Robert Moore is a font that was specially designed for comics. A lot of work has been done. At first, glyphs were drawn manually using different markers, then they were transferred to the font. The font was tested on real printing and digital comics. The world of fonts for comics is big and I wanted to create even more variability for authors with one family, which is why a variable version was created containing two axes: weight and italics. This gives you more options. A large number of glyphs, multilingualism, ligatures, and a capital give even more scope for work and creativity. The name was created from the names of the authors of the comics Robert Kirkman and Alana Moore, so the Robert Moore font turned out. Although the font was made for comics, it is not limited to them. Posters, logos, covers, text, headings, prints, product design, web, interfaces are not all options for using the font.

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

According to Hellmut G. Bomm "Nautilus was based on a handwritten type used for the text Li. Das Helle, Klare from the I Ging. "The intention was to create a clear, highly legible typeface. While the even strokes of sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus lends the type its legibility. The characters were drawn with a broad tipped pen, and like an antiqua type, the forms of Nautilus display a variety of elements. The narrow figures with relatively large spaces between them create an overall open appearance and allow a large quantity of text to fit into a small space. "The headstrong forms of Nautilus make this an excellent display type. The italic weights are independent typefaces with hints of a handwritten character."

Perillock font is a clean and modern typeface with a rounded bold design. This font is perfect for headlines, titles, logos, and other design projects that require a bold and attention-grabbing look. Its smooth and consistent curves give it a friendly and approachable feel, making it suitable for a wide range of design applications. Whether you're creating a poster, packaging design, or website, Perillock is sure to make your text stand out. Featured: Standard, Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw, so you can use all the variations of the glyphs. Hope you enjoy our fonts!

GR Read is a very cool font for headline designs with a bold and bold theme. With a strong display and clean nodes make text in the design become more character and great. Inspired by headline trends in a poster or magazine today. So that with a firm and a very modern style makes your design better! This font is formed from the headline display font of a very careful title. GR Read has about 350 flying machines. Suitable for all graphic design projects, prints, logos, posters, t-shirts, packaging, website, ticket and applies to several types of graphic design. Especially for the use of a title! Very suitable! GR Read is compatible with any software without pain, especially in headlines with GR Read pairing

Mairy font family is a modern sans serif font family. Featuring 9 separate weights each followed by own true italics Mairy is positioned somewhere between rounded sans with humanist touch. In fact the humanist presence in Mairy is a little bit more than the usual doze adding more calligraphic elements mostly noticeable in italic weights but also very important in regulars. This symbiosis of Grotesk geometry with handwriting is well balanced regarding contrast and legibility so that at the end we have a highly usable font family. Light weights are very tender and elegant while the old and blacks are soft, friendly and full of vitality. The mid weights are just perfect with their medium contrast and excellent legibility. Mairy is very fresh font family and is surprisingly flexible when it comes to screen or print use – it is optimized for both even if the conditions are poor. Use it with OpenType compatible software and explore its true potential by accessing additional set of ligatures, alternates and multilingual support.

Varygraphie is a modern Art Deco sans-serif family. This expressive typeface is provided as a variable font, and was designed by Mans Greback between 2019 and 2023. It gives any project a modernist appearance, as a reinvention of the hundred-year-old style of design, adapted and adjusted to fit in present-time purposes and technology. The Varygraphie family contains 12 high-quality styles: Thin, Light, Regular, Medium, Bold and Black, and each weight as Italic. Mix the weights to see how they balance perfectly against each other. Or use the variable font and set any weight between Thin and Black: Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and width. This gives you not only the predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about variable fonts: https://mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive language support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you’ll ever need, including all punctuation and numbers.

Hartia is modern serif family designed to be tireless worker (aka workhorse) for all situations – from small size texts in different editorial situations to main webfont usage. Designed with asymmetric serifs in 5 weights and 5 true Italics, Hartia is gently different and enough recognisable to deserve attention for any serious project. With slightly taller x-height, Hartia comes with OpenType features (ligatures, tabular numbers, fractions, small caps and localisation for Poland, Netherlands and Serbia). It is fully packed for Latin language support and equipped with Russian Cyrillic as default Cyrillic set (with previously mentioned localisation for Serbia).

Introducing, Future History, a unique font with sans and serif in one font! Future History is a modern and stylish font that combined sans and serif in one font. With sans as uppercase dan serif as lowercase. You can use the lowercase and uppercase in the same word that will make your text more stand out! And the best of this font is the italic version as the alternates which mean you can combine it all without worrying about the kerning! You can use this font for the magazine, poster, and suitable for headline. This font also support multi language.

Human Sans is a humanist sans serif font created as an experiment. The goal, how much a simple substitution of a small set of characters could change a font's nature. In its base form, Human Sans is a humanist sans serif geared toward text. However, through stylistic sets, it can adopt a myriad of different visual styles. This includes geometric alternates, uncials alternates, contextual swash caps, and the high and low midlines, typically seen in Art Deco lettering. These features are combinable for whatever look you may need. Human Sans comes with a full set of diacritics, in 9 weights and corresponding Italics.

Cholleo Display is a unique modern sans and serif type in different mixed types to combine in one font, it is recommended you can use this font for magazines, posters, logos, titles, quotes and suitable for headlines.which makes your text stand out! you can see on the picture. What you will get: All Caps Letters with different uppercase and lowercase letters Italic version as an alternative. Number & Symbol Multilingual support PUA Encoded This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! Thank you

Siro is a large x-height sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 7 weights from ExtraLight to Heavy and their matching Italics. The basic skeleton of their letterform was designed simply to create neutral, natural and clean impression and their very large x-height makes this family legible and readable even on small size screen. Siro supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

Symbolum Croatian heritage awakened. Symbolum is the first ever contemporary interpretation of Glagolitic script. This rediscovered Croatian gemstone gleams again with its unique and glorious letter shapes that give this typeface an exceptional value and meaning. The letters of this contemporary slab serif are inspired with Glagolitic script, but it is not the revival. Some letters originally don’t exist, but are invented, so the font can cover the central European character set. It is suitable for branding, game design, art and conceptual projects, but also for longer texts and more complex designs. The italics are designed at an 10° angle.

Quiet Sans is a super geometric sans-serif family for text designed by Ryoichi Tsunekawa and the whole family consists of 6 weights from ExtraLight to ExtraBold and their matching Italics. The basic concept of this family is not only to make crisp, sharp and strong impact by geometric letter form but also to be legible and readable even on small size screen by their sophisticated design. Quiet Sans supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And proportional figures, superior figures, inferior figures, denominators, numerators, fractions, ordinals and case-sensitive-forms can be accessed by using OpenType features.

Proza is a humanist sans serif typefamily, consisting of 12 styles (6 weights + italics), with roots in serif designs from the Renaissance, such as Garamond and Jenson. Proza was made to function well at a large range of sizes, from the smallest of text sizes, to gigantic posters, making it a highly versatile type family. Its large character set (support for 100+ languages) and opentype features do all the heavy lifting for you, while its elegance and refined details ensure to deliver a punch of class to your designs. A detailed article about the development and design of Proza on ilovetypography.com.

RooneySans is a humanist sans-serif typeface, and the latest addition to the Rooney family. It shares the same attributes as its seriffed companion – softly rounded terminals and a moderate contrast, thoughtfully applied to classical sans-serif proportions. Although RooneySans was developed as a stand-alone typeface family, it combines well with Rooney since both typefaces share the same stem weights and an equal gray value. RooneySans is suitable for any task in branding and packaging design and gives long texts a warm and inviting feel. All six weights from Light to Black come with matching real italics.

Zirkel is a geometric sans serif typeface which includes 16 fonts – eight weights and eight matching italics. Each character is geometrical, but optically corrected for better readability. Featuring austere lines, the font gains its strength in the final layout, which is created by the user. Zirkel Sans is suitable for headlines of all sizes, but it can be used in variety of long text as well. This font supports Western, Central and Eastern European languages, ligatures, alternate characters such as A, V, w, etc., and will find its place in the beginning, centre or end of any word. Geometry rulezz...

Madden is a bold, single weight typeface designed for use in titles, editorial design, branding or any other setting that requires capturing attention. With a bold, rugged stroke, inspired by the wide brush used in hand made protest signs, this typeface exploits Opentype features to randomly replace letters set in a line of text, thereby simulating the erratic and irregular letterforms that could be create by a manual writing. Madden is designed to give you an expressive and impactful typeface that will grab attention and shout your message.

Proudly present "Perfect Colony // Bold Serif Font" Perfect colony is bold and classic serif with elegant curves. This font is perfect for branding, logo design, header text, poster and many other. What inside and what will you get: Uppercase and lowercase letter Number and punctuation Multilingual Support PUA Encoded 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

Belhampton is a lively display family, full of the spirit of the Edwardian era. Six typefaces are offered: regular, bold, light, oblique, embossed and outline. All include an extensive range of stylistic alternates and discretionary ligatures, as well as lining and old-style numerals. Belhampton is ideal for poster and display work, or just the thing for any piece of Belle Epoque design.

Rodrigues is a casual signature script, designed by Amin Mario and Mans Greback in 2020. A font full of personality and curves, created using quick strokes to for a natural handwritten effect, which to gives the font an organic look in a digital world. The typeface comes with OpenType features such as alternates and ligatures, a bold style and multiple decorative elements. Use { } < > [ ] anywhere in a word to create a swash. Example: Mag[ical The font has extensive lingual support, covering all European Latin scripts. It contains all characters you'll ever need, including all punctuation and numbers.

HT Mason is bold and hand painting font. This font is retrospective and decent, but it is also funny and cute. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Quanton is a clear serif typeface in a modern style. Its sharp edges and soft curves combines to the perfect balance of tradition and innovation. Quanton has character and personality, while keeping regular and maintaining its legibility, making for an optimal headline and bodytext style. The Quanton family consists of eight typeface styles: The weights Thin, Medium, Bold and Black, and each thickness as Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Arabic and all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Mauritz is a brush script typeface. A speedy handwriting, Mauritz was drawn and created by Mans Greback in 2021 to be the ultimate set of wild-style scripts for logotypes and branding. This calligraphy family consists of 10 high-quality fonts in a great variety of weights and styles: Mauritz Thin, Light, Regular, Bold and Black, and each one as Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Ekorre is a professional serif typeface. Drawn and created by Mans Greback in 2021, this creative font family has a vivid retro style and a strong personality, and is constructed with soft corners and flowing shapes. The letterforms express empathy, while retaining seriousness. It is provided in six complementing high-quality styles: Ekorre Regular, Ekorre Bold, Ekorre Black and each one as Italic. Ekorre is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

It's nice when a font provides old style figures, small caps and alternate letters. But what to do if my typesetting program doesn't support Open Type features? The solution may be old-fashioned, but it's effective: the variants are placed in separate font families: Standard, Old Style Figures (OSF), and Small Caps (SC). Any word processor can handle it. As a special feature, my OSF fonts also contain alternative letters such as a looped g or descenders in the italic f.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Introducing Gradable, a mesmerizing script font that seamlessly blends elegance with boldness. This unique typeface is characterized by its graceful, connected letters that flow effortlessly from one to the next. With a low-contrast design, this font exudes a sense of stability, What sets Gradable apart is its distinctive swinging endings on select letters, adding a touch of playful sophistication to your text. These stylish flourishes give your words an air of dynamic movement, making your message stand out with a touch of charm. Gradable fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

Introducing Chalga Serif Typeface - 3 weighs - Latin and Cyrillic support Chalga is elegant, vintage typeface that contains 3 weights to enchant your next project. They have basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets. Very versatile fonts that works great in large and small sizes. Chalga is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Light Regular Bold Basic and advanced latin character sets Basic and advanced Cyrillic character sets Alternate Glyphs Ligature Glyphs Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!