A special category of typefaces, combining together principles of both serif and sans-serif, is sometimes described as Linear-Antiqua by German typographers. This concept catches the eye wherever it appears and this is also the case of Tabac Glam — a highly contrasting display typeface, expanding the wide expressive spectrum of our Tabac super-family through a new characteristic hue. Tabac Glam is naturally a great complement to the serif Tabac. It’s however only in conjunction with other styles of the superfamily — Sans, Slab and Mono, that you’ll be able to unleash the enormous potential of the wide range of combinations, and the family’s 112 styles will certainly satisfy all needs of both elegant and technical typesetting. Tabac Glam will best stand out in huge grades, on the covers of thick magazines under glossy layers of UV coating, or on snow-white surfaces of displays.

Papillon Script is an eloquent pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, headline, brochure, model for a neon sign or any display use like that. Papillon Script is completely monolinear and it gives a clear but vivid impression of a hand writing style. Papillon Script is equipped with following OpenType features: • Standard Ligatures is automatically on and it adds variation and smoothness to typing. If a same letter repeats in the same word the latter will automatically change to an alternative version. • Contextual Alternates is an optional feature that cuts the connection between letters every once in awhile. • Titling Alternates changes the last character in every word into an ending Swash alternative. • From Stylistic Set 1 you’ll find a set of 34 ornaments, strokes and arrows. • Small Caps turns lowercase into a set of legible capital letters.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

TG Glifko is a new contemporary sans-serif grotesque typeface with a combination of large and small aperture, make Glifko feel quirky, dynamic, and unusual. TG Glifko works excellent for display applications and still looks gorgeous in small size. It comes in seven different weights, from ultra-light to extra black, and matches with italic. They also supported various OpenType features, like stylistic alternates, case-sensitive forms, numerators, denominators, superscripts, subscripts, fraction, and multilingual support, coverage more than 200 languages. We are pleased to see our typefaces used by many people. If you are one of them who use our typefaces in your project, feel free to send some in-use sample images to us at info@tegamitype.com. We may upload them on our social media and our website www.tegamitype.com If you have any question or concerns regarding our products, please send us an email at info@tegamitype.com

Aviator, also known as Ventura Slim, is based on an old 1930s lettering style popularized by Carl Holmes in his wonderful book on the subject. Angular and at the same time aerodynamic, this low-waisted typeface is great for tight-fitting headlines and other condensed titling situations. You may find it equally useful in developing company logos with a truly retro look. This resurrected digital version of Aviator comes with a convenient and stylish set of alternate characters and small figures. Now enjoy your flight! Aviator is now available in the OpenType Std format. Some new characters have been added to this OpenType version including stylistic alternates and historical forms. These advanced features work 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.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

Christmas Reign is a very decorative festive typeface. It is a professional typeface, containing advanced but easy-to-use. OpenType functions, such as contextual alternates and ligatures. Try it and see how each letter pair behaves differently, magically creating new ways to connect as the text goes on. Use it for a stand-alone logotype, or for a longer text which requires that extra touch of magic and mystery. Each letter has more than 10 alternate variations, making it truly adaptable with hundreds of possible ways to write any word. Very easy to use functions! Use characters + < > * # to create Christmas symbols. Example: +Merry Christmas+ Use ( ) [ ] to make a decorative border around any word. Underline _ makes a space with borders. Example: (Santa_Claus) The typeface has very extensive lingual support, and works for all European languages, including Cyrillic and Greek. It also contains numbers and all characters you will ever need.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

A typeface for telling stories. After seven years through which Rodrigo Saiani worked on Dupincel, Plau’s team still had months of dedication until found a good way of summing up this typeface. All this effort was rewarded, though, when we came up with a motif that gave Dupincel the grandiosity it deserves. Telling stories is this typeface’s gift because it has the emotion for it, resources for it and the breadth for it. Like all that wasn’t enough, it has the scale for it: optical sizes Small, Medium and Large make Dupincel optimized for stories of every length. From short stories displayed big or long stories on small letters. We don’t want to dictate the types of stories either, anything goes. But if ornaments make a good fit with that story, we will be even more thrilled. In the end, Dupincel makes us want to find new stories to tell.

I was working about 10 years exclusively for a type company. Based on my experiences, I built this superfamily. Schuss™ Sans PCG is a humanistic sans-serif with a little contrast. Small Caps, greek and cyrillic are included. Also tab, prop, lining, old style and small cap figures. It's a typeface with clear and open characters. All complicated shapes are cleaned and simplified with a bit elegance. Schuss™ Slab Pro is a slab serif, based on the Schuss™ Sans. Schuss™ News Pro is the modeled style between Schuss™ Slab Pro and Schuss™ Serif Pro. Schuss™ Serif Pro is the antiqua shape. Additionally all serifs are cleaned up. There is just one-side-serif in the "n" for example. Tab figures (except small caps), mathematical signs and currency symbols have a width system accross all styles and weights.

The Keiss type family is our interpretation of the popular nineteen century Scotch Roman typefaces. We intended to keep a very classic approach while introducing a couple of new elements that differentiate this type family from it’s ancestors. This design, with short descenders and ascenders, along with three very distinct optical sizes makes this type family well suited for contemporary newspapers. The Title and Big versions range from Thin to Heavy, with matching italics, in order to be used in big sizes and stand out in the design. The Text ranges from Thin to ExtraBold and is a standalone type family for text usage, with narrow proportions and wider and open italics for improved text setting. The Condensed versions, ranging from Thin to Bold, don’t have italics, although they can be matched with the italics of the Title and Big versions, due to the fact they are very condensed.

Hansplatz Grotesk is a sans serif type family of nine weight. Influenced by Akzidens Grotesk, Hansplatz typeface bring a new approach to this utilitarian style of grotesk. With more square proportions rather than geometric style, Hansplatz grotesk aimed to ease typesetting job when arranging a words or paragraph easily. A wide range of weight gives flexibility to every design project, hansplatz fit nicely to grid-system because of proportions. Furthermore Hansplatz Grotesk supplied with smart Opentype scripting to assist typesetter and designer very easily to Hansplatz feature. Hansplatz Grotesk truly a utilitarian, workhorse, neutral, and of course faceless. But, it makes the work done quickly. For display use, Hansplatz Grotesk Black to Semi-Bold is recommended, for paragraph heavy design, use regular and light weight. To spice up, adding Hairline or extra-light weight will make a design execution looks great and catchy but not intimidating.

The talented Ronna Penner has created many beautiful script fonts, and Black Jack’s quality was very good so only a few spacing issues had to be addressed. I've added some kerning pairs, and then added all the glyphs needed for the CheapProFonts language coverage. This font was an absolute joy to rework, and with its extended character set I hope it now finds many more users! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese. There is no yen currency symbol is this font.

Street Punks: Graffiti Inspired Marker Pen and Paint Brush Font A hand-drawn font inspired by graffiti and skate culture that comes in two pen and paint styles. Plus a shed-load of alternatives for designs that come straight off the pen (or brush). What happens when you combine graffiti, skate culture and 80s movies? You get Street Punks; a gritty, no-nonsense design that's equally at home on a ripped t-shirt or opening a horror movie (with ninjas!) Choose the slick look of marker pens or the textured roughness of paint brushes. Mix them up, play around and have fun. It's up to you! Street Punks comes with a complete set of alternatives and underlines with each style, so you’ll never have to repeat an E or an I; the tale-tell signs that give away other hand-made fonts. It also features all-caps uppercase and lowercase characters, along with numerals, punctuation and language support. It's a font that gives you tools to create some truly unique designs with just a little bit of work. The perfect choice for t-shirts, posters, stickers, movie titles, YouTubers and more! Street Punks: Marker and Paint Marker Regular Marker Alternative Marker Underlines* Paint Regular Paint Alternative Paint Underlines* *Underlines are assigned to keys: ABCDEFGHIJKLMNOP Find more from The Video Store Collection at Wingsart Studio

"Introducing Maison Paris - Where Modern Elegance Meets Timeless Sophistication! Maison Paris is the font that defines contemporary style, making it an absolute must-have in today's design scene. This font effortlessly marries modern chic with timeless sophistication, embodying the very essence of what's trending now in the world of typography. With a versatility that knows no bounds, Maison Paris is your key to creating stunning designs that demand attention in today's competitive landscape. Whether you're crafting a high-end brand's logo, a cutting-edge editorial layout, or a minimalist wedding invitation, this font adds an element of tasteful extravagance that's currently sought after. Don't miss the chance to infuse your designs with the most sought-after modern stylish serif font of the moment. Maison Paris is your ticket to ensuring your projects are impeccably current and stylish. Embrace the future of design today with Maison Paris!" Here's what you get: Regular, Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

NCL NOSTALGIC WEDDING is romantic wedding script font. It is unique handwritten script font with lots of swash variants. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level! It was purposely crafted to be used in large point sizes, although it doesn’t lose its magic in small point sizes. It is perfect for wedding or romantic event, headline, billboard, magazines, website, titles, poster, branding, t-shirt design, and logos. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. With this beautiful font, absolutely you can make your project stand out from the rest. See the previews above to get some inspiration on how to use them. FEATURES Contains 478 Glyphs Uppercase, Lowercase & Numeral Punctuation, Symbol & Currencies 70 Stylistic Set 1-4 48 Swash Variants Support for 87 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Released by Intertype in the 1930’s, Vogue was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks such as its distinctive G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue the versatility to be a true workhorse.

Thought Balloons. No use for them any more. You can't be taken seriously when your thoughts are floating above your head in cute, puffy clouds. Doesn't look good. When the streets are extended gutters and the gutters are full of blood, a thought bubble just isn't noir enough, is it? It's gotta be GRIM. It's gotta be GRITTY. Let's face it... It's gotta be GRIM'N'GRITTY. In Italic and Bold Italic. Also Regular and Bold. But I've little use for them either. Talk is cheap.

Released by Intertype in the 1930’s, Vogue, was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks like its distinct G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue Soft brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue Soft the versatility to be a true workhorse.

The sheet music for "I Used to be Color Blind" (from the 1938 Fred Astaire-Ginger Rogers movie "Carefree") had its title crafted in ornate Art Deco hand lettering. Keeping the original letter forms, the interior embellishment was simplified to a dot-and-line pattern [eliminating a secondary squiggly line] for a cleaner look. The type design is now digitally available as Performing Arts JNL, in both regular and oblique versions. For those who prefer no ornamentation, there are also regular and oblique versions in solid form.

Fábrica is an exquisite display letter with flair. Its delicate curves have been carefully honed; yet its beauty is seemingly effortless. To add to its appeal, Fábrica is equipped with several handy features such as ligatures (there are plenty of them), old style figures and fractions. Its true crown jewel, however, is the finely tuned hairline accents – no longer will a diacritical mark ruin your heading. Find those under a feature called Thin accents. Use Fábrica to turn your communication into statements of divine elegance.

The inspiration source for MFC Thornwright Monogram is a beautiful letterset from the "Manuel de Broderies No. 179" by N. Alexandre & Cie. from the late 1800's. Thornwright Monogram is capable of automatic 3-letter monogram formatting as well as bare & floral styles utilizing Ligature & Stylistic Alternates features. We've included both the bare and the original florally adorned versions of the Capitals to offer more design versatility. Download and view the MFC Thornwright Monogram Guidebook if you would like to learn a little more.

Just write, I just want to write, I took a pen, I write the words with punctuation, I write the numbers, symbols and some currencies. No matter about My writing is ugly or very ugly, but sharing this handwriting to the world is my best wish. Tello Mallo comes in regular and italic style for every word you type. Do you like it? Hope you enjoy this, if you have problems or questions, please don't hesitate to contact me. Thank you and have a nice day :) ;)

Maine is a modernized book antiqua consisting of six styles and matching italics. Maine's cuts are from Light to Extrabold, of which Regular and Slightly Bolder Book are especially suitable for longer texts. Thanks to its clear features and high x-height, Maine creates a beautiful and legible body text. Maine gives a professional, no-nonsense impression and it’s best used in editorial, books, magazines and everywhere where you can use many different styles and sizes of the same typeface. Go dignified with Maine.

Some years ago we developed a monospaced 12 pitch sans serif for a client. We also created a 10 pitch version that was later discarded. PropTen is the 10 pitch version modified to proportional widths. The name PropTen refers to 'Proportional 10 Pitch'- which is a technical impossibility. It does have a slight 'its time to vote' twist to it. You know, after you pick your candidate you also need to vote yes or no on the following Propositions, don't forget Prop10, the team needs those uniforms.

Lithium is a set of symbols coming from different communicative context but designed to be used together. It's like turning on 5 radios trying to understand the mixture of sounds. Lithium was created, above all, to present this kind of sensation using images. Obviously, the result is chaos in lowercase text. Lithium represents the overload of images we are subjected to. With advertising no longer working like in past years, we end up seeing nothing but noise. FF Mode 01 is created with similar concept.

Bright Bride - Beautiful Script Font Introducing Bright Bride, a stunning and elegant script font that exudes sophistication and beauty. This font was carefully crafted with the intention of adding a touch of glamour to any design project. Its clean lines and flowing curves create a sense of grace and charm, making it perfect for wedding invitations, branding projects, social media posts, and much more. For those seeking a romantic and feminine touch, Bright Bride is the perfect font choice. Its delicate strokes and intricate details add a level of elegance that is sure to catch the eye of any viewer. Pair it with soft pastels or classic black and white to create a stunning contrast that will make your designs stand out. One of the standout features of Bright Bride is its OpenType alternates and ligatures. These unique letter combinations add an extra level of creativity and customization to your designs. Plus, with full multilingual support, this font can be used for projects in a variety of languages. The Bright Bride font package includes three different file formats: OTF, TTF, and WOFF. This makes it easy to use the font across a variety of design software and platforms. Whether you're a professional graphic designer or a casual hobbyist, this font is sure to be a valuable addition to your design arsenal. If you're looking for a font that is both stunning and versatile, look no further than Bright Bride. Its unique combination of elegance and creativity make it a perfect fit for a wide range of projects. So why wait? Add Bright Bride to your font collection today and start creating designs that are truly unforgettable. In summary, Bright Bride is a beautiful and sophisticated script font with delicate strokes and intricate details. It comes with OpenType alternates and ligatures, multilingual support, and three different file formats: OTF, TTF, and WOFF. This font is perfect for wedding invitations, branding projects, social media posts, and more.

Introducing Kamasunday Dynamic Blackletter, a typeface that seamlessly blends the timeless elegance of blackletter script with a modern, dynamic twist. This font is a perfect fusion of tradition and innovation, offering an impressive array of 837 meticulously crafted glyphs, ligatures, and alternates that will elevate your designs to new heights. Key Features: Dynamic Wave Design: Kamasunday Dynamic Blackletter features a captivating wave-like design that adds a sense of movement and energy to your text. Each character flows seamlessly into the next, creating a visually stunning and cohesive text. Modern Elegance: This font embodies the essence of modern elegance, making it perfect for a wide range of design projects, from branding and packaging to invitations and posters. Extensive Glyph Set: With a whopping 837 glyphs at your disposal, you have access to a vast selection of characters, including uppercase and lowercase letters, numerals, punctuation, and a variety of special characters, ensuring your design needs are met with versatility. Ligatures: Kamasunday Dynamic Blackletter includes an extensive set of ligatures, allowing you to achieve a more fluid and natural look in your text. These ligatures create seamless connections between characters for a polished and sophisticated appearance. Alternates: The font offers an abundance of alternate characters and swashes, giving you the creative freedom to experiment and customize your text. These alternates add an extra layer of uniqueness to your designs. Versatile Usage: Whether you're designing a vintage-inspired logo, a Gothic-themed poster, or a contemporary Music event poster, Kamasunday Dynamic Blackletter adapts beautifully to various design contexts. Timeless Appeal: While embracing modernity, this font retains the timeless charm of traditional blackletter script, making it a versatile choice for projects that demand a touch of history and sophistication. Elevate your design projects with Kamasunday Dynamic Blackletter, where the past and present merge into a harmonious typographic masterpiece. This font promises to breathe life into your creative visions, making your designs stand out with its unique style and extensive character set.

Bound to rules, unbound in the usage. Hyper geometric, and minimal contrast. Circulo V1 is based on a font project I originally started because of a client I had. I wanted to create a display and text font for their product design brand, which is all about reducing the amount of necessary materials and production steps. Before I started the course at tipo-g it was called -“REDUCE“ and was more or less finished. The concept was based on the name. How far can letter shapes be reduced to their core geometric concepts and still be identified as letters? But in a way, it lacked a unique approach and was just a generic geometric Sans Serif with a lack of finesse. There was already a glimpse of characteristics visible which would later define Circulo V1. ‍ The high focus on geometric shapes was not of the same severity, and the angle on the stems was less intense. Those, as I call them, fake serifs turned out to be a significant factor in legibility and the characteristic of the font. Besides those changes and improvements, I decided to implicate a new feature to the concept, a condensed style. I quickly realised that it is impossible to keep my perfect circles and half-circles in this style without breaking my rules for the font. This „problem“ turned out to be the most crucial feature of the condensed set. Circular-based Letters will ignore the rules and boundaries of the condensed style and stay as they are. This feature allows the user to create a unique rhythm in their texts, and if you use the variable font, you can decide how intense this rhythm will be. In this situation, the user can choose which letters are allowed to keep their shapes and which will be put in their condensed corset. All, some or none of them, you decide.

A sans serif with a dynamic look for complex typographic work. Rival Sans is a sans serif font family possessing many strengths. Its 32 fonts and 2 styles, make Rival Sans a very versatile family and suitable for many graphic design projects such as branding, signage, editorial creation, advertising, packaging, broadcasting or logo creation. With the endings cut at 10 degrees and sharp cuts on the top of the stems of certain characters (like the l, b or the d) Rival Sans gives dynamism and readability to the lengthiest of editorial content. This beveled font design also gives rhythm to a text's sentences as well as a very functional look. All these design details give this new font family a modern, energetic and humanistic look. Rival Sans also has many powerful OpenType features such as case sensitivite forms, small capitals, old style and tabular figures, slashed zero, ligatures, fractions,and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called "Pro Kerning". With more than 2500 pairs of glyphs and many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to these extended features, the italic styles of this fonts family have been drawn as fully-fledged styles with different designs from their regular version so that the italic texts look like calligraphic phrases. Rival Sans has an extended character set with over 930 glyphs. This family covers over 130 languages from Western Europe, Eastern Europe and Central Europe. In addition to all the features of its kind, Rival Sans is part of a very complete "type system" with style variants such as the serif version Rival Serif or the slab version Rival Slab. With all these typefaces, you have 62 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Minimal" because of the minimal decoration and simplistic design. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is not only minimal in its design but easy to read, very few letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------