Say Hello to Romantic Sunday Calligraphy Font. A new and beautiful font, with contemporary, beautiful and elegance touch. Romantic Sunday would be perfectly appropriated for your various projects including but not limited to wedding invitations and wedding suites, stationery, packaging, feminine branding, logos, quotes, and prints. Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded

A beautiful new addition to our We Love Nature flower font collection. We Love Nature Blooms Outline consists of 52 highly detailed outline drawings of buds and blooms which can be used on their own or in combination with the other illustrations in the ‘We Love Nature’ font collection. All illustrations are drawn by hand and of the highest quality.

Hargetus is a new clean touched stencil display font that can be used for almost any type of design you wish to create. All you have to do is add it to each of your creative ideas and notice how it makes them stand out. What's Included : Uppercase, Lowercase, Numerals & Punctuations Works on PC & Mac Simple installations Multilingual support PUA Encoded

Our new font family is modern and exclusive, designed for the most varied uses. With sober and sporty lines, it offers a rounded finish with a lot of sophistication. It ranges from ExtraLight to Black, offering 8 weight options, with regular and italic variations. With 499 glyphs, it can be used in over 90 languages, with a crisp layout and strong contours.

Doorley Hand is a unique new font based on the handwriting of Australian advertising man and creatist John Doorley. The font's character and personality sits somewhere between charming child-like handwriting and classic contemporary calligraphy. It pays homage to simpler times when more organic and personalised forms of communication reigned. A perfect counterpoint to the fast-forward, hi-tech world today.

Introducing a new modern script, Bicillesta! Bicillesta is perfect for elegant logos, upscale packaging, wedding stationery, websites, and any other projects requiring a handwritten and luxurious touch. Alternates and ligatures are included so that you can give your logo or name a custom, calligraphic look. Thanks for checking out my shop, and feel free to get in touch if you have any questions!

The Classic Charles Rennie Mackintosh Font has been a massive seller over the years. Its use in the Hollywood motion picture "Spider Man 2", has now been emulated by the branding of the the new Fox TV series "American Horror Story". Very unusual for the horror genre, this slightly tweaked version of the classic original mirrors how the show's producers have used it.

Hi ! I just now launch my new font Family called "Tokyo Aurora". The Tokyo Aurora font is a simple font, comes with alternate symbols and some ligatures. I wanted this font looks elegant, readable, stylish, and catchy. You can use this font for watermark on photography, signature or signature logo design, quotes, album cover, business card, and many other design project.

LongShine Script is a fluid handwritten calligraphy fonts, combining calligraphy typefaces with a free flowing and moving baseline. It has a casual, yet elegant touch. Features 275 glyphs. Including initial and terminal letters, alternates, ligatures and multiple language support. Can be used for various purposes. such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc.

Panoramind a new display font with a style natural, sweet and simple. Made with great care to provide the natural and modern elements. The great thing about this font is you can find some style when you use it, examples such as natural handwriting style, unique, simple, elegant, and luxury. Very suitable to meet your various design needs that are trending now.

Hi all, there is a new modern and unique Mangoli sant font, please have it immediately for a quality project. It comes in many styles, including fasteners. OpenType features include style sets, character variants, start and end forms, and multilingual support. The Mangoli font is suitable for branding logos, poster designs, t-shirts, invitations, designs for children, and editorial designs. Hope you enjoy!

Hello Everyone, introduce our new product Font AGNESS This Is Hand Drawn Font Simple.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font AGNESS is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Design. You can activate 52 Alternate glyphs OpenType panel.

Introducing our newest font called Makwus, one of our newest premium fonts based on Arabic style. This elegant font has a targeted audience and is perfect for personal and professional projects, from social media ads to business cards to your logo and project headers. This Makwus font designed by experienced typographers can bring a beautiful new level of luxury to your designs.

In August 1930, Jan Tschichold described a new typeface, that is "producable by everybody without further knowledge" in the publication Börsenblatt für den Deutschen Buchhandel. Sebastian Nagel has extended the original drawing to 7 weights (black, extrabold, bold, semibold, regular, semilight and light), with full coverage of the Latin 1 character set. All fonts also include small caps and alternate characters.

Pesto Fresco Italic is a new version of Pesto Fresco handwritten lettering system, a font family built of 27 styles. Overlapping Pesto Fresco Italic Regular with any of the other decorative styles you will get different graphic effects, so just choose the one that fits best with your layout. This font can be used for different purposes from packaging design to web design.

Varvara is a new display typefaces family create as a tribute to the work of Barbara Stepanova (1894-1958). Varvara family has light, medium and bold weights in 6 differents versions (normal, rough, screen, inline, shadow and star), all with alternates letters. All versions are provided in latin, cyrillic and greek alphabets. It can be use for text as for titling applications.

Unnerving JNL is a distorted/distressed version of Adhesive Serif Letters JNL (of which the original design was modeled after some vintage gummed letters used for signage). This new variant evokes a feeling of apprehension, dread or fear and can be applied to any project with a spooky or sinister theme. Unnerving JNL is available in both regular and oblique versions.

I bought a few new pencils and I tried them out using Chinese ink and quality French watercolor paper. The result is Brush Crush - a very nice brush font. Brush Crush would look perfect on packaging, book covers, posters and headlines and comes with alternates for all lower case letters. Needless to say, Brush Crush speaks most Latin-based languages.

Everything Calligraphy is a stylish calligraphy font that features a varying baseline, smooth line, modern and with a deep love. For those of you who are need a touch of love and modernity for your designs or branding, it can be used for various purposes such as headings, wedding, invitation, signature, logos, branding, t-shirt, letterhead, signage, labels, news, posters, badges etc.

Here comes a New font, Introducing BORN TO RIDE It's Weird Display Typeface is a Natural Brush Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs. It also features a wealth of special features including You can activate 22 Ligatures OpenType panel.

Telecom is a new, experimental typeface designed by Jan Estrada-Osmycki. Inspired by space-age, science-fiction and the work of Wim Crouwel. It's design combines mechanical, modular approach to type and elegance of letterforms. It's super-high contrast, thin hairlines and close attention to detail makes it a font to be set in greater sizes. Comes in four weights.

Hi, introduce my new font Creaty. This is a simple and sweet script font. Suitable for various designs such as t-shirt designs, quotes, weddings, business cards and more. This font supports multiple languages and also alternates. For alternates y, g, j, z you can use them easily, by typing: y2, g2, j2, z2 Hope you enjoy it Thank you

Hello Everyone, introduce our new product Font Which Is it is Special Handwritten Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font Which Is is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster. You can activate 18 Ligatures glyphs OpenType panel.

Cute Daughter is a beautiful serif font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. Come with Uppercase (2 style) & Lowercase (4 style), International Language & Symbols Support Punctuation & Number and PUA Unicode. Thanks for your visit.

Gautami™ is an OpenType font for the Indic script Telugu. Telugu is based on Unicode, contains TrueType outlines and was designed by Raghunath Joshi (Type Director) and Omkar Shende for use as a UI font. Copyright ™ 2001 Microsoft Corporation. All rights reserved. Gautami Character Set: Latin-1, Telugu

Here's a workmanlike interpretation of John Pistilli's eponymous extreme Didone, originally designed for VGC in the 1970s. The typeface's strong contrasts and graceful nuances guarantee that your headlines will get noticed. Both versions of this font include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets.

Eponymous logotype lettering on an airline timetable from 1948 inspired this exercise in aerodynamics. This typeface’s streamlined design remains fresh, even sixty-plus years on. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Here is a faithful rendering of Pracht Antiqua Schmallfett , designed by Carl Pracht for Nordd. Schriftgießerei in 1942. Its graceful curves and tight fit make it a natural for commanding yet cuddly headlines. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Lindisfarne Nova is an uncial-like design based on the script found in the Lindisfarne Gospels. Created by Harry Pears and Margaret Layson, it is available in two weights, regular and bold. Lindisfarne Nova is Harry’s first completed font. There are also two companion styles, Lindisfarne Nova Incised and Lindisfarne Runes.

Introducing: Whistle - Signature casual handwritten font with personal charm. With an elegant sweep that is perfect for branding your product needs and brand name. PUA ENCODING SUPPORT Whistle contains upper & lower case letters, numbers and various complete marks while Whistle Alt has an alternative character set with lowercase letters that are completely new. Ligatures available for several lowercase letters (more natural double letters). This can only be accessed through software with different devices or machine panels, eg Photoshop / Illustrator. There he is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen. Come and say hello on Instagram! https://www.instagram.com/aseprendii.otf/?hl=en

Anona brings the upright italic to fruition and shows the handwriting shapes in a sans serif great to use in packaging and branding. Anona is an upright italic sans serif typeface perfect for packaging and playful identities. Explore the stylistic sets to see all the different shapes. Fruity and friendly upright italic sans serif come to brighten your projects. A warm and friendly sans serif will work for your identity. It has a complementary slanted version.

Like a bright star shimmering on a still and quiet summer night, Arched Gothic Condensed is a glowing example of Victorian type. Thin in the middle with clumpy wedges on top and bottom, it truly bears the spirit of a bygone era. Originally known as Concave Extra Condensed, this typeface has shed its waist-high spur notches and gained new figures and lowercase letters. Developed around 1885 by the James Conners & Son Foundry (New York), Arched Gothic Condensed is a marvel of sparkle and glitter in nineteenth century typeface design. Arched Gothic Condensed is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

A font face with cyber, spatial, and virtual connotations that offers a decisive futuristic and techno spirit. Inspired by geometric forms from visual tendencies in the early 2000s, it was used once in corporate identity. Originally created in 1998, it remained unpublished by its author until today. It is now offered with many improvements. With one alternate for H and more diacritics and ligatures and extended range glyphs, Conectiva can be used in titles and display text that require a futuristic and dynamic style. Conectiva 2.0 has been arranged and improved with more glyphs and new OpenType features (Fractions, discretional and standard ligatures, slashed zero and more new stylish alternates). This upgrade includes 4 new weight variables (Light, book, bold and extrabold). Recommended for games, presentations, or any graphic pieces that reveal and need futuristic, techno, and/or Sci-fi style.

During the last ten years of his life, Hans Eduard Meier (dec. July 17, 2014), together with Max Schläpfer, developed an innovative concept of a new Swiss Schulschrift (handwriting script for schools) called ABC Basisschrift®. His life’s work is crowned by the fact that now, since the fall of 2014, and beginning in Lucerne, this new didactic will replace the old Schnürlischrift in Switzerland. In contrast with the Schnürlischrift, the idea is to guide a child in three steps to learning a personal handwriting. ABC Schule 1 is for the first grade, ABC 2 starts to introduce the first connections and ABC 4 Ligaturen is designed with many ligatures to serve as a good example for handwriting. ABC Schule is also available with ruling and for visually impaired students.This version of the Basisschrift®, available from here, is the original version by Hans Meier.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 1 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 1 contains 144 fonts. Families included in Volume 1: Hype 0100, Hype 0400, Hype 0700, Hype 1000, Hype 1300, and Hype 1600. If you would like to complete your collection be sure to view and purchase Hype vol 2 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

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."