Holiday Dish has a simple and stylish art deco look. Freshen up your design using Holiday Dish, and you are guaranteed to get the eye-catching look your design deserves. Comes in both Regular and Bold.

Bunaken looks bold, yet sophisticated and features chunky and extended characters that will look particularly adept when used in logos, branding, packaging design, and much more. This masterfully designed brush script is a true must-have.

Relaunch delivers a classy, smart and timeless look. To make it look like handwriting, we created 20 ligatures and 15 alternates, so you can mix and match it to make a better style on your design.

Handwriting fonts have a great disadvantage when it comes to double letters: they look fake. With Palma come loads of ligatures for double letters to make your design look authentic (as shown on the image above).

Spiral Ornaments are of varying complexity with positive and negative variations. There are a total of 48 ornaments.

Xiphoid is the "unofficial" typeface of the Raelians. Download it now, or suffer the consequences on their return.

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Read John Downers' article in Typographica®: ‘Our Favorite Typefaces of 2007’ http://www.typographica.org/typeface-reviews/scriptonah-and-casual-brush/ Click the Gallery above for the .pdf. Suitable for posters, titles, book covers, greeting cards, signs, packaging, invitations, ads, headlines and captions.

Beverly Catherine is a bold hand-drawn all-caps marker font that has really original brush edges and is rough in every stroke. Great for logos, merchandise, product packaging, quotes, comic book text, and hard-hitting titles. It also includes multilingual support.

Big Heroes is playful font which puts a smile on your projects and will inspire you to create something fun and memorable. It is perfect for headings, flyer, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, etc

No, rest assured - I am not ill. I just liked the letter combination of Symptomatic! Symptomatic is a messy connected brush script. Use if for your book titles, posters and product packaging. Comes with double letter ligatures and a whole lotta diacritics.

Mildlight Feminine Signature Font Give your designs an authentic handcrafted feel. "Mildlight Feminine Signature Font" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. Thanks for use this font ~ Maulana

ThennaLV Bold is a slightly contrasted and a bit extended (not just basic) font family with two styles suitable for typing headlines in newspapers or magazines, giving the name of a book, composition and more. The font family consists Latin and cyrillic characters.

Monnolitic Casual Signature Font Give your designs an authentic handcrafted feel. "Monnolitic Casual Signature Font" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. Thanks for use this font ~ Maulana

The 1892 MacKellar, Smiths & Jordan specimen book featured this jaunty little face, designed by profilic in-house designer Herman Ihlenburg. Happy, hoppy fun. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Pointer - a handwritten script font. This fonts are ideal for branding and will decorate any of your projects. You can also use it to create a logo or use for small businesses, t-shirts, book covers, stationery, marketing, blogs, magazines, and more.

Mordibella is textured brush font, a contemporary approach to design, with a handmade natural and irregular baseline. Suitable for use in title design. Such as apparel, invitations, book tittles, stationery design, quotes, branding, logos, greeting cards, t-shirts, packaging design, posters and more.

Jubel font is named after the German word for "celebration". Crafted with a natural, blocky style, Jubel is designed for various creative uses, including magazine titles, captivating headlines, book titles, distinctive logos, vibrant shop banners, attention-grabbing flyers, and impactful advertising headlines.

Thin, elegant and thoroughly Art Deco is the thick-and-thin (slightly flared) alphabet found on page 31 of Samuel Welo’s 1930 instructional book “Lettering Practical and Foreign”. Redrawn digitally as Evening Dress JNL, it is available in both regular and oblique versions.

Hello Sintha is a fun and friendly handwritten font. Whether you are using it for cartoon-related designs, children’s games, quotes, titles, brand names, book covers, posters, or just any creation that requires a touch of joy, this font is a great choice.

Eagle Bold was designed by M.F. Benton in 1933. It is a heavy geometric Sans Serif font with unusual spurs on Capital G and Q. An all-Capitals design, the Eagle Bold font is perfect for magazine and book covers, posters and packaging.

Create dynamic Celtic knot work strings with the Celtic Knotwork-BA font. Characters are sections of knots that are derived from ancient Celtic manuscripts such as the Book of Kells. Combine the characters to make an endless variety of Celtic knot configurations.

Sarfokats Monoline Signature Font Give your designs an authentic handcrafted feel. Sarfokats Monoline SIgnature Font is perfectly suited to logo, stationery, branding, typography quotes, magazine or book cover, website header, clothing, branding, packaging design, restaurant and more. Thanks for use this font ~ Maulana

An Art Deco geometric alphabet found within the pages of the 1939 French lettering book "Modèles de lettres modernes par Georges Léculier" ("Models of Modern Letters by Georges Léculier") is the basis for French Geometric JNL; available in both regular and oblique versions.

perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more.With the script style this modern font will be perfect for many different projects: watermarks, posters, weddings, branding, logos, fashion, clothes, letters, invitations.

The 1918 specimen book of the Miller and Richard Type Foundry of London and Edinburgh featured this endearing typeface. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets, as well as a very tasty f_f_i ligature.

Whillys Handwritten Script Font Give your designs an authentic handcrafted feel. Whillys Handwritten Script Font is perfectly suited to logo, stationery, branding, typography quotes, magazine or book cover, website header, clothing, branding, packaging design, restaurant and more. Thanks for use this font ~ Maulana

Introducing Choco Candy Font Choco Candy is sweety font. It can be used for branding, invitations, watermarks, advertisements, product designs, labels, product packaging, book content, quotes and more. It came with number & punctuation, multilingual support, and PUA encode Hope you like this product.

Pisang means banana in Malay and Bahasa Indonesia. It is a tall, narrow and very clear font, ideal for books, recipes, food labeling and posters. It comes with a full range of diacritics and some interesting alternates for the closed glyphs as well.

Spoiled is a rough handwritten brush font. It has a natural style which makes it perfect for branding, advertising, poster design, logo, book covers, magazines, packaging, website headers, greeting cards, apparel designs, merchandise, fashion campaigns, newsletters, album covers, and quote designs and more.

Dobi Hand is a fat, bold, fun, cartoon like and has variable contrast handmade typeface. Dobi Hand that can be used for graphic design like food packaging, children books, birthday invitations, greeting cards etc. Dobi means in Turkish "fat, fatty" (in street language)

Holy Roller is a fun, hand-drawn font inspired by typewriter fonts. It can be used for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

Amithen is textured brush font, a contemporary approach to design, with a handmade natural and irregular baseline. Suitable for use in title design. Such as apparel, invitations, book tittles, stationery design, quotes, branding, logos, greeting cards, t-shirts, packaging design, posters and more.

Hmrile Brush Font Give your designs an authentic brush handcrafted feel. "Hmrile Brush Font" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, flyer, clothing, branding, packaging design and more. Thanks for use this font. Maulana Creative

Stand By Me Display is a modern calligraphy design, including Regular. This font is casual and beautiful with swash. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more.

The 1897 specimen book from Barnhart Brothers and Spindler showed a enchanting little face called Dotted Roman. Here's a faithful revival, ready to warm up the 21st century. Both versions support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The 1895 specimen book from American Type Founders included the pattern for this face, originally called Outing—Art Nouveau with a laid-back vibe. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.