The pLatinum family was created in 1998. Ink, scanner, Fontographer and as a result Regular and Italic styles of pLatinum typeface. Kyrillitsa'99 International type design competition Award winning typeface. The design style is “Irregular Serif”. The glyphs of pLatinum roman are reminiscent of the Russian types of early eighteenth century—especially in the smaller point sizes. An Italic, surprisingly close to the handwriting copybooks of mid-eighteenth century, is a later addition to the design.

Sarabande is a painstaking reproduction of Jean Jannon's famous "Garamond" of 1621 -- also known as "Caracteres de l'universite." Whereas the original was intended for setting French and Latin text only, Sarabande has all standard international characters and diacritics, along with a Euro symbol. (There are however no characters for higher mathematics or logic, and the number of other unhistorical characters has also been kept to a practical minimum.) Sarabande comes with two styles: a roman and a true italic.

Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols. It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size. The complete package includes the roman version in VariableFont format.

Inspired by classic calligraphy, Armstead is an elegant and sophisticated handwritten font with a classic charm. All lowercase have 8 - 9 variants, total of 203 alternates, 7 ligatures, 20 swash of which 10 are final, and there are old roman numerals from 0 to 12. This font is perfect for your wedding invitation, greeting card, certificate, branding, magazine, book cover and much more and the alternates will help you to make your design unique. Thank you!

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It's a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Annalena Script is a romantic typefaces. bold, elegant & fun vintage script font. Can be used for various purposes.such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. Features 423+ glyphs and 160 alternate characters, ligatures, swash and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Anggie Display is an elegant script with a creative mood and perfect form, inspired by today's beautiful serif Display. thick, balanced and varied, born for luxury and beauty. In my example I show how this script can be used. It's great for logotypes, branding, wedding invitations, romantic cards, alcohol labels, packaging, name spelling and more. Anggie Displaycomes with beautiful uppercase and lowercase letters, numbers, and punctuation. In addition to the main character set, there are many alternative characters, early and late sweeps. Available Fonts: . Multilingual. . Ligature. . Swash. . Stylistic Set. If you have any questions don't hesitate to contact me! Thank you,

leaf spring is a refined and delicate handwritten font. This lovely script font has a wide spectrum of applications ranging from greeting cards to headlines and is guaranteed to add a romantic feel to your next project. It will turn any design project into a true stand-out. Add it to your most creative ideas and notice how it makes them come alive! This font is PUA encoded which means you can access all of the amazing glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs, swashes, and ligatures.

Introducing, Sunshine Valley Script - a romantic monoline script. A simple hand writing with natural signature style. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Coralis Elegant serif with a creative atmosphere and perfect shape, inspired by today's beautiful Display serifs. thick, balanced and varied, born for luxury and beauty. In my example I show how this script can be used. It's great for logotypes, branding, wedding invitations, romantic cards, retro labels, packaging, name spelling and more. Coralis Elegant comes with beautiful uppercase and lowercase letters, numbers, and punctuation. In addition to the main character set, there are many alternative characters, start and end sweeps. . Multilingual. . SWASH. . Ligature. . Style Set. If you have any questions please feel free to contact me! Thank You,

Werklust is inspired by classic script calligraphy style, it is a stunning script font with a romantic feel. Fall in love with its bold swashes, and turn any design project into a standout. Werklust (Dutch) in English means the term of "zest for work" which comes from the expression "zest for life" and can roughly be interpreted as the degree of enthusiasm and satisfaction with the present work situation. Zest is an emotional capacity involving a strong will-power. When we invest in zestful practices, we experience gratitude, hope, and love from the inside. Be zestful, be werklust!

Hi...Thank for your visit :) Miracle Boy a display font. It features fun characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of sans! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look fun and attractive, and also Multilingual support!!! Happy design ...

Hi...Thank for your visit :) Hello Cute a playpul font. It features fun characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of sans! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look fun and attractive, and also Multilingual support!!! Happy design ...

Everybody likes to have a picnic: some fresh fruits, cheese, ham, wine and so on. Like a “typographic picnic,” Typnic font system gathers many fonts with different flavors too, and you can enjoy them mixed or on their own. Typnic was drawn and calligraphed by hand and is made with eighteen typefaces, including three totally compatible yet different styles. It also has enhancement sets containing labels, dingbats, patterns and ornaments. The Headline style has six layered fonts that can be mixed in a wide variety of combinations to obtain powerful mastheads and headlines. It can be used to construct very nice advertising pieces. If you need to write informal texts, then use Typnic Script, which also comes in six variants and additionally has a complementary font with tails, double letters and ornamented ascenders. Finally, use Typnic Roman to add some secondary texts without losing the general appearance of your work. Typnic has a cool and natural feeling and could be used in all sorts of projects. Typnic is a very ambitious project and we will be working on it to further expand the whole system. Please check out our Typnic Headline Slab.

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

It's Festive! But don't let the name fool you... It's a fun script font (plus a Roman) accompanied by an assortment of exciting ornamental dingbats. In fact, it's the ornamentals that make this font so much fun! At first glance, Festive appears to be suited only for the Christmas holiday season. But wait… you can use the ornamental dingbats for any occasion where festivities abound— New Years, Valentines, St. Patty's Day, Back to School, Graduation, Baby & Wedding Showers, Halloween, Thanksgiving, and much more— even Sports. The base font works well with bodies of copy, while the alternate fonts can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all 14 fonts in this package—especially the fun ornamental dingbats. Festive Regular is included with all the alternate fonts (Festive One thru Ten) which are sold as two font sets. The PRO version contains all the glyphs of the family plus OpenType programming to easily access alternates. The Festive family of fonts are PUA encoded, so you can access them easily. So, get in the mood and have FESTIVE fun!

I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole. The design was 'evolved' somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form. All in all Sabio is a humanist face with which almost anything can be done offering flair and elegance for almost any project. Whether it's a distinctive way of setting paragraph text, or poster work that's eye catching yet flowing and clearly legible, Sabio offers the answer.

Dragonflight Pro is a script collection of four modern calligraphy fonts. Each glyph was hand-drawn with a brass folded pen dipped in ink. The tip of the folded pen resembles the shape of a dragonfly’s wing, hence the name. By tilting the pen variations in line width are made. This produces fun, expressive letters with a spontaneous personality. The regular and rough version of Dragonflight Pro have alternate glyphs that can either be accessed by the swashes feature, stylistic set 1, or the glyphs panel, depending on the application you are using. There are lots of discretionary ligatures that offer even more variation. By typing _1 to _10 you can access bonus swashes that are part of Dragonflight Pro Regular and Rough. Both fonts have 567 glyphs. Dragonflight Pro Sans is an all caps font with 402 glyphs, also hand-drawn with the folded pen, that compliments the other styles perfectly. Dragonflight Pro Extra offers an additional 117 swashes, doodles and ink splatters. With Discretionary Ligatures activated you can type an underscore in front of a letter and (when available) this gives you the rough version of the glyph.

Chasta. script Chastha Script is a romantic typography. sans, an elegant & fun vintage script font. Can be used for various purposes such as logos, wedding invitations, t-shirts, letterhead, signage, news, posters, badges etc. Chastha Script features 521+ glyphs and extruded fonts, alternate characters, ligatures, strokes, and multiple language support. See all the glyphs here: http://s28.postimg.org/7osts7ezx/All_Glyphs.jpg To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. How to get alternate glyph access from open type fonts: http://youtu.be/iptSFA7feQ0 There are additional ways to access alternatives/swashes, using the Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me by email. Thank You!

Hello Bluebird Script and Sans are beautiful and romantic writing fonts. Looks amazing on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and any other design. This font is PUA encoded which means you can access all glyphs and swashes with ease! The font includes OpenType features with alternative styles, ligatures, and multiple language support. To enable 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 a later version. There are additional ways to swap / swap, using the Character Map (Windows), Nexus Fonts (Windows), Font Book (Mac) or a software program like PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use a stylish font set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs

Lovely Brought Dreams Script and Sans are beautiful and romantic writing fonts. Looks amazing on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and other designs. This font is PUA encoded which means you can access all the glyphs and sweeps easily! This font includes OpenType features with alternative styles, ligatures, and multiple language support. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. There are additional ways to swap/swap, using Character Map (Windows), Nexus Fonts (Windows), Font Book (Mac) or software programs like PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: http://youtu.be/iptSFA7feQ0 How to use the stylish font set in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Happy Designing!

Tabina is a sweet, romantic and timeless handwritten font. It looks stunning on wedding invitations,thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch.It features a varying baseline, smoothlines, gorgeous glyphs and stunning alternates.

Atakana Scipt is a New Handwriting Font script that make with love. This font is suitable for any branding of your design needs, wedding invitation, romantic project, studio brand, logo, invitations, social media posts, clothing, invitation, poster, cafe/resto sign and others.

"Valentine Style" is a display font decorated with heart-shaped letters and is very easy to use. This font is equipped with uppercase, lowercase, ligatures, numerals, punctuations and multilingual support. Very suitable for valentines, weddings, stickers, romantic moments, spring, winter and others.

"Couple Valentine" is a very unique and beautiful display font. This font has a heart shape on each letter. It is suitable for romantic moments, Valentine's Day, weddings, and more. This font is equipped with uppercase, lowercase, numerals, punctuations, and multilingual support.

Very few letter types with the context of grunge style fonts offer hierarchies to differentiate words in sentences or paragraphs. With Navaja I developed a font family that meets this need. This family is useful to organize the information into a hierarchy with an eroded look. Its central idea mixes grotesque, geometric and humanistic letter conventions. This way, Navaja is a grunge-sans with dense proportions to make graphic design with eroded character. Its main purpose appeared when one of my customers asked me for a t-shirt design for a fan club of an important football player. For this reason its starting point were stained and muddy letters characterizing the toughness and coldness of the sport. Over time their glyphs began to imitate the robustness of "wood type & Tuscan Type" widely used in posters in the late nineteenth century. Its purpose was strengthened in a family with 6 members that when mixed they produce mind catching contrast levels ideal for designing T-shirts, stickers, flyers, brochures, posters, billboards, cinema or TV. Therefore its variants are short up and down height X combined with different widths that by working together produce information that radiates outstanding apparently destroyed controlled violence. Navaja Dingbats consists of 52 illustrations useful for frames and textures. In that vein, the origin of each member comes from skeletons of Roman and Italic calligraphy. The low amount of contrast between thick and thin lines matching the contours apparently gnawed but strictly regulated by optical adjustments equating the sum between full and empty areas. Factors such as finishes, shapes and counter internal and external forms are meticulously planned although its scruffy look which strategic arrangements are offset to provide color typographical homogeneous. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Rebel mind - Sans Serif Condensed Font Family - Multilingual supports Rebel mind is a modern Sans serif condensed font family. With 6 styles and multilingual supports, you can easily use the sans serif font feature in many areas. You can enhance your projects from body text to big headlines, from classic to modern and bold styles, you can develop your projects. If you are looking for a condensed sans serif font, this font many meet your needs. Ideal for posters, newspaper, movie title and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. If you have a question, please contact me. Have a good time.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

Mars Brands is a beautiful and smooth serif font created for a romantic and lovely look. It is equipped with many ligatures and alternative characters from uppercase to lowercase. Mars Brands is perfect for greeting cards, wedding invitations, posters, logotypes, product branding, and much more.

A lovely valentine inspired set of calligraphic ornaments and frames including seamless borders and patterns. With more than 160 hand drawn unique designs LoveHearts is the perfect choice for designing romantic greeting cards and beautiful wedding invitations as well as letter signatures and anniversary accessories.