Sanger Phet is a soft and sweet calligraphic typeface, with characters dancing along the baseline. It has a casual and elegant touch. Can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterheads, signage, labels, news, posters, badges etc.

Here comes a New Font,Introducing Crypto Scam is Modern Typeface with a Textured inspired by the famous minimalist logo and Blocking has 2 Regular and Stencil styles is perfect for the purposes of designing templates, brochures, videos, advertising branding, logos and more.

Sugar Sand is a handwritten sans serif font. A new fresh handmade font with rough edges. This font is support multi language. It will be perfect for many different project ex: quotes, logo, blog header, poster, branding, fashion, apparel, letter, invitation, stationery, etc….

Fokers, a new display typeface with classy and luxury look! Fokers' different styles works perfectly for headline, logotype, apparel, invitation, branding, packaging, advertising, and more. Fokers comes in uppercase, lowercase, with punctuation, symbols, numerals, stylistic set alternate, ligatures and also multi-lingual support.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.

Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination. The hint of Art Nouveau makes the font more expressive and individualistic. A number of alternative capitals allows the font’s expression to be turned up or down at will. A generous complement of accented characters (Western & Eastern European, Baltic, Turkish) enables multi-lingual use.

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

Novel Sans Hair is the new package of 24 ultra light weights of Novel Sans Pro, the humanist grotesque typeface family within the largely extended award winning Novel Collection, containing Novel Pro, Novel Sans Pro, Novel Sans Hair Pro, Novel Sans Condensed Pro, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Novel Sans Hair has a carefully attuned character design and a well balanced weight contrast. Classic proportions and the almost upright italic makes Novel Sans Pro being a modern humanist with the calligraphic warmth of a real italic. Many similarities with the other typeface families within the Novel Collection enable designers to combine the families and reach highest quality in typography. Novel Sans Hair [1020 glyphs] comes in 24 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Tonsure is a script with no logic.

Here’s a collection of border elements taken from the pages of nineteenth and early twentieth century type specimen books of various American foundries. Download the PDF provided for each font for simple guides to constructing various borders. All characters have identical widths, so use spaces between left and right-side elements. For best results, set solid (no extra leading) and use flush left, flush right or center justification to assure proper alignment.

Delicia Pro Script is a versatile fat script designed with delicatessen shops in mind, it has lots of variations. There are for example seven different versions for the uppercase letters that can be accessed with opentype savy software. different ampersands, @-signs, Th combinations, lots of different lowercase letters and so on. The font can be used in all of Europe, Turkey and the Baltic countries (sorry no Greek and Cyrillic). Yours very versatile Gert Wiescher

For our latest Master of Comic Book Art, Roarin' Rick Veitch, we've created a Brat Pack of fonts worthy of a Maximortal! This is The One! This will make your Heartburst! If you Can't Get No Rick Veitch between 1941 and 1963, wipe that Swamp Thing off America's Best Greyshirt, because this font is nothing short of A Miracle, Man! It's Epic! Abraxas and the Earthman and your Army @ Love recommend it.

Prolexia is designed to make the font friendly towards those with dyslexia. All the characters are unique with no rotation or mirroring, this makes it harder for the mind to mix up similar glyphs. The characters are made with the illusion of perspective: this helps orient characters in the correct direction to make mental reorientation harder. Finally the o shape is somewhat flattened, this also helps to counteract mental rotation of characters.

Harmoneux is a modern and cool display semi serif font. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. This font is perfect for headings, flyers, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, website. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Lodgepole is a hand illustrated font family created by Zach Minard of Tall Trees Design Co. Inspired by timeless legibility and worn National Park signage. Lodgepole Regular and Book are designed to pair perfectly together, while both of these styles are available as Solid (With no internal texture) or Grit. Lodgepole Grit uses the strokes from the original pen-to-paper illustration for all texture, creating an authentic one-of-a-kind texture.

The Oslo Stitch is a technique used in Nålebinding, a kind of fabric creation predating knitting and crochet. I have no particular interest in Nålebinding (nor in knitting), but I needed a name with ‘stitch’ in it and this is what I found! Oslo Stitch font is a nice, handmade, all caps font, which you can use for your book covers, posters and anything else that needs a bit of stitching up.

A 1930s WPA (Works Progress Administration) poster promoting national parks depicts Native Americans overlooking the land with the tag line "his hunting ground of yesterday". The hand lettering of that text is reminiscent of Futura Black and similar Art Deco stencil-influenced type designs, but is rendered in an oblique lower case with no capitals. Re-drawn as Sandwich Shop JNL, the typeface is now available in both regular (vertical) and oblique versions.

Rocker Squad is a natural dry brush font that has a cool bold display. It’s perfect for logos, quotes, posters, movies, and every other design which needs a unique bold touch. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

First of all: there is no such thing as a stupid question! But now there is a font called Stupid Questions! :) A classic handmade sans font - super legible and somewhat clean. Use your favourite of the 5 different versions, mix them in layers with your favourite colours. I've added 4 different versions of each lowercase letter, and they automatically cycle as you type - a great way to make your text look more natural and organic!

Ad Hoc is a fake. My intention was to design a typeface with the looks of the characters drawn on paper with a marker pen. But they are all drawn on a monitor, with no scanner ever involved. That's the reason why they look so regular. Ad Hoc is Latin and stands for, approximately, for this reason". The expression itself is often used for something unplanned, improvised. Ad Hoc was released in 1992.

Welcome to the world of Edifact, a damaged display typeface that’s here to shake things up! With its roots in the magnetic ink lettering of the 1960s, this typeface is all about breaking the rules and forging a new path forward. But Edifact isn’t just any old font. Oh no, it’s so much more than that! With OpenType ligatures, you can unlock a world of custom combos that will bring a whole new level of realism to your work. And let’s be honest, who doesn’t love a little bit of extra pizzazz? But the real magic of Edifact lies in its unique blend of retro-futurism and post-apocalyptic roughness. This typeface isn’t afraid to get its hands dirty, and it’s not afraid to take risks. With Edifact, your message will stand out from the crowd and grab your audience’s attention like never before. So don’t be shy—embrace the wild, post-apocalyptic world of Edifact and let your creativity run wild! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Hello Font Lovers! Introducing my script font called Belleson! Belleson is a luxury script that contains many characters and ligatures that will show elegant taste when you use this font. Belleson has many functions - logos, blogs, websites, and all everything that related to letters! How to use this font if I can’t operation of many software like as Photoshop, illustrator and anything? Please don’t worry about it :) You can use this font in all of software in your computer! With more than 40 glyphs of ligatures in this font, you will fall in love with this font. Belleson provides a handwritten look - natural but elegant in taste. Ligatures contain of : al ah at att ett ott itt ff ll tt il it am an ul th ch nt nl oi ct cl ot ol rr om on oo or ck gh of el ell et st sl ss sh op ee nn ant all ull oll

Inspired by an old house font of an anthroposophical hospital in Germany, this font was created: coarse, irregular, with corners and edges. In nature there are no right angles, no symmetries, no evenness: and so is this font. Tis is not a fine font, Like a woodcut this font roars: Look at me, I am here! Ideal for posters, leaflets, posters, billboards. Designed by Joachim Frank (Germany) in 2021

Polydot is an experimental Font, built following its own rules. It has interesting letter shapes, making it a perfect choice for creative packaging and magazine design. At the same time it makes a beautiful, neat but vivid text pattern when used in smaller sizes: Use it for children’s books, food and beverage, cosmetics or health topics. Each Glyph is based on at least one dot on the body line, and has up to two more on the lower case level and the ascender level. Since they have the same size and are on the same height on all letters, no matter what weight and shape, these dots give a strong structure to the typeface, allowing for dynamic and easy letter shapes, inspired by brush strokes. It’s not a hand font but it has the dynamics of one. It has no serifs but provides the structure and readability of a roman type. It has an extensive choice of weights, but it’s characteristic dots have the same size and it has the same tracking through all weights. Try it, it’s special.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

Inject some irresistible fun into your designs with the Mellow Morning Font Duo! This playful font duo consists of a fast flowing signature script, and a charming small caps font as the perfect companion. But that's not all - also included is a bonus doodle font containing 45 hand-drawn doodles - designed to add an eye catching, hand-made appeal to your Mellow Morning fonts. The Mellow Morning Family includes; Mellow Morning Script • A clean, free-flowing handwritten signature font containing upper & lowercase characters, numerals, and a large range of punctuation. Mellow Morning Script Alt • This is a second version of Mellow Morning Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Mellow Morning Small Caps • A clean, charming handwritten all-caps font. Contains 2 sets of a-z letters, simply switch between upper and lowercase to toggle between both sets. Also includes 8 stylised letters for extra flair, accessible via a Glyphs panel or by switching on Stylistic Alternates. Mellow Morning Small Caps Italic • An italicised version of Mellow Morning Small Caps, which can be used for a more fast-hand flow to your text. Mellow Morning Doodles • A set of 45 doodles designed to pair with the Script & Small Caps fonts. Simply install this as it's own font, and type any A-Z or a-s character to generate each doodle. Language Support • All Mellow Morning fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Pata Slab: the ultra-heavy optimism we all need in 2020 Pata Slab is the type equivalent of a catwalk stomp down a city sidewalk, a font that’s assertive, funky and more than a little sexy. Named after a colloquialism for ‘feet’, Pata features ultra-heavy slabs and contrasting hairline centers that rise from its chunky footprint. The resulting, retro-inspired vertiginous curves add instant attitude to any design. Developed in 2020, Pata is a type of its time.Pata is all upside, as it is a typeface with no descenders — one that elevates all characters to grow upward from the baseline (because, c’mon, we could all use something uplifting right now!) All uppercase characters were built to fit precisely inside a square, so they’re all the same width and height. The lowercase alphabet, eñes, cedillas, punctuation, numbers and symbols all follow the same height restrictions. Despite all that confinement, Pata sports standard-height terminals that connect seamlessly so there’s nearly endless options for modular ligatures. The upshot of all this meticulous awesomeness is that laying out, customizing and stacking text super simple. Pata Slab was created by In-House International, designed Alexander Wright in collaboration with Rodrigo Fuenzalida. It's available for Opentype format (.otf) compatible with Mac and PC.

Useful links: TT Supermolot Neue PDF Type Specimen TT Supermolot Neue graphic presentation at Behance Looking for a custom version of TT Supermolot Neue? TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs. First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Basic subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies. In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning. Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

Sister Frisky jumps up and down and drinks a lot of coffee. There are no two parallel lines in this font, and no right angles. Here's a flashy, dancing, retro script with an sharp edge and clear wit!