Quickrest is a tall & quirky type with slight irregularities, Quickrest does not do conformity - each character is entirely individual. A fun looking family with its heart set in the handmade / crafty scene. The Quickrest family features five weights and slanted versions.

Inspired by 19th century storybook lettering, Upona is a font fit to tell all tales. Fresh yet familiar, Upona blends classical styling with whimsical flourishes. Carrying a sense of history and tangibility, stories set in Upona are worth holding onto.

Altwien is a blackletter display font. Inspired by the old street-signs of Vienna and Salzburg. It’s a clear and simplistic looking condensed typeface. Put Altwien into a contemporary, fresh or modern context and get a completely new and unique style.

Reminiscent of lettering used on old stock certificates from the late 1800’s. With its extra wide letters and ornate features, LHF State Fair commands attention. Get over 60 bonus panels and ornaments when you purchase the set (Regular, Lined & Light).

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

A flare-serif socialite. Elegant and affable at once. Leifa is a flare-serif typeface that strikes a balance between elegant and affable. It’s pleasant to read in text sizes yet takes center stage in headlines and display applications. With its higher-than-usual contrast, Leifa might evoke Didone typefaces at first. However, it differs from strictly Didone designs in the details: flattened serifs and deeply incised, tapered spurs provide an organic effect. These humanist elements are restrained and almost inconspicuous in body copy. It’s in display sizes that they realize their full potential. Set your message in Leifa, set it large, and it will get noticed. A true socialite, Leifa is a most welcome guest on any party. With its dual character and a range of weights that allow for fine-tuning the desired visual voice, it’s a brilliant choice for branding and editorial design. Its good-natured yet sophisticated character makes Leifa the perfect typeface for fashion, sports, lifestyle, social media, food and cooking, health, beauty, architecture, interior design, art, literature, theater, and travel. (And any other topic that you’d love to talk about at a dinner in good company.) The entire font family consists of eight weights. Each comes with an italic counterpart, totaling 16 styles. Leifa’s italics are oblique, optically corrected versions of the upright styles. Each style comprises a character set of 883 glyphs that includes small caps, a set of ligatures, tabular and old-style figures, case-sensitive forms, fractions, symbols, and many other features. Four stylistic sets allow you to adjust the appearance of the Leifa fonts: a single-story a (SS01), a simple f (SS02), a triple-story g (SS03), and thin punctuation marks (SS04) are at your disposal. If you’re looking for a typeface with some debonair spirit, look no further than Leifa.

Are you looking for an appropriate typeface for coffee shops concept? We want to introduce Pistacho, the new type family of Estudio Calderon that contains 18 fonts to design great illustrations and to be applied, especially, in coffee shops, bakeries, ice-cream shops, candy stores, pastry shops, fruit shops and all those places where food is the center. Pistacho was designed by hand using pencils and markers that let us get a handcrafted and rough texture. Below, a brief description of each style: Display: A fresh and modern type, perfect to be used in coffee shops outdoor signs. The logotype of “Central Perk”, the coffee shop of the tv show “Friends” was our inspiration to develop this beautiful font that contains 317 characters and three variables: Display 1, Display 2 and Display 3, each one has specific characteristics that will be an excellent resource for your designs. Sans: Style that contains 7 fonts that can be mixed to get interesting finishes in your designs, each variable has 363 characters with standard ligatures and stylistic alternatives. You can find this styles as: Sans 1, Sans 2, Sans 3, Sans 4, Sans 5, Sans 6 and Sans 7. Good news, you can get Sans 5 DEMO for free. Script: Script 1 and Script 2, two monolineal fonts with a generous spacing that provides contrast and movement, being a suitable complement for the rest of the types of Pistacho family. Serif: Font with a lot of style and personality, inspired in the interlock alphabets shown in «Photo-Lettering´s One Line Manual of Style». Serif 1, Serif 2, Serif 3 and Serif 4 contain a great number of ligatures that generate nice compositions by combining them. One of the characteristics of this style is the combination of upper case and lower case giving as a result a different touch in each design. Soft: Humanist type with a rustic texture and geometric forms ideal for long texts and small sizes. Dingbats: We have designed a package of 244 graphics, illustrations and ornaments that are the perfect complement to combine with each font of this family. Get Pistacho type family, enjoy using it… and do not forget your cup of coffee.

Citix Two Condensed is a new font derived from Citix Regular –a traditional pen-formed flowing script–, but containing a complete new set of capital letters, titling, ligatures and swashes. This font may be a good option to combine with Citix Regular, specially in fine tune and accurate works, suitable for commemorative letters, invitations cards, lettering, logotype design and the most elegant visual communications projects. This font comes with five different kinds of capitals, Contain full OpenType features to work with: a full set of swashes, stylistic alternates, standard and discretional ligatures. Small caps, Central European Languages, Case sensitive forms, Old style numerals, ornaments and tails.

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

Lapture is based on the Leipziger Antiqua by Albert Kapr, released in 1971 by the East German foundry Typoart. It has been extended and carefully redesigned by Tim Ahrens in 2002-05. The strong calligraphic characteristics are a result of the design process: "The size of the counters and the width of individual characters at small optical sizes were analysed with a steel pen while the letter shapes were designed in larger size with a specially trimmed reed pen. Sometimes the hand is more innovative than the head alone," says Kapr. A unique feature of this font is the introduction of gothic shapes into a latin typeface. "The basic concept is to string together narrow white hexagons as counters and inter-letter spaces, defined by vertical stems and triangular serifs. The interior spaces are at least as important as the strokes that make up the characters." Lapture is an ideal choice if a reference to gothic style is desired, as true black letter types are often too eye-catching and not as legible as latin fonts for unfamiliar readers. "The last few years have seen a number of very elegant typefaces based on the mellow and feminine renaissance model. However, sometimes we require a font that is strong and robust, harmonic yet rigid," says designer Tim Ahrens. JAF Lapture is provided in OpenType format. Each font contains more than 600 glyphs, including true small caps, nine sorts of figures, contextual and stylistic alternates and accented characters. This means that you only need to purchase one font whereas in other families you would have to buy two or three fonts in order to get the same. Technically, they follow the Adobe Pro fonts and provide the same glyph set and OpenType functionality. JAF Lapture Basic is provided in OpenType format. Each font contains the standard sets of both MacOS and Windows. In contrast to JAF Lapture they do not provide any advanced OpenType features and no extended glyph set.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

In parts of Africa, in the poorer, rural and peri-urban areas there are many small shops or convenience stores which are called "Spaza" shops. The owners of these shops often don't have access to commercial signwriting and write their signs themselves. The font "Spaza" is based on these hand-lettered signs. This lettering has a refreshing simplicity and spontaneity, yet retains great legibility. In the font "Spaza", there are three styles: - Spaza Regular - with normal upper and lower case; - Spaza Small Caps - in which the lower case is a true "small caps" and not a shrunken version of the upper case (generated by the operating system); - Spaza Double Caps - in which the lower case characters have been replaced by an alternate set of capital letters. The font thus contains two sets of differing upper case characters. You can use characters from both these sets to give a true feeling of randomness because if the same character occurs twice in a word, different versions of the character can be used. Spaza can be used with great effect in a great variety of applications such as advertisements, flyers, posters and in magazine pages. Spaza contains a full character set and has been carefully spaced and kerned.

In June of 2004, Canada Type released Crucifix, a condensed three-tiers typeface that tried to bridge the gap between traditional blackletter forms and the traditional European gothics. The main goal of Crucifix was to have as many as 4 different variations on each letter form, so the original release consisted of three fonts: a main font with a standard character set, a small caps set, and a unicase variation. Now Canada Type presents the next generation of this typeface: Crucifix 2.0 and Crucifix Pro. This new version takes advantage of both Unicode and OpenType technologies to make Crucifix as versatile as ever. The PostScript Type 1 and the True Type version boast extended Latin character set support, including Western, Eastern and Central European, Turkish and Baltic, as well as two non-Latin scripts: Cryillic and Greek. The OpenType version, Crucifix Pro, goes even further by including all of above in one font, along with proper automation to accommodate on-the-fly ligatures, small caps, numerators, denominators, some fractions and a ton of stylistic and contextual alternates - all programmed to work with the latest OpenType-enabled programs. Unique, stark, and with more than 900 characters, Crucifix has that clinical sharpness and special dramatic wonder to make it perfect for mystery, gothic, and horror design settings.

Lopsickles is a family in which the letters are based on lopsided, distorted ellipses. The family has four sets of letters that are combined in six different ways, yielding six fonts. Four of these fonts (styles AB, Ad, Bc, and cd) use the OpenType feature Contextual Alternatives (calt) to alternate letter sets so that top-heavy characters alternate with bottom-heavy characters. The spacing in these fonts is designed for alternating characters and will result in overlap if the characters do not alternate. The other two styles (Ac and Bd) are spaced normally. Style Ac contains the two character sets that are top heavy and style Bd has the two character sets that are bottom heavy. The Ac and Bd fonts have italics and backslanted styles that may be useful to suggest speed. Each of these ten fonts has an inset style designed to be used in a layer above the base font. This layering can be used to give the effect of hollow letters or to add a colored interior. Lopsickles joins several other alternating-characters families in the IngrimayneType library including Snuggels, CloseTogether, and Caltic, but is visually very different from them. It is a strange, unusual family that will get noticed.

Malnor Sans is a normal sans serif family of 18 fonts. With modern style or neo-grotesque, Malnor sans has balanced proportions in every letter, and it's clean, minimal and cool. There are several alternative letters that can be used in both upright and oblique styles. Single story 'a' can give a more geometric impression, even though it is not purely geometric. There is also an alternative double story 'a' with a tail, a double story 'g' and an alternative 'l' that can be applied together via the 'salt' or 'stylistic sets' features for a slightly warmer feel. Malnor Sans currently has around 900 glyphs, including diacritical marks, that support a broad Latin-based language.

Everyone who lives will surely die Death Markers is a natural brush font, inspired by a vintage aesthetic sign painting. Made in combination with hand lettering, it comes with dramatic movement and it’s great for any next creative project that needs a retro vibe and horror touch. It comes with 2 styles: Clean and Drip effect. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. With your purchase you get: - All Caps - Numbers and Punctuation Marks - Support for MAC or PC - Simple installation for Adobe Illustrator, Corel Draw, Photoshop, or Procreate (New Updated) - Support Multilanguage I hope you make something cool with it. If you have any questions don't hesitate to ask!

As a graphic designer, sometimes it’s impossible not to be inspired by the Swiss Style, specifically the work of Armin Hofmann, who is one of its best exponents. Grids and grotesk and neo-grotesk typefaces are a fundamental part of the tools that make this aesthetic possible. A visual language that has caused full admiration since we were students. Therefore, we decided to design Armin as an homage to Hofmann’s work. Technically, we added stylistic sets applied to the letters –G, R, a, g, h, l, m, n, r, t, u, y– to make Armin more eclectic and suitable for the creation of any visual language. Armin Soft is the softest version of Armin Grotesk with its Variable file.

What do you get when you cross Industrial Revolution with Art Déco? The raw force of steam-powered vessels with the panache of dashing streamliners? A sturdy industrial grotesque with a swanky stylized sans? We don't know, but our Layfort is a strong contender. It's a contrasted sans-serif typeface with old-style proportions: varying letter widths create a more vivid texture than your usual contemporary sans, and the true italics are narrower than the uprights. Layfort is elegant enough for fashion, art, and luxury; yet sufficiently sincere for serious business. And at 16 styles & 750 glyphs, it's ready for complex typographic demands (try the round dots at SS09). Let your designs fly!

In Vasetters the letters are cut from the shape of a tessellating vase. To get the tessellating effect, the two sets of letters (and numbers and some symbols) must alternate, and this is done automatically in applications that support the OpenType feature of Contextual Alternatives (calt). Vasetters is monospaced and comes in two weights. The regular weight is tightly spaced, which should not be a problem at large point sizes. At small point sizes adjacent letters can be colored differently or the character spacing can be increased. The lighter weight can be used alone or layered above the regular weight to create the effect of hollow lettering. Vasetters is is fun, bizarre, weird, and obviously a decorative display font.

Wedding monograms is a font family in elegant historical style. This family of two character monograms was inspired by “Course of women's needlework” published in 1887. You’ll get the set includes Wide and Narrow capitals, so you can make your own monogram, by combining letters you want. --- Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Narrow initial on the top of Wide. You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Charliena - Signature Script Font Proudly Present The New "Charliena // Signature Script Font" Charliena is signature scripts font, this font come with beautiful ligature and lovely alternate. Charliena has a very beautiful stroke and will be very suitable if applied to wedding projects, invitations, fashion, and much more. Feature and what will you get: Uppercase and lowercase Number and punctuation Beautiful ligature Lovely alternate PUA Encoded and multilingual support I really hope you enjoy it please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thanks & Congratulations on the Design.

I live in a small hamlet near the Rhine river. It is a sleepy little town and it doesn’t have any facilities. For groceries I need to go to the next town. The only road leading to that town has been closed for half a year, because of ‘maintenance’, so doing groceries got a lot trickier. The fastest way to travel is through yet another hamlet in the forest, on a very narrow road with extremely bumpy shoulders. Yes, you’ve guessed it: it is a Bumpy Ride. Bumpy Ride was made using a so called Brush Pen. It comes with all the accents and a sweet set of alternates for the lower case letters.

Clavo was picked for the EXHIBITION CALL FOR TYPE - NEW TYPEFACES and is presented in the Gutenberg Museum in Mainz, Germany. Clavo is a multipurpose font family. Its warmth comes from subtle details, classical proportions and traditional forms, while harmonious structure prevents distraction while reading. This makes Clavo a universal typeface. In all sizes, from caption to display. The family consists of ten weights. They were not created in a linear way. The steps between the weights were adjusted carefully to avoid a mechanical graduation, in favor of optical harmony. Clavo covers all latin languages. It contains a wide set of numerals, small capitals, fractions and other OpenType goodies. And of course every weight comes with matching italics.

The art of accumulation. If we can give you many options then why not? Palagio is a sans serif font package that will delight you. A font family that projects simple, warm, yet modern style. Palagio comes with 7 different weights. It is versatile enough to be used as title, body or button text. Features: Multilingual Supports Numerals and Punctuations PUA Encoded It is perfectly used for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing premium fonts from Din Studio. If you have any further questions, don't hesitate to contact us. Happy Designing.

Aurore Grotesque is an elegant, robust geometric sans for both text and headline. It has a classic European heritage that references the posters of Cassandre and the modern sans of Paul Renner or Karl Gustav Möhring, but is entirely new and does not slavishly follow any historical reference. The low lower-case x-height gives it character and definition in running text, while the capitals-only Titling variant lends weight and punch to headlines. The full range of weights, each with matching italics, make it perfect for brochures, magazines, advertising, web, app and corporate uses. Includes lining, old-style and tabular numerals, arrows, stylised geometric alternates, and a full international character set.

Introducing the new "Waldorf Astoria" modern vintage font Waldorf Astoria is a is a modern serif with a vintage touch. With a combination of modern and vintage this font will be suitable for your design needs both for branding, logos, packaging, magazine imagery, posters, wedding invitations, advertising, as well as other modern or vintage projects. Feature and what will you get: Outstanding uppercase and lowercase Awesome ligature and alternate Number & Punctuation Multilingual Support I really hope you enjoy it - please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Thank you

Murisa Alexandra is one of our next proud fonts. Combining a strong and strong font style with a beautiful and charming calligraphy style, Alexandra is the perfect combination. You will be presented with a variety of font styles contained therein. Starting from the font that is sturdy and tough, there are also beautiful and charming swash fonts. Coupled with decorative fonts that are beautiful to look at. Not only that, this font is also equipped with an outline font type. So many kinds of fonts in it make you more and more expressive. Explore this font in such a way that it creates the perfect piece of work. Alexandra, a font, a perfection.. Get it now

Introducing Kelaskin, a classic serif font that exudes elegance and sophistication. Its timeless design is perfect for any project that requires a touch of old-world charm. Kelaskin features a stylistic set that alternates on both uppercase and lowercase letters, giving you more options to customize and create unique designs. This font is versatile and perfect for a wide range of applications, from branding to editorial design. Its multilingual support ensures that your message can be conveyed across various languages and cultures without any hiccups. With Kelaskin, you can bring a touch of timeless class to your design projects. Get Kelaskin now and elevate your design to a new level of beauty and professionalism.

Silvan Kaesar designed Seedbad after observing the unique sign lettering along the shores of Lake Geneva's bathing area. Seebad's four different settings represent the cutting edge new style of Swiss design, which spans the bridge between modern and contemporary. Containing geometrically forms, Seebad has a narrow base. Some characters (the lowercase t", for example) display unicase, even uncial-like tendencies. If you are looking for a face to spice up your layouts with an ultra-modern, cutting-edge flair, while not sacrificing copy length, Seebad is the face for you! The four fonts making up the Seebad family are all included in the Take Type 5 collection, released by Linotype GmbH in 2003."

Lager is a plump, sympathetic and tasty script family inspired by good old American commercial lettering of mid-1900s – yet there’s more to it than meets the eye. Implemented with an exceptional feature called Intelligent Swash Lager delivers perfected results with an handmade feel. Depending on the choice of letters Intelligent Swash grows and stretches swashes automatically. Accompanied by various ligatures and stylistic alternates, Lager creates beautifully completed words with minimal effort. Just make sure you activate Titling Alternates from your OpenType-menu. The Lager package will be delivered with 5 complete weights, 2 sets of well-groomed numerals and Small Caps as a great companion for the script style. Get high on Lager, it won't leave you short.

Alternate Gothic was designed by Morris Fuller Benton for American Typefounders Company in 1903. All three weights of Alternate Gothic are bold and narrow. In fact, this face is essentially a condensed version of Benton’s other well-known sans serif types, Franklin Gothic and News Gothic. In the early twentieth century, the modern concept of type “families” had not yet been formed — and though Benton designed these sans serifs to harmonize with each other, the foundry gave them different names. Robust, dark, and coolly competent, Alternate Gothic is a good choice when strong typographic statements must fit into tight spaces. As a modern usage, it is currently the font of YouTube’s homepage logo.

Melaza is a new calligraphy font, designed from a handwritten script, round, very expanded and with very low x height and exaggerated ascender and descender height. This gives it a strong character and expressiveness. Take advantage of Melaza' extended OpenType features, including swashes, stylistic sets, stylistic alternates, and ligatures that let you mix and match pairs of letters. This will help your creativity and make it easy for your typographic work to be expressive, realistic and elegant. In addition, it contains a Central European language support to suit your design. Melaza looks lovely on wedding invitations, greeting cards, logos, signs, labels, logos, business cards, fashion, magazines, packaging, and menus, and for anything you can imagine!

Bristhony - Modern Calligraphy Script Font Proudly Present The New "Bristhony // Classy Calligraphy Font" Bristhony is modern classy calligraphy font, this font come with beautiful ligature and lovely alternate. Bristhony has a very beautiful stroke and will be very suitable if applied to wedding projects, invitations, fashion, and much more. Feature and what will you get: Uppercase and lowercase Number and punctuation Beautiful ligature Lovely alternate PUA Encoded and multilingual support I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thanks & Congratulations on the Design.

PARIS is a new Vintage Sans Serif font that perfect for Headline needs with all uppercase characters ready. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a graphic with a vintage feels and modern style. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for show off in historical style and vintage vibes but with small space. You will get vintage, modern, and certainly unique style with this font. PARIS font is also included full set of: All Uppercase letters Multilingual characters Numerals Punctuations Wish you enjoy our font. :)

A unique design accurately revived by Steve Matteson in 2021. Frederic Goudy designed Companion Old Style for Women’s Home Companion in 1928. In his own words: “I believe the new letter I showed him, both in roman and italic, is one of the most distinctive types I have ever made. It incorporates features which deliberately violate tradition as to stress and curves, but which are so handled that attention is not specifically drawn to the innovations introduced.” Companion Old Style exudes the style of pre-World War 2 Americana. The unique characteristics are wonderful for greeting cards, wedding announcements and holiday invitations. Companion’s nostalgic letterforms are light hearted and quirky yet highly readable.

Please welcome our new Groovy Retro Typeface, Kelpo! Kelpo - Created from our explorations which were inspired by 70's retro style and pop culture visual design like old comics, cartoons, and posters. The strong bold character with groovy style makes us feel retro vibes and takes us to the 70's era Kelpo - Comes with 59 beautiful alternates which consist of 4 stylistic sets. Contains 2 styles regular and italic, this font is best used for headings, logotype, quotes, apparel design, posters, flyers, packaging, book cover, and many more. What you get : Letters, numbers, punctuation, multilingual support Has 59 beautiful alternates Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

I have always been fascinated by the ‘Full English Breakfast’. A Full English usually consists of toast, baked beans, sausages, fried eggs, fried tomatoes, fried mushrooms and sometimes blackpudding (a kind of sausage made from pig’s blood). When I lived in England, my friends were always quite happy to stow away a big full breakfast, but I, on the other hand, could not really set myself to eating one. Full English is a hand made stencil font. If you own a pub and you serve breakfast, you could use it for your signs, but I guess this font looks good on anything that needs a bit of attention. For attention, it will get!

It's that time of year again, isn't it? And yes, we're speaking rhetorically, because our true intent is to rouse voters into action, claim a significant gain in support over our nearest rivals and lead the nation, perhaps The World, into a new era of prosperity, one in which our once proud nation can become great yet again! An era of Hope, a time of peace and an end to war! Because never, in the field of human conflict, have so many, given so much and gained so little so that the have nots can reward themselves and those that have and-and... Victory, and Hope, and Greatnessness! Related font: Victory Speech Lower

Gelato Fresco represents a coming-of-age of a script font that started life in 2011 as the popular Gelato Script. In 2018, Gelato Luxe sought to improve on Gelato Script, and now, with the addition of extra weights for the first time, Gelato Fresco takes the baton. What was always a typographically sophisticated and versatile font, has reached new levels of usability as it becomes a family. In its previous incarnations, the typeface has graced everything from designer handbags to prime-time TV shows; food blogs to wedding invitations; glossy magazines to (not so imaginatively!) ice cream shops. I can't wait to see what this even more versatile version gets used for.