Allamanda is a handwritten monoline script. It features an incredibly classic style, while still keeping a friendly feel. Perfect for titles, headings and logotypes for blog, products and lifestyle imagery like quotes and stuff.

Ruly is my newest font creation. My roommate in college always had the coolest writing. I thought that it deserved to be a font. The font is a great choice for newsletters, cards, etc.

This font is riddled with subtle personality. Its slight loops give it a homey feel while being neat, and very legible. It has a good weight perfect to use on cutting machines and sublimation.

A pastiche lovingly imitates its object and celebrates a distinct style. The expressive blackletter font GOTHIC TANTRUM celebrates the undying beauty of simple gothic type while adding to it a modern and edgy design.

SK Paragrapher™ is a monumental geometric typeface whose structure was inspired by the paragraph glyph. The entire typeface is built on a rhythmic composition and a black-to-white balance. Each character corresponds to a grid, and all its characters are monospaced, so the typeface looks harmonious and complete, despite the complexity of perception of its appearance. This typeface has both uppercase and lowercase letters, as well as a capital! The typeface supports a multilingual layout that includes: extended Latin and Cyrillic characters, additional characters, and Hebrew. This typeface also includes more than 10 currency symbols, as well as 4 fonts: Solid, Outline, Rounded, Sharp! As a result, SK Paragrapher is a multilingual, monospaced geometric monumental typeface that contains almost 1000 glyphs for your any design work, be it a poster or a website!

The rasterized square (clear, therefore 4 as part of the font name) was the constructive basis. The intention was to put all characters within this grid and produce a highly structured, yet lively, resting in itself, display font. Relaxed but exciting, just. An absolutely noteworthy detail are the classical construction principles (based on a typography book from the 50's for poster designers), the so-called optical weighting, derived and slightly exaggerated character elements: The characters are not purely symmetrical and the curve shapes do not close justified with the surrounding square. Loops and tongues slightly hang over; the upper bows are slightly less protruding than lower ones, etc. The kerning is tuned to fit these design details: the white space between the characters match the same filling space.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Introducing Kirsty, the typeface that will give your designs a cutting-edge, contemporary feel. With its sharp, Latin-serif design, Kirsty is a modern take on the classic nineteenth-century railroad lettering. Released in 2000, this typeface quickly became a favorite for its unique octagonal shape and bold, commanding presence. Now, with a proper lowercase, five weights, and obliques, Kirsty is more versatile than ever. Its sleek, angular lines make it perfect for graphic design, branding, and advertising, while the small caps add a touch of sophistication to any layout. Just be aware that not all languages are available in small caps, so be sure to check if your application supports them. Whether you’re looking to create eye-catching headlines, standout logos, or striking marketing materials, Kirsty has the style and versatility to make your designs pop. So why settle for bland, generic typefaces when you can make a statement with Kirsty? Try it out today and see the difference for yourself. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Go back to a time when the Mediterranean coastline was truly glamorous, when stylish women and men in wire-framed glasses listened to Domenico Modugno songs on the radio while sipping wine in sidewalk cafes. A relaxing summer’s day, a gentle sea breeze, taking the time to write a postcard to your loved ones in your best handwriting. The 1950’s may have come and gone, but the elegance and simplicity of that classic style has not, Mina keeps the feel of calligraphy, the long connections between letters is elastic, the clean, thin lines, it is a relaxed cursive ideal for logotypes, titles, and lettering. There are eleven Mina font styles and many loops to choose from to customize any letter. Bring the seaside glamour of a bygone era to your projects of today with Mina. Ranging from light to heavy, Mina Calligraphic, and Mina Shadow, this family of fonts work perfectly separately but you can also achieve beautiful results when combining them. Check out also Mina Chic We recommend to combine Mina with: PestoFresco Turquoise

Limon was entirely hand drawn and carefully digitised to get accurate curves but keeping the handmade look. The script fonts are smart scripts, plenty of alternates designed to preserve the calligraphic rhythm. Limon is a beautiful option for menus, magazine covers, wedding invitations, cards and all kind of stationery, packaging and labels. Default positional forms appear while you are writing when Standard Ligatures and Contextual Alternates features are on. Just keep them activated and let Limon Script do the rest. It warrants that all the connections will look good. Also, you can activate stylistic alternates, swash, titling and stylistic sets to have options for capitals, initials and terminals. Each Script Font reaches a total of more than 2900 glyphs (languages for every alternate included). Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide. Limon has extensive Western, Central and Eastern European language support. Limon Script matches very well with Dress and Chonky When life gives you Limon, make a beautiful design!

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

In the 1943 Three Stooges comedy short “Higher than a Kite”, Curly reaches into a box with the label “hand grenades” painted on its side and pulls out one of the devices. The bold, squared stencil hand lettering on that prop inspired Stencil Label JNL, which is available in both regular and oblique versions.

Forty-six snowflake designs from the Snowflake Assortment font were three-dimensionally rotated to various viewing angles other than perpendicular (which is how they are viewed in the Snowflake Assortment). Holding the modifier keys, Shift, Option, Shift + Option, and typing the same character will access different views of the same leaf. Font contains 180 characters.

Forty-six leaf designs from the Leaf Assortment font were three-dimensionally rotated to various viewing angles other than perpendicular (which is how they are viewed in the Leaf Assortment). Holding the modifier keys, Shift, Option, Shift + Option, and typing the same character will access different views of the same leaf. Font contains 180 characters

An image found online of the first [1923] “Oreo Sandwich” package provided a type inspiration from the pen-lettered block sans with rounded corners used for the product's name. Prior to 1923, the cookies were sold in boxes or tins. The result is Packaged Cookies JNL, which is available in both regular and oblique versions.

As if gliding in on the tide, ITC Kahana floats across the page with the pulse and sway of the sacred Hawaiian hula dance. The original drawings for this display typeface were created while designer Teri Kahan lived in the Aloha State, and its bold verticals symbolically convey the power and strength of the Polynesian people. Kahan has spent most of her life working with letters. She discovered Speedball lettering pens in her teens, opened a design studio that specialized in the lettering and calligraphic arts while in her early twenties, and grew her business in California and Hawaii. Today, she embraces new design challenges and digital technology, but letters are still at the core of her work. In ITC Kahana, Kahan created a design that is both distinctive and versatile. Menus, posters, display headlines, packaging and brochures fall easily within this typeface's range. And the word “kahana” is more than just a namesake: in Hawaiian, “kaha” means “to mark, draw, place, turn or surf,” and “na” means “belonging to.” ITC Kahana also includes an enchanting decorated alphabet in the lowercase position that expands this typeface's usefulness to the designer.

Introducing our latest retro font design: Orelia Display font, a modern take on classic mid-century typography. Our simple retro font is designed to be humble yet eye-catching, with clean lines and simple shapes that evoke a sense of nostalgia while remaining relevant and contemporary. This font is perfect for projects that require a touch of retro charm without overwhelming the design. Its understated appearance makes it ideal for minimalist designs, logos, and branding, while the bold letterforms ensure that it still catches the eye. Crafted with care and attention to detail, our simple retro font is available in a variety of weights and styles, allowing you to customize your design and make it truly unique. Whether you're creating a retro-themed website, designing a product with a vintage twist, or simply want to add a touch of nostalgia to your work, our simple retro font is the perfect choice. With its timeless appeal and modern design, our simple retro font is sure to become a go-to choice for designers and creatives who appreciate the beauty of simplicity. Purchase now and add a touch of retro charm to your next project!

Steam combines the spirit of the old-fashioned wood type with modern flavours. Its distinctive reversed high contrast and extremely bold serifs make it impossible to stay unnoticed. It’s a fun and bold unconventional typeface that we’ve designed with great passion and curiosity! The type family consists of 13 weights that are divided into several packs. Each font in the pack can be layered on top of each other to make a funkier look. Steam is multilingual! It speaks more than 130 languages and supports extended Latin, Cyrillic, punctuation, default and small numbers, symbols and signs. It is also familiar with the OpenType features like standard and discretionary ligatures, stylistic sets, localized forms, small numbers and fractions and more. Steam looks best on logos, posters, headlines, and T-shirts and is perfect anytime you need some bold letters with specific flavour and touch. Have fun creating!

Emotios is a display font with a bold brush style. suitable for posters, logotypes, apparel, branding, and so on. contains standard English letters, numbers, punctuation, Ligatures and several accents that support multilingualism Thank you!.

Monssla is a display font that comes with a block bold style. suitable for posters, tshirt, branding, social media, and so on. contains standard English letters, numbers, punctuation, and several accents that support multilingualism.

Gorgeous Girl is our newest script font created with sweet and sweet hand strokes, with subtle touches and dramatic curves making this font unique. This bold calligraphy font is designed with a relaxed but elegant background, while still paying attention to the beauty of each letter, there are alternate options for lowercase letters, so that it automatically beautifies the visual appearance in your design project. besides that, this font also offers harmoniously beautiful abstract typography for your various design projects. This font is also perfect for wedding invitations, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, signatures, and any design that requires handwriting. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. we hope you enjoy this font. Feel free to send whatever message you want to convey.

Rodley is a geometric sans-serif typeface and a ground-up redrawing of Bairne – the first ever typeface from Fettle Foundry – with a completely new character set that closer resembles the original vision for the typeface. The changes are so substantial that Rodley has taken on a life of its own, becoming a brand new typeface. Inspired by low-contrast Swiss and Modernist grotesque typefaces, with the addition of characterful geometric shapes, Rodley aims to be a more disruptive choice for brands, while retaining the appeal of those popular styles. Based upon a Latin S character set with additional glyphs, Rodley supports many latin-based languages, with a focus on pan-European and South American languages. Thorough kerning has been applied to uppercase/lowercase, uppercase/uppercase, lowercase/lowercase and CamelCase character combinations, with thorough attention paid to an incredibly large number of diacritical combinations. Available in 5 weights, from thin to bold, with matching italics, Rodley has been designed with a wide range of uses and sizes in mind.

Magneton is a brush script typeface that contains three weights and two slant angles. Three weights simulates the pressure of the brush pen; light is written with a gentle pressure and the bold one with more pressure. Two slant angles gives Magneton two natures; the more casual one and the more dynamic one. So with this script you have lots of options to choose from. You can adjust the look and feel just like when writing with a real brush pen! Magneton has lots of alternates and swash characters. It has two sets (and more) of upper case letters. The more basic one and the more flamboyant one. It also has lots and lots of lower case alternates: two styles of end swashes, underlines, a few different ascender and descer swashes and much more. Please explore the images and glyhp set to get the idea. I hope you like what you see and use Magneton in logos, lettering compositions, t-shirts etc. there are lots of opportunities with this one. Thank you and please enjoy!

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Restora Neue is an evolution of its precursor, Restora. While the Restora has an authentic imperfect letterforms, Restora Neue comes with a neater shape and higher contrast. It’s a mix of old-style roman serif styles. Its sharp and longer serif with a bit touch of medieval, makes Restora Neue a versatile type family that can be used in many different themes of design projects, from classic style to modern. It comes in nine weights from thin to black with matching italics. Its mixture of weights provide a wide range of styles that will help you find the best vibe for your projects, for headlines or a short paragraph. The set of special ligatures and stylistic alternates can be perfect mates for your brand. It is well suited for book covers, editorial, branding, advertising and more. To see the complete presentation please visit my Behance profile.

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

Bilokos Pro is a cool and modern display font. Designed by experts to make your design look out of this world, this font has the potential to take your creative ideas far. This is a condensed sans serif display font. On the one hand, it has rounded curves with very open terminals that make this font family elegant, user-friendly and contemporary and on the other hand very useful for writing titles in any medium. It also comes with stylistic variations of 0-9, A-Z and a-z to satisfy the most demanding professionals. It has OpenType features like full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences. With its large character set, it meets the needs of professionals because it will support several languages ​​of Western Europe, Eastern Europe, Central Europe, Greek and Cyrillic for international communication.

Scratch was designed by Andrew Smith in 1995. It looks as thought many fine lines were drawn next to and over each other with a felt-tipped pen. Small bits of white peek out among the strokes and give the font its dynamic character. Flexible and sketchy, the forms are based on those of a classic sans serif cursive typeface. Scratch is meant exclusively as a headline or display font.

Printing Press Elements JNL contains an eclectic assortment of printer's elements. From a set of dice (in both black and white faces) to cartoon embellishments to border and decorative elements there's something to fit numerous uses. Also included is an extendable bracket. The left-facing elements are on the (greater than) keys. The right-facing elements are on the [ (left bracket), \ (backslash) and ] (right bracket) keys.

Linotype Dot is part of the Take Type Library, featuring the winners of Linotype’s International Digital Type Design Contest. Designed by Lucy Davies, the figures are composed of a combination of white and black dots and the contrast makes the font look like points of light and darkness. The general impression of Dot lies somewhere between ornamental and technical. It combines well with sans serif and calligraphy fonts.

I designed this font because it didn't exist - it’s based on hand rendered type created for black and white line marker scamps used in the advertising industry. I use it that way and it’s saved me a LOT of hand-rendering time over the years. Of course, Scamps works as an informal marker script in its own right too. I’ll be interested to see what you do with it.

Slavica is a modern pixel version of old Slavonic fonts.

Kustom Culture font was born from an inspiring vintage old paint display. This font gives a vintage, classic, and old feel, inspired by authentic old paint effects. Kustom Culture font is perfect for you looking for a vintage and logotype. Suitable for any graphic designs such as branding materials, t-shirts, badges, print, packaging, label, business cards, logos, posters, t-shirts, quotes .etc Features: Stylistic Alternates, Numerals & Punctuation Accented characters, Format File: TTF, OTF, Multiple Languages Supported

Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

Introducing Madriz, a slab serif font with a retro feel that's perfect for any project that needs a touch of old-school charm. With over 32 fonts in one font family, Madriz offers a wide range of styles to suit any need. You can choose from Thin to Black weights and Regular to Extra Expanded widths to create your perfect look. Madriz is inspired by the old-school signage of Madrid, Spain. The name "Madriz" is actually the affectionate nickname that Madrileños, the people of Madrid, gave to their city. The font's bold, blocky letters capture the essence of Madrid's vibrant and historic streets. Madriz's versatile nature makes it a great choice for a wide range of projects. Its bold, retro style is perfect for showcasing heritage brands or giving a modern touch to classic designs. Madriz can also be used to create a sense of nostalgia, making it ideal for retro-themed projects or campaigns. Here are some of the ways you can use Madriz: Titles and headings: Madriz's bold, eye-catching style is perfect for titles and headings. Text blocks: Madriz's wide range of weights and widths makes it suitable for text blocks, from body copy to large paragraphs. Logos and branding: Madriz's retro charm makes it a great choice for logos and branding. With its 32 font styles and support for over 90 languages, Madriz is an incredibly powerful tool for any designer. It can be used to create a variety of looks, from classic and elegant to modern and edgy. Whether you're working on a print project, a web design, or an app, Madriz has the potential to make a lasting impression. Madriz is the perfect font for anyone who wants to add a touch of old-school charm to their designs. With its wide range of styles and features, Madriz is sure to make a statement in any project. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. Happy creating everyone!

Magide is a retro and bold serif font typeface. This font perfect for branding, Headlines, Retro designs, logos, invitation, watermark and so much more. Magide typeface comes with Regular, Thin, bold, Black and 2 Outline font styles. Uppercase & lowercase letters, numbers, punctuation, ligatures, alternates and multilingual support. If you have any questions, please feel free to get in touch. Thank you

Introducing Thickline, a classic bold monoline typeface. Thickline is bold, strong, and classy. You can use this font for making awesome logos, branding, letterhead, invitations, quote, print, card clothing brand, vintage looks, and so much more!. Comes with open type feature and a lot of alternates that helps you to make great lettering. This font also has multi language support.

ASTERU An elegant font designed when in a creative mood and perfect shape, inspired by the bold, natural look of serifs so beautiful for today's fashion. bold, balanced and varied, born for luxury and beauty. including uppercase letters, numbers, and various kinds of punctuation ASTERU is perfect for invitations, logos & branding, photography, advertising, watermarks, social media posts, product packaging, product designs.