Introducing Butter Carney, Butter Carney is handwritten font with a modern calligraphy feel, Looks amazing on wedding invitations, thank you cards, quotes, greeting cards,tshirt design, mugs, logos, business cards and any other design.

Road Repair JNL is a bold (hand lettered) sans serif stencil font based on the opening credits from the 1954 film “Drive a Crooked Road” – and is available in both regular and oblique versions.

Neloqa is a display font that comes with a vintage inscription vibe. suitable for product, branding, social media, notes and so on. contains standard English letters, numbers, punctuation, and several accents that support multilingualism.

A prolific lava producer, Volcan Puntas Negras is a collection of flows and domes forming a distinct large edifice. There is no current activity known unless you will activate the font on your computer ;)

CentreForward is an 8 font family consisting of 4 weights with italics. A smooth modular font that draws on ideas observed in the 1982 Football World Cup. Influential players: Paolo Rossi, Socrates, Zico & Tardelli.

Bernhard Cursive ExtraBold is one of Lucian Bernhard's most expressive fonts which are worth to get preserved for now and times to come. An ideal font face for advertisements, posters, flyers, titles and subtitles.

School Desk JNL is a block-style sanserif based on die-cut cardboard letters used in classrooms during the 1940s and 1950s for making various projects and teaching children the basic shapes of letters.

1654 Brown Street, from the street to our font library it's only one step. This font is inspired by the street typography, the radius of the font is the same than the street marker.

Aliya Jayner was created by Liartgraphic Studio and is a modern script concept with many alternative, multi-lingual choices. This typeface is good for use on product brands, magazines, book covers, packaging, and others.

Sardis is based on a family of wood type called "Lydian," designed for American Type Founders Company by Warren Chappell in 1938. The strokes have angled ends, referencing the use of a calligraphy nib.

Letter Gothic was designed for IBM between 1956 and 1962 for use on the Selectric typewriter. Letter Gothic is a monospaced, sans serif face that can be useful for technical documentation and tabular work.

A triple condensed gothic based on the letter form of Franklin Gothic. Great for fitting a lot into a small space. With its condensed and extra bold appearance it makes a great headline face.

Bawnee is a handwritten font with a natural style. This font has many ligatures and has multi-lingual support. Bawnee is perfect for signatures, logos and all kind of projects you might work on.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Mareka, our newest font, is now released. Beautiful, tidy, and elegant font with a distinctive shape. If you employ this typeface, your once-good project will become something truly unique. This typeface is appropriate since the shape of each letter may be used in a variety of ways, including serious, relaxed, and natural. Because everyone does not necessarily understand Japanese letters, we supply fonts with letters that can be utilized for your project. We produced this display font with a Japanese theme or an Asian font, which we designed to fulfill the needs of your Japanese-themed project. Of sure, your initiative will be understood by people all around the world. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Hello, Let's play with Moontok! a handmade font with a fun, sweet, also playful type character that gave extra cuteness and perky at once. Like how it named, the cheerful shape bring imaginations to fluffiness, sweetness, cuties, cookies, coffee latte smells, cheesecake, happy kids, even refresh summer trip Moontok has an OpenType feature that will automatically change each character into stunning ligatures, easy! The alternates tail bring cheerful accent to your wondrous display composition, both make more flexible exploring your needs and also including sexy punctuations Even the font shape has a fun impression, the clear bold line still fit to represent something cool and fresh also making it very easy to read and applied in various design styles such as crunchy poster designs, snacks packaging, logos, promotional artworks, storybooks, business cards, website header, and many more design projects. Moontook has its own charm of cheerfulness itself moreover combined with sharp and funny color. It will so easy to remember, catchy and flawless. wanna play more? jump up to try your words Happy summer times!

Guilloches were – in the old days – used to make the falsification of banknotes more difficult. The engraving of these intricate lines was done by a highly specialized mechanical machine, which was operated by an equally highly specialized engraving artist. Once the settings for a specific curve were changed back to zero it was very difficult, if not impossible to set them back to the old design. I have designed a useful set of Guilloches that join to form ribbons that create a kind of op-art 3d effect. Under the keys A-U and a-u you find joining pieces. Under the keys V-Z and v-z I placed start- and endpieces. 0-4 are different lenght straight extensions and 5-9 are not quite so straight extensions. All other keys are corner pieces that can be used as stand-alones or put in rows to make for superb decoration. With a little bit of experimentation and maybe colored overlays you can achieve super-phantastic designs. Your elegant type designer Gert Wiescher.

Once upon a midnight dreary, this Comicraftsman pondered, weak and weary, For a name synonymous with Mighty and Marvelous comics lore. Solid, Outline, Inline was the nameless font I'd crafted, I nodded, nearly napping o'er the work I'd grafted When suddenly came a tapping, As of someone gently rapping, rapping at my cubicle door. "'Tis some visitor," I muttered, "tapping at my cubicle door-- Calling out "EXCELSIOR!" Then an Amazing Vision beguiled my sad fancy into smilin', By the Spectacular decorum of the countenance it wore, "Though thy crest be shorn and shaven," he said, "thou art sure no craven, And thy font should not remain nameless here forevermore!" Eagerly I wished the morrow; vainly I had sought to borrow From comic books surcease of sorrow, letters that called out "EXCELSIOR!" Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking of the nominative neuter singular thing Like Some Silvered Surfer wandering from the Nightly shore-- The Vision shrieked, upstarting--"Tell me what thy lordly name is thus!" Quoth the Craftsman: "EXCELSIUS!"

Nostalgic Typewriter is a typewriter font that exudes classic vintage charm with an irresistible allure. Inspired by the iconic typewriters that once dominated the world of manual typing, this font brings forth warm nostalgia and timeless appeal in every character. Key Features: Classic Aesthetics: Every letter in the Nostalgic Typewriter is meticulously crafted to create a classic look that harks back to bygone eras of manual writing. Vintage Power: The font captures invaluable retro vibes in its design, with rough edges and character placement that evoke an authentic feel from yesteryears. Character Diversity: Nostalgic Typewriter boasts a variety of characters, including uppercase, lowercase, numbers, and special symbols. All are designed to cater to your diverse design needs. Ease of Use: This font is ready to enhance a wide range of projects, such as poster designs, stickers, greeting cards, t-shirts, and more. With flexible licensing, you can confidently use it for personal or commercial projects. High-Quality: Nostalgic Typewriter is crafted with attention to detail and top-notch quality, ensuring that your printed or digital output will always captivate.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Introducing Gyoza - Font Family (4 Fonts) Gyoza - was designed in late 2022 and published on January 2023. The Typeface was inspired by the 90’s playful cartoons and comic books. This font comes with 4 weights; Regular, Semibold, Bold, and Black. Gyoza - available with the variable fonts in weights and the Ink Trap. With the regular style, you'll have the correct anatomy of the fonts. with the Ink Trap style, it added more extreme space on the Ink Trap. Gyoza - contains everything you need to create stunning typography – from headline fonts to body text fonts - all in one place. Whether you're starting out or you've been designing for years, Gyoza has everything you need. Can be used for modern and vintage designs, and also can be easily paired with some graphic elements (Illustration, Photography) this font is perfect for, Logotype, Branding, Title, and Packaging. So take your design skills up a notch and get started on some fresh new projects with Gyoza today! Similar Item: Gunydrops : LINK HERE Kelpo : LINK HERE Swipe : LINK HERE Replay : LINK HERE What you get : Gyoza Regular Gyoza Semibold Gyoza Bold Gyoza Black Features : Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Please contact us if you have any questions. Enjoy crafting and thanks for supporting us! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Regards, Dharmas Studio

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!