Infamy is a display typeface inspired by graffiti and street art, featuring the ‘bubble letter’ style of writing which was very popular among subway and suburban graffiti artists in the early days of American graffiti. This font recovers graffiti horizontal alignment, tight tracking and colourful lettering. The OpenType version includes many different ligatures which provide multiple options when composing a text. Multiple layers make Infamy a bright, shaded and colourful font, allowing you to dress up your writing. This font incorporates a pictorial rendering of character faces (instead of small caps), capturing the essence of the graffiti: the ‘childish’ and the ‘irresponsible’, which is present in the experimental side of the typeface.

Aenos is a retro condensed display font, ideal for creating eye-catching titles and headlines that appear strong, unique, and clean. Its bold, sturdy appearance works well with medium or large font sizes while maintaining legibility. The Aenos font is also enriched with optional ligatures and Alternate. So use this font right away to make your project stand out. What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support Thank you for your purchase!

Krimhilde was originally designed by Albert Auspurg and released in 1933 with the type foundry Ludwig & Mayer. The design mixes elements of German blackletter typefaces and geometric sans-serif designs, which became popular in the 1920s in the movement known as New Typography. The FDI version of Krimhilde offers both original styles (regular and bold) as “version A” with a full Latin 1 character set. “Version B” has alternative shapes for some letters to make the design more legible for people who are not familiar with the German blackletter shapes. In addition, there are optional display styles available (outline, shadow and fill), which can be used separately or together to create a chromatic layout.

Solution is a Modern Fashion Sans Serif Font with Sharp shape make your design look classy and elegant A new San Serif Font that we created special for Headline, Title and more stand out typography needs, with beauty characters that will add your variations. It's so perfect to add your style and headline overview. And specially for Fashion font, we crafted for unique style and modern feels so enjoy to create any project that will show your main idea out. Solution Modern Fashion Sans Serif Font ready with: Any options to get creative variations Preview as a inspirations that you can do with Solution font Ready with All characters Wish you enjoy our font. :)

American type designer Michael Abbink created this sans FontFont between 2006 and 2008. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising, packaging, book text, editorial, publishing, logo, branding, small text as well as wayfinding and signage. FF Milo provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2011, FF Milo received the Letter.2 award. This FontFont is a member of the FF Milo super family, which also includes FF Milo Serif.

Wishful is a Fancy BEauty Display Font A new font that we created special for branding needs, with unique characters and awesome alternative characters are ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more beauty and modern. And specially for Salute font, We prepared any swash and any alternate characters to help you create unlimited variations for your creative needs. Wishful is a Fancy BEauty Display Font ready with: Any options to get creative variations (combination of Alternate and Ligature) Preview as a inspirations that you can do with Wishful font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Named after the steadfast doctor from Albert Camus’ The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them. Rieux is available in 5 weights and is ideal for uncatalogued, magazines, short publications and company collateral. In addition to supporting Western, Central and Eastern European languages, Rieux includes an array of OpenType features to provide a range of typographic options.

German type designer Yanone created this serif FontFont in 2010. The family has 8 weights, ranging from Regular to Extra Bold (including italics) and is ideally suited for advertising and packaging, editorial and publishing as well as logo, branding and creative industries. FF Amman Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Arabic writing system. This FontFont is a member of the FF Amman super family, which also includes FF Amman Sans.

Variable version of 'Glimp' font family Glimp Variable supports 3 axis flexibility across width, weight and italic in a single font. It also comes with the static styles available as options in the font style selection menu. It features rich set of opentype features such as stylistic sets, contextual alternates, case sensitive forms, superscripts, subscripts, fractions, and more. Glimp Variable is made to be your go-to choice for a wide range of projects, whether you're working on branding, web design, print materials, or presentations. It elevates your designs or brand effortlessly, embracing your creative vision. Variable Axis Ranges: Width - wdth - 75 to 100 Weight - wght - 100 to 900 Italic - ital - 0 to 1

Danish type designer Ole Søndergaard created this serif FontFont in 2005. The family has 10 weights, ranging from Light to Black (including italics) and is ideally suited for advertising and packaging, film and tv, editorial and publishing as well as logo, branding and creative industries. FF Signa Serif provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This FontFont is a member of the FF Signa super family, which also includes FF Signa, FF Signa Correspondence, FF Signa Serif Stencil, and FF Signa Stencil.

Bodoni Terracina is a legible, fun-formal script face, with lots of curls. Sometimes script faces are hard to read. Sometimes being formal means that there’s no personality and there’s no fun. Enter Terracina: one of the masterpieces of font design. Some of the most personable italics ever carved. Includes powerful new features for: • Dates • Pricings • Addresses Not is only Terracina formal but fun, it’s also fun to use! In a program like Adobe Indesign or Illustrator, just highlight a word and see lots of fun options. Bodoni himself etched these symbols, and his fun-loving personality shines through. As a semi-script, it can go together with many script fonts, but it is more readable. When you need something equal parts elegant and whimsical, Terracina strikes a perfect balance to let the fun shine through, such as for holiday designs or fairytales. Terracina is a subheads font, but Bodoni also used it for paragraphs. So Terracina works well doing subhead paragraphs, especially when contrasting with the mood of the first font. And because of the swash variety, it works well for setting German and other European languages. CAL Bodoni Terracina is a member of our Origins Series. Origin Fonts are designed to be true to the original designer's intentions and fonts. Our Bodoni origin fonts ARE Bodoni fonts, not imitations or interpretations. They were drawn by Bodoni, our team just expanded it for modern use. For Terracina, Bodoni's original weight is the "Quasi-Lite" option, all other weights have been meticulously matched by the CAL Origins Team.

Burford Rustic is the weathered and textured alternative to the Burford Family. It works the same way as Burford as a layer-based font family, but with some style variations and new layering options. It includes 20 font files, starting with four texture variations from Black, Bold, Light to Ultralight. It also includes and Outline and two Inline Weights. Additionally it offers three line weights (light, medium and bold) for top layering options. There are two extruded fonts and two drop shadow fonts, all either in a solo version and set with Burford Rustic Black for users not using Opentype programs. For users that have Opentype programs, such as Adobe Illustrator, Photoshop, InDesign, Microsoft Publisher and Quark, each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. There are two versions of each letter, and by using contextual alternatives, no two letters next to each other will be the same. Burford Rustic Basic package is created for users who don’t have access to programs with Opentype capabilities and are unable to use the layering effect. Burford Rustic can still be a powerful tool as each font can also be used on it’s own. It includes every font file not needed for the layering effect. The Burford Rustic Ornaments uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford Rustic and use the same textured edge. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Introducing "Masked Hero," a dynamic and commanding font that stands tall as a bold, oblique, all-cap typeface. This font is not just a collection of letters; it's a visual narrative of strength, speed, and superhero prowess. "Masked Hero" takes typography to new heights by incorporating uppercase letters adorned with intricate wing patterns, elevating your design into a powerful champions. The uppercase characters in "Masked Hero" aren't just letters; they're symbols of superheroic identity, each adorned with wing-like patterns that evoke a sense of flight and strength. These letters become the emblem of your design, embodying the essence of masked heroes ready to leap into action. To provide designers with unparalleled flexibility, "Masked Hero" is equipped with alternates for both uppercase and lowercase letters. This feature allows you to customize the appearance of your text, giving you the creative freedom to push the boundaries of typographic design. The alternates enhance the visual impact of your message, ensuring that every word becomes a statement. With a sharp and bold aesthetic, "Masked Hero" is tailor-made for projects that demand speed, strength, and a touch of superhero flair. Whether you're designing a logo for a masked vigilante, creating dynamic sports-themed graphics, or crafting the name of a superhero, this font is your ally in making a bold statement. Masked Hero offers you: 1. 4 options of letters, All Caps (All options of the characters are included in one font) 2. Numbers and Punctuation 3. Multilingual Support (Latin Western Europe)

Introducing "Melt," a captivating and versatile font that seamlessly blends boldness with soft, rounded curves, exuding an irresistible charm. This font is a harmonious fusion of cursive elegance, bold confidence, and modern trends, making it perfect for eye-catching headlines that demand attention. The Melt font family is thoughtfully crafted with three distinct selection font files, ensuring a range of creative possibilities: Melt Italic (Full Features): The italic variation of Melt boasts full features, providing a dynamic and playful touch to your designs. With its stylish slant and graceful curves, Melt Italic is ideal for adding a touch of sophistication to headlines, posters, and other creative projects. Melt Swashes: Elevate your designs with the Melt Swashes font file, where uppercase letters are replaced with delightful swashes. These swashes add a whimsical and artistic flair to your text, creating a unique and expressive visual impact. Perfect for adding a touch of creativity to logos, branding, and more. Melt Swashes Alt: For those seeking alternative swashes for uppercase letters, Melt Swashes Alt offers a distinct set of alternative swash designs. This variation provides even more versatility and customization options, allowing you to tailor your typography to suit the specific aesthetic of your project. Whether you're designing for a trendy website, playful branding, or vibrant marketing materials, Melt's bold, cursive, and rounded style, coupled with its three font file options, ensures that you have the perfect tool to make a lasting impression. Embrace the charm of Melt and let your headlines stand out with a delightful blend of modernity and cuteness.

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

For some time, Eric de Berranger had wanted to create a distressed typeface design - one that gave the appearance of antique printing and showed signs of wear, yet was still highly readable. He was busy designing a new face called Maxime, when an idea struck: I realized that I could use these lettershapes as the basis for my antique typeface," he says. The two faces ended up being designed in tandem. While ITC Oldbook clearly captures the flavor of aged, uneven and imperfect printing, it also meets de Berranger's goal of being exceptionally readable in text sizes. Beginning with well-drawn characters was the key, and these were carefully modeled into the distressed forms. "The process was more difficult than I originally thought," says de Berranger. "The antique letters had to be tested and modified several times to work correctly." ITC Oldbook elegantly simulates antique printing in both text and display sizes. And while stroke weights are uneven and curves are irregular, the design has remarkably even color when set in blocks of text copy. Add to this the design's inherent legibility, and ITC Oldbook acquires a range far beyond replication of things old; it's suitable for any project that calls for warm and weathered typography. ITC Oldbook is available in roman and bold weights with complementary italic designs. Small caps, old style figures and a suite of alternate characters and ornaments provide additional flexibility and personality to the design."

Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

South Picene (also known as Paleo-Sabellic, Mid-Adriatic or Eastern Italic) is an extinct Italic language belonging to the Sabellic subfamily. It is apparently unrelated to the North Picene language, which is not understood and therefore unclassified. South Picene texts were at first relatively inscrutable even though some words were clearly Indo-European. The discovery in 1983 that two of the apparently redundant punctuation marks were in reality simplified letters led to an incremental improvement in their understanding and a first translation in 1985. Difficulties remain. It may represent a third branch of Sabellic, along with Oscan and Umbrian (and their dialects), or the whole Sabellic linguistic area may be best regarded as a linguistic continuum. The paucity of evidence from most of the 'minor dialects' contributes to these difficulties. The corpus of South Picene inscriptions consists of 23 inscriptions on stone or bronze dating from as early as the 6th century BC to as late as the 4th century BC. The dating is estimated according to the features of the letters and in some cases the archaeological context. As the known history of the Picentes does not begin until their subjugation by Rome in the 3rd century, the inscriptions open an earlier window onto their culture as far back as the late Roman Kingdom. Most are stelai or cippi of sandstone or limestone in whole or fragmentary condition sculpted for funerary contexts, but some are monumental statues.

Parfait Script Pro takes its inspiration from Spencerian script and pointed brush lettering. Technical Parfait Script has more than 850 glyphs. It’s up to you to choose, it’s up to you to have fun. Parfait would love to play. The font has lots of alternates. They'll certainly either embellish your words or provide more legibility. The alternates are: Standard Ligatures; Contextual Alternates; Discretionary Ligatures; Swashes; Stylistic Alternates; Titling Alternates; Terminal Forms; Historical Alternates * ; Stylistic Ligatures; Stylistic Set 1 and 2 * ; Ornaments. (* These Alternates are only included in Parfait Script Pro). Parfait Script Pro contains everything. Advice: Use designing programs that support the OpenType features named above, so you can easily alternate glyphs. However, for those who don't have this kind of program, or for those who don't want the entire font, we offer Parfait Script Pro as several separate fonts: Parfait Script Standard (the best for text); Parfait Script Contextual (decorative); Parfait Script Stylistic (decorative); Parfait Script Swashes (for giving the last letter a nice touch); Parfait Script Titling (both decorative and more Roman); Parfait Script Endings (for giving the word the look of a signature); and Parfait Script Ornaments (a set of swirls). These versions of Parfait Script Pro are Open-Type programmed too, in order to include the Standard, Discretional and Stylistic Ligatures. Pssst!... Take a look at Parfait Script Pro’s Guide in the gallery section in order to discover this beauty!

Hassan is a traditional-style Arabic text face designed by Hassan Sobhi Mourad, an experienced calligrapher and teacher of the art and first produced by the Linotype Design Studio (U.K.) as a PostScript font in 1993. An individual Naskh style, Hassan cleverly combines elegant proportions, echoing an inscriptional Thuluth in its tall vertical stems and deeply rounded final jim and ain. The effect of verticality is enhanced by the tense, reined-in kerning strokes of ra and waw, the well-poised lam-alif, and the compactly drawn ligatures. The broad-band strokes of Hassan Bold smooth some of the angularity and relax the tension apparent in the Light. The traditional-style ligatures are rendered with an easy flow. Because of the economical character count, Hassan Light and Bold text may be headed by the compact titling styles (Hisham, Mariam) as well as designs like Ahmed or Kufi which answer to the inscriptional qualities of Hassan. In addition to other uses, Hassan would be particularly suited to document text-setting. Hassan’s two OpenType weights include Latin glyphs from Janson Text Roman, and Janson Text Bold, respectively, inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The OpenType glyph ranges incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The fonts include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Demetria is a font created in 2012 by Carlos Fabián Camargo and works to form words and headlines with medieval expressiveness. Thus his concept mix uncial, Roman and italic letters resulting serifs some here and there, extended width and high amount of contrast between thick and thin strokes. That way its vigorous ups and downs are higher than its “x” height, highlighting it as a font with regular caliber,outstanding to design headlines with strong proportions and texture. Consequently, typographic and aesthetic possibilities of Demetria are visually appealing by its chaotic forms that are embedded and remain fixed in the minds of its viewers; also, “Demetria Pro” has OpenType features such as “Swash”, “Titling”, “Discretionary Ligatures”, “Standard Ligatures”, Ordinals, Fractions and Superscript that make shine what is written by their abstract shapes resembling elongated paths of black ink diluted in water. This font also works in software without opentype features, so it is recommended to use the remaining files NON-PRO. In short, the expressiveness and mysticism of Demetria is reaffirmed with some capital letters with lower height designed to be interchangeable with similar metrics to lowercase but aesthetically different.Thus the font mimics strong imperfections and splashes that get slim or grow depending on their degree of spontaneity. In that sense Demetria is recommended to compose words, phrases and typographic textures in graphic design projects related to epic, historical or legendary matters.

Assemblage Designed by Daniel Hernández, Alfonso García, Bruno Jara Ahumada and Luciano Vergara. Thanks to Pedro González for his contribution in the initial stage of the design process. Assemblage is a typeface-inspired by Roman square capitals-that comes in 6 different weights and ranging from Thin to Black. The background of the typeface makes it well-suited for branding, short text, titles and complex compositions, thanks to its italic version. Contrary to some conservative fonts, Assemblage includes an italic version with a look based on Elzeverian and Dutch Barroque typefaces, what gives the font an extra dash of elegance, resulting in a very enjoyable design. The family was specially created for labelling wine bottles and general packaging. Assemblage is a font collection consisting of a Sans Serif plus an Italic version of classic features. The family comes in 6 weights and includes ligatures, caps and small caps plus 3 sets of smaller small caps for different kinds of composition. The Italic version-with strong decorative features-comes with swashes. Assemblage also includes a set of dingbats, especially designed for packaging as well as for publishing or branding. The Sans contains 979 characters and the Italic version 620 characters. Assemblage supports 212 different languages and its OpenType features include ligatures, semi oldstyle figures, 3 sets of ornamental small caps (in the Sans version), swashes, ending forms and alternates in the Italic version.

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.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

The island of Fuerteventura is more known for its white sand beaches and windsurf-friendly constant winds than for its typographic marvels. Still, it's on the walls of a ballroom next to its white-sand beaches that Debora Manetti found the hand-painted letterforms that she took as inspiration for her typeface Sala de Fiestas. The resulting font was a condensed sans serif full of curious details and a jumpy latino vibe that many years after still keeps its freshness and vernacular charme. Francesco Canovaro took the original typeface as a starting point for a grand tour into sign-painter aesthetics, developing a reboot of the original into a new type family: Salad. While being faithful to the original proportions and feeling, Salad provides extreme versatility through its five-weights range, its extended charset and its set of Open Type features including stylistic sets, alternates, positional numerals, small capitals and case sensitive forms. While the roman family with its italic counterpart provide a good workhorse tool for informal branding, packaging and editorial projects, the interlocking and the inline weights add additional possibilities for display purposes. This is enriched by the inclusion in the typeface of a set hand-drawn decorative dingbats that further complement the sign painting vibe of the family. All Zetafonts expertise in handmade lettering, typographic design and water sports has been put to test to assure Salad is the best typographical alternative to a a trip to Canary Islands!

Extraordinary impact and visual conspicuousness. Dr Slab is a super 3D serif family for posters, logos and all display. The basic idea is not a brand new. Stacking type system have been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each colors. Dr Slab uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Dr Slab "Base" style is the core of this font family. You can add effects by using the other styles(Rim, Shadow, Ext). Instruction 1. Type your text as you like. 2. Set font-name "Dr Slab" and font-style "Base" 3. Set color for "Base". 4. Duplicate the layer which includes "Base" text. 5. Set font-style and color for new layers. 6. Stacked layers in different font-style and color make the text in 3D. For further detail, https://www.dropbox.com/s/9p9083zv2855bcq/DrSlab.pdf Dr Slab "Base" style can be used solely. Rounded slabs add soft, cute and casual impressions to your design. Spec: OpenType Format (.otf) with over 500 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Introducing Paris Angel, a graceful and elegant calligraphy font that exudes timeless beauty and sophistication. Designed with meticulous attention to detail, Paris Angel captures the essence of romantic handwriting, making it the perfect choice for adding a touch of charm to your projects. With its exquisite ligatures, Paris Angel seamlessly connects letters to create fluid and natural-looking handwritten text. The ligatures beautifully merge characters, enhancing the overall aesthetic and giving your designs a polished and professional appearance. Enhancing its allure further, Paris Angel offers an enchanting array of beginning and ending swashes. These delicate and intricate flourishes gracefully adorn the start and end of each word, adding a captivating touch of elegance. Let your words come to life with these delightful swashes, making a statement and leaving a lasting impression. Whether you're crafting wedding invitations, branding materials, logos, or any project that demands a touch of refined beauty, Paris Angel shines with its versatility. Its legibility ensures readability across different mediums, while its timeless appeal lends a sense of sophistication to any design.

Balanga is a smooth, elegant and flowing handwritten font. It has a beautifully balanced character, goes well with many designs. Balanga features varied baselines, smooth lines, beautiful glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant such as branding, web and editorial designs, prints, crafts, quotes, It's great for logo types, wedding invitations, romantic cards, labels, packaging, name spelling and other . Add to your most creative ideas and see how they make it happen! Balanga includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative, you need a supporting program such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Balanga is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

The Brotherside is a signature decorative font with which you can achieve a handwritten-type lettering feeling. This signature style is perfect for your modern graphic design needs. This font has a really nice flow so you use it in a large text if you want to give them a touch of personality. It can be used on social media content, for branding or packaging. The Brotherside is the ideal typeface for organic products branding and packaging. Additionally, you can use this for adding romantic vibes for wedding invitation designs. Especially if you are looking for a font for Instagram quote posts or any other social media content, this typeface is for you! With your purchase you get: Uppercase and Lowercase Numbers and Punctuation Marks Ligature PUA Encoded open Support for MAC or PC Simple installation for Adobe Illustrator, Corel Draw, Photoshop, or Procreate (New Updated) Support Multilanguage I hope you make something cool with it. If you have any questions don't hesitate to ask! Stay Classy! Fadhil - Figuree Studio

A grunged-up variant of a classic font – with ultra-tight spacing (uppercase letters are mostly overlapping). Perfect for that worn but stylish look, now with hugely extended language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Braylen is a modern script with handwriting, decorative characters, designed to perfectly combine informal, romantic, sassy, sweet scripts. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, logos, web design and editorial, prints, invitations, crafts, quotes, and more. Braylen includes OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Braylen is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

A very solid, square and sturdy font, but with some special and quirky details. It is perfect for logos and trademarks - and now supporting many more languages. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

This font has a whimsical mix of four kinds of handwritten lettering: plain, looped, blotched and stylish double lined. The playful letter mixture really livens up the text. Cute. Perfect for scrapbooking :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Organic versus geometric are two different universes that converges on nature systems and has its reflection on this new sans serif typeface. Frambuesa is a half humanist-half geometric sans that merges decorative curves with straight lines looking for a balance. The result: a solid but somewhat romantic, nostalgic type program that go ahead harmoniously, dancing to the rhythm of a naturally imperfect melody. Frambuesa can’t hide its family genetics. Structure and proportions come from Elisetta, her older sister they so both have a really good text performance. Regular variables and italics feel comfortable in a lot of contexts and are useful for little words or big title compositions. All seven weights are carefully adjusted to achieve soft transitions between one and the other resulting in high readability levels on program combinations and complex uses. This new font family name is a tribute to Lucia’s childhood, a very happy one. Frambuesa honors this sweet intense red fruit that her grandpa’s Coco gave to his grandchildren every Sunday in the summer.