters, numbers, punctuation, and several accents that support multilingualism.

Before designing this font, C.H. Griffith consulted the results of a survey of optometrists regarding optimal legibility. Excelsior font was then presented by Mergenthaler Linotype in 1931 and remains one of the most legible and popular fonts worldwide.

Cashews is a handwritten, happy and fun handwritten monoline script. It features an incredibly classic style, while still keeping a friendly feel. Perfect for titles, headings and logotypes for blog, products and lifestyle imagery like quotes and stuff.

Kolyada is a modernist semi-serif with a friendly nature. This type is well-suited for use in retail, magazines, logotypes, books, etc. It comes with 4 styles, from Ultra Light to Medium, each with its Upright Italics.

Meliya is a beautiful and modern script that is best used for weddings, branding, logotype, and quotes. Features : Beautiful Ligatures Beautiful Alternates + Swashes PUA Encoded Multi-lingual Support Numerals and Punctuation Beginning Swash and Ending Swashes (a-z)

Introducing Silverstone, Luxury script font, using hand made style with brush. Beautiful for wedding card design, logotype, website header, fashion design and any more. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Swash • Ligature