ntroducing Daylight Dreams Serif Font Daylight Dreams is elegant, creative font with multilingual support. It's a very versatile font that works great in large and small sizes. Daylight Dreams styled serif is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Alternates Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Equinox - Logo Font Equinox is futuristic, logo font loaded with alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Equinox is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Original type work designed in unconventional technique by type and graphic designer Yuri Gulitov. The shapes of signs were built up in a very specific routine. At the first stage signs were drawn on the black sheets of paper by the PVA adhesive, then a white sheets was placed above, and finally after some time the white sheets were torn off. The scraps of white paper presented the signs. Inverse style shows hypothetic result of tearing off the black sheets. The style together or separately can be used in display and advertizing works for demonstration of fight between the forces of good and evil or vice versa. Analog version of the font was awarded by diploma on Third International Biennale of Graphic Design “Golden Bee”. Digital version was released by ParaType in 2008.

THE DANISH RUNES Prior to 500 AD the 24-rune Elder Futhark was used in Denmark. From 500 AD to 800 AD there were many transitional futharks, reflecting a change from the 24-rune Futhark to the 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. From 900 AD some of the runes changed, visually and phonetically. This occurred again about 950 AD and 1100 AD due to language changes. Runes dated to 1300 AD show evidence of being influenced by the Latin alphabet. Runes found in Skåne, Halland and Blekinge in Sweden, and runes found in Schleswig-Holstein in Germany, is counted among Danish runes, because in the Runic period, this was Danish land.

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

The rather wide, caps-only Monotype Engravers family imitates scripts that evolved from copperplate and steel plate engravers hands of the nineteenth century, which were a quite expressive medium! Monotype Engravers' letters show a strong contrast between thick and thin strokes and have sharply cut serifs. In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman."" Shortly thereafter, American Type Founders, Inc. (ATF) released another successful ancestor of this design in 1902, ""Engravers Bold,"" designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Also made available by Lanston Monotype at the beginning of the twentieth century, the Engravers faces soon became a popular choice for letter heads, advertising and stationery.

Purgatorie - Quirky Halloween Font is an enigmatic display typeface tailor-made for the spooktacular season of Halloween. With its sharp, angular letterforms, it effortlessly embraces the eerie and horror-themed design aesthetic. This font offers a whopping ten alternative variations, each inspired by different Halloween motifs like skeletons, bats, tombstones, blood, pumpkins, bats, witches' hats, and ghosts. Ideal for crafters and designers who enjoy creating products with a variety of themes, Purgatorie is a fantastic choice for logos, packaging, product branding, stickers, crafting, greeting cards, and invitations. Its ability to bring a playful and whimsical Halloween spirit to your creative projects makes it a must-have for the season. With its quirky Halloween style, Purgatorie allows you to create a bewitching atmosphere in your designs and celebrate the spooky holiday.

Fortezza is a family of fonts inspired by the great masters who have created the Modern Roman style: Firmin Didot (1764 -1836) and Giambattista Bodoni (1740 -1813) Both typefaces can be similar, but a trained and close vision, show clear differences in the final result, like its weight and the degree of transition of the strokes. The type of Didot suggests greater warmth and elegance, they are characterized by extreme contrast in thick strokes and thin strokes, by the use of serifs very thin and by the vertical stress of the letters. while the Bodoni type conveys a greater robustness and hardness. Fortezza brings together the elegance and spirit of both types, but proposes a contemporary vision, establishing a distance with certain features typical of the baroque that was manifested at that time.

What does a 1932 movie about a love affair between a circus' trapeze artist and a sideshow "little person" have to do with the 1960s counter-culture? They both share some commonalities. The title card for Tod Browning's "Freaks" inspired the lettering design for Hippie Freak JNL. It's in a retro style that was embraced by the youth movement that had its epicenter in the Haight-Ashbury district of San Francisco. Circus performers with birth defect abnormalities were displayed in what was referred to as "freak shows"; while young men with long hair and beards who sought peace, love and an end to the war in Vietnam were commonly referred to as "hippie freaks". As the saying goes "the more things change, the more they stay the same".

Kicker FC is a typeface created for the love of sport, it has all the right elements to make for a great sports display font to give your brand and art work the right look and feel in this genre. It has a great variation in weights, stylistic alternates to provide flexibility and to add more customisation a shadow version for each weight to give your typography a custom graphic look and feel. Kicker FC is perfect for use in various sports categories, college sports, baseball, basketball, football and as show in all the poster images and more specifically the name Kicker FC, soccer. Not only is the typeface a perfect fit for sport, it works just as well for beverage, tech and various other industries. Narrow in width provides great eye catching headlines.

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

Nathaniel The "Nathaniel " font family epitomizes beauty and elegance in every character. With two distinct styles, Regular and Italic, this font is the perfect choice to infuse sophistication into your design projects. Key Features: Elegance and Beauty: Nathaniel has been meticulously crafted to ensure each letter is visually captivating. It's an ideal choice for creating stunning quotes and long paragraphs in your designs. Feminine Appeal: This font is perfectly suited for designs with a feminine touch, such as fashion, magazines, and logos with a simple yet enchanting design. Artistic Pairings: Nathaniel seamlessly complements script fonts, enhancing the artistic appeal of your projects. Combine these two font styles to create unique and attention-grabbing designs. Recommended Uses: Inspirational Quote Designs: Use Nathaniel to create motivational and inspirational quotes for social media, posters, or merchandise. Fashion and Magazine Design: Nathaniel is the perfect choice to create a luxurious and feminine look in magazine layouts and fashion promotions. Simple and Classy Logos: Craft simple yet character-filled logos using Nathaniel to represent your brand with unmatched style. Nathaniel is the perfect fusion of beauty and functionality, elevating your design projects to the next level. With this font, you'll be able to create impressive and captivating works. Get Nathaniel today and start making your design projects stand out. Don't miss out on this opportunity! Get Nathaniel now and start inspiring the world with your captivating designs.

The lifetime of Lorenzo de Medici (1449-1492) coincides with the rise of metal type as it displaced broad pen calligraphy for the production of books. This revolution marked the end of formal Western calligraphy, as the industry employed metalworkers who designed type according to geometric measurement while calligraphers were forced to become secretaries who practiced handwriting systems. Renaissance Florence should have witnessed the marriage of calligraphy and typography, just as all the other arts and sciences flourished as classical learning was applied to technical advances; but the metalworkers and geometricians measured, dissected and recast the calligraphic letters by crude indirect methods, and in the end took all the life out of them. Here they languished until digital type has made it possible to render the precise motion of the broad pen stroke into type. Lorenzo is a confluence of many strains from the Middle Ages, brought together within the classical harmony of the capitals. It attempts to bypass metal type, using calligraphic means to achieve the precision of type while retaining the life of the stroke: a classical font that would be familiar to Lorenzo himself as well as to the modern eye. The Lorenzo family comes in four weights, ranging from light to bold. Two sets of italics, one with swashed caps and ascenders, complement each weight. The family boasts extensive language support and an offering of over fifty calligraphic ornaments/flourishes included within the character set.

A super font family mastered to an unparalleled level of precision, Bolyar TypeCraft is a collection multiple textured styles that represent historical printing techniques. A proud member of our successful Bolyar lineage this unique type family provides unlimited options for your creativity and is quite able to satisfy every typographic taste. If you are addicted to classic vintage style, then you could easily use Bolyar TypeCraft for almost any project of desire - from letterheads, logos and catchy headlines to elegant packaging, book covers and wine labels. Alternates, Swashes and Ligatures will help you customize almost every single letter and fit perfectly to your artwork. Bolyar TypeCraft provides a broad range of advanced typographical features: Multiple subfamilies each packing the two classic Bolyar styles - Regular (N) and Ornate (O). Five weights per style ranging from thin (100) to black (900) with full multilingual support for all Latin based languages as well as Cyrillic. A 1000+ glyphs per weight including three multilingual stylistic sets, swash designs and useful discretionary ligatures. Sub- and superscript basic Latin and Cyrillic glyphs as well as figures. Two positional models for lowercase accessed as OpenType case sensitive forms - baseline (default) or vertical centering. Contextual alternates and special stylistic set with different contour roughness exclusively developed for Bolyar Rough subfamily. A multifunctional Bolyar Shadow family witch can be flawlessly paired with any of the sub-family styles provided. Check out some great examples of Bolyar TypeCraft in use by the Labelmaker

Pinto, designed by Vienna based typographer Georg Herold-Wildfellner, lets you transform type into an exciting and beautiful piece of work. The irregular, hand-lettered look adds a real human touch to things and comes along with a lot of loving details. Combine all font-styles the way you want, add some ornamental swashes or banners and even a single word becomes magnificent. · Four subfamilies plus hundreds of ornaments in 1 font combo! Pinto shows a great flexibility and variety. It works similar to a toolbox: four subfamilies including shadow-, outline-, display- and layer-variations. On top of that is NO_05, a set of more than 800 different ornaments to dress up any typographic project. Browse through tons of swashes, flourishes, dividers, corners, ribbons, banners, frames, arrows, hearts and stars. The extensive character set includes uppercase letters in two automatically alternating versions (activate OpenType “Contextual Alternates”). All ornaments are abundant with details and often available in different stroke thicknesses. Scale them up to meet your personal needs! · The Pinto Family at a glance • NO_1: Narrow Sans Serif (additional option: NO_01 Shadow) • NO_2: Slab Serif (plus a playful variant with serifs drawn as outline) • NO_3: Serif (plus 3 versions: Shadow, Engraved & Engraved Display) • NO_4: Western style – this one is for free! (extra: two layer-option) • NO_5: 800+ typographic ornaments in 3 fonts, separated into stylistic sets · The Pinto family in total includes 14 hand-drawn styles and is tailored for food-, magazine-, book- and packaging-design. · Enjoy! Georg Herold-Wildfellner | FaceType · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Pinto / 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

A simple, elegant semiscript…enough said. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Mirielle is curvy yet angular at the same time. Whimsical yet orderly. As with all Typadelic fonts, this script typeface is unique and original, with a playful twist.

Based on an architect's handwriting, Lu has a good balance between quirkiness and legibility. With an extended character set, it is a good choice for setting short texts.

Shout is a “Hey, Look at ME” font. It is an attention-getting font for posters, flyers and ads. Its lineage includes the Haas Type Foundry’s 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as “extended sans serif” and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a “shout,” as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black, but with a relatively heavier lower case that is not so easily pushed around by the upper case. After all, one can shout while sitting down. Shout is the first font released with our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Shout has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, a long s instead of the Greek mu and our usual Hand-in-Hand symbol. There are also left and right glyphs of a big mouth ]ing (135/137) and left and right glyphs of an angry man shouting (172/177). Please use Shout with discretion. Folks get tired of being yelled out. After awhile, they stop listening. Shout ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 355 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt. 3. Added 266 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised hyphen, dashes & math operators. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Introducing Ornatique: Where Elegance Meets Grace Discover the beauty of Ornatique, a stunning and feminine calligraphy typeface designed to add a touch of sophistication to any project. With its clean lines and delicate curves, Ornatique captures the essence of graceful handwriting. This versatile typeface offers four scripts to choose from: the classic Regular script for a timeless look, the Italic script for added flair and elegance, and the Alternate versions that provide even more variety and creative possibilities. But that's not all! Ornatique is truly a global communicator, supporting a staggering 87 languages. Whether you're designing for English, Spanish, French, or countless others, this typeface has got you covered. Embrace the power of seamless multilingual design. What sets Ornatique apart is its collection of 58 swash endings, crafted as ligatures. These intricate and decorative elements bring an extra layer of beauty and charm to your designs. From elegant flourishes to delicate swirls, each swash ending adds a touch of enchantment, making your typography truly remarkable. Whether you're creating wedding invitations, branding materials, or simply adding a touch of elegance to your personal projects, Ornatique is the perfect choice. It combines clean lines with feminine grace, ensuring that your designs will captivate and inspire. Let your creativity soar with Ornatique and discover the magic of calligraphy that transcends language and culture. Elevate your designs and leave a lasting impression with this exquisite typeface. Embrace the beauty of Ornatique today and let your imagination flow! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu How to access flourish ending? Just type from ""aa01"" to ""aa58"" at the end of your word :) How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

It was expected that Joluvian’s third type font would be inspired by the city where he currently resides: Madrid, Spain. His previous creations had originated in Venezuela (Zulia) and The Philippines (Salamat), both, places where he had once lived. Joluvian believes “now is the time to pay tribute and show gratitude towards a city that has bestowed me with so many fortunes.” He considers that Madrid’s people, streets, scents, flavor and sounds are gift enough to awaken the creative urgency in any artist. This time around, it is being expressed through the crafts of the Typographic industry. Since his arrival in Spain, Joluvian has been attached to the city’s central area, specifically to the renowned Atocha Street and its railroad station. It was precisely on that street that Joluvian and Mauco Sosa, his friend and partner, decided to establish the Patera Studio: a charming creative space that birthed the concept for this new font which they proudly named Atocha Script. The artists where still in the final phases of their previous script, Salamat, when the idea for Atocha came about. This dynamic is actually very typical of the artistic process, in which every finished product spawns the need to create its next level offspring. “Working on Atocha and Atocha Caps has been a very pleasant journey. We have given our best efforts, for we wanted to offer a typeface that was both versatile and user-friendly on a number of applications, showing a wide scope of alternatives in our glyphs,” says the artist. The illustrations were created by Mauco, to ensure visual integration that would showcase the work of both members of the Patera Studio and their complementing aesthetic voices.  Atocha, as Salamat and Zulia before, was digitized by Alejandro Paul.

When you go traveling you always fall in love with something… At this time, it is the inscription of Holland America Line which is sparkling on ‘New York Hotel’, Rotterdam-Holland. Based on the letters I had at my disposal from the Holland America Line inscription at ‘Hotel New York,’ I started to complete the alphabet in the same style as the original text. Eventually, I digitized everything in order to acquire a usable and modern font to be able to use it for all graphic purposes. The font is ideal for head text, posters, logos, editorial, branding, signage, web applications, modern design, etc... Don't hesitate to use this unique historical font! It will give your work that glamour that you will find in this extraordinary font. Enjoy the New York Line. The Holland America Line was founded in 1873 as the Dutch-America Steamship, a shipping, and passenger line. Because it was headquartered in Rotterdam and provided service to the Americas, it became known as Holland America Line (HAL). From 1901 the iconic building on the Kop van Zuid shines. It previously housed the Holland America Line; now it houses the hotel-restaurant, Hotel New York. A building with a great history. Hotel New York has a beautiful history. Built in 1901, many ships sailing away and opened in 1993 as a hotel and restaurant. The New York Line Font comes with uppercase, lowercase, numerals, punctuations so you can use it to customize all your designs. Perfect for Logos, Letterhead, Poster, Apparel Design, Package design, Label design etc. The New York Line Font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. Enjoy your journey with the New york Line!

Printed Letters JNL is from stamped impressions made by a children's sign making set by the Superior Marking Equipment Company of Chicago - circa the 1940's. The set consisted of individually mounted rubber stamps - easy enough for happy kiddies to print signs, name plates or (unfortunately for their parents) on the walls... Limited character set.

Gothic is a stylized script style, with a wide selection of characters. A bold script font that looks cool. Gothic is perfect for branding projects. You can access swash by changing numbers 0-9 -Features of fonts Lowercase, Uppercase, Numbers & Punctuation, Lowercase alternatives, swash variant ligature Stylistic set 1 (for the end of the word) Stylistic set 2 (for the middle of the word) Stylistic set 3 (for the beginning of the word) Stylistic set 4 (for the end of the word) multilanguage

Cross Stitch Diamond Monogram is a 25 stitch tall 3-letter diamond monogram. The letter representing the first name is on the left and is located under the character set. The letter representing the surname is in the center and is located under the shift + character set. The letter representing the middle name is on the right and is located under the option + character set or in the case of e, i, n, and u, under the shift + option + character set.

Grandezza Xtra is the standalone version of my most elaborate script. It is the script for many countries, good for Basic Latin, Latin Eastern Europe, Turkish, Baltic. I first designed 5 different sets and now this Xtra version which has a second set of capitals in the place of the smallcaps. This Xtra set is sufficient for most design jobs. If you need more you can always buy the standard Grandezza 5-font set for the reduced price. -Your script designer, Gert Wiescher

Termit is a striking display font designed with a game theme, featuring large letters with a fairly thick weight and a rectangular shape with sharp corners. This font shows large letters that demand attention and create a bold statement. The rectangular shape with sharp corners in Termit adds a sense of structure and stability to the font. The clean lines and defined angles create a visually bold and impactful appearance. This unique feature evokes a sense of strength and resilience, reflecting the competitive and strategic nature of the gaming world. Each character shares the same height and width, creating a cohesive and pleasing visual experience. With its low-contrast design, it offers a subtle and understated look. The minimal variation in stroke width adds a sense of uniformity and simplicity to the font, allowing the overall design to take center stage. This feature ensures that the focus remains on the content while still maintaining a strong visual impact. Enjoy the available features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Termit fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Take your reader far away to a tropical morning, where the inviting aroma of a fresh roast introduces them to a gentle breeze and the first, warm light of day. Take them there with Barcis. This organic face with its tall x-height and neo-humanist attributes shows its free spirit through unique terminals, calligraphy-inspired strokes, and a rich variety of OpenType alternates All insigne fonts are loaded with OpenType options. Barcis is geared up for pro typography. The font features many numeral sets, with fractions, old-style figures, superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Barcis also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Barcis supports around forty languages that utilize the Latin script, earning Barcis the pick for for multi-lingual publications and packaging. Barcis features three different widths and seven weights from exceptional Light-weight to dense Black. Each of these individual fonts offers its own authentic italics and alternate glyphs as well. With its high versatility, Barcis is without a doubt an amazing titling font, a great choice for journals, a solid option for web use, or even for clearly defining your mark in logotype. Bring Barcis into your library, and use it to carry your audience away.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support

L-O-L-A Like the subject of the Kinks’ song, FS Lola is a little bit of both – a font with a rare combination of masculine and feminine. The font was inspired by the song, which itself was inspired by the night the Kinks’ manager spent dancing drunkenly in a Soho club with a beautiful woman... Or so he’d thought, until her stubble started to show halfway through the evening. Masculine/feminin Phil Garnham’s experience in designing FS Lola was similar to the one related by Ray Davies. Setting out to create a sans serif font, he realised along the way that he was actually dealing with a semi-serif. He went with it, though, and produced a font with the best masculine and feminine qualities: hard edges and corners tempered by shapes of softness and generosity, the outcome of what Phil calls an “organic” design process. “Initially, my designs were very graphic and hard but not very distinctive. By printing and redrawing the letters in pencil I achieved a softer and friendlier alphabet with a strong personality.” Broad Lola, as you’d expect, is very broad-minded. Available in five weights with italics – and fluent in central European languages – FS Lola offers a confident combination of feminine softness and male steeliness to any kind of design. As the song says, “It’s a mixed-up, muddled-up, shook-up world... except for Lola.

Introducing Redmark - Elegant all caps serif font Redmark is vintage yet clean font inspired from 80s typeface loaded with alternate and ligature glyphs to make you typography truly unique! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, numeral, punctuation & Symbol ligature glyphs alternates Multilingual support - 95 languages No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

LiebeRuth is your 100 percent hand-made organic type. She absolutely loves to be typeset in large *and* small sizes, because Legibility is her middle name. (Yes, we know it’s not a typical girl’s name.) She is friendly and polite, but she also has a few quirks. Her friends are impressed with how natural she manages to look every day. Her four weights ensure that Ruth has the right boldness for any context: birthday invitation, personal correspondence, photo album, or billboard ad. During the creation of this font, her designer ate plenty of healthy, organic foods. We think this is the reason why Ruth looks so fresh and lively. And of course Ruth has been designed with lots of Liebe (which is German for “love”—and she speaks many other languages, too). One more thing Ruth is marvelous at: showing off her curly-swirly swashed alternative letterforms that can be activated via OpenType. (Please make sure your software supports OpenType if you wish to use the advanced features.) Each style contains more than 560 gluten-free glyphs—now that is great value! If you like this font, you may want to look at LiebeRuth’s bolder sister LiebeDoni and our best-sellers LiebeErika and LiebeKlara. Or add in some LiebeOrnaments to prepare a curly-licious feast. By the way: LiebeRuth also gets along great with our wide range of illustrative fonts, including LiebeCook, LiebeFish, and LiebeTweet.

Aristotelica Pro is the 2020 redesign of the rounded geometric sans designed by Cosimo Lorenzo Pancini and Andrea Tartarelli developing the original philosophy of one of the classic and best-selling Zetafonts typefaces, Arista by Francesco Canovaro. Originally conceived as an exercise in restraint and simplicity, Aristotelica is typographic eulogy to the simple beauty of circular shapes, aptly named after the greek philosopher who pioneered formal logic. It shows its strengths mostly in display uses and logo design, with a palette of moods ranging from the stark elegance of the uppercase hairline weights to the playful softness of the lowercase bold weights. True to its universalist calling, it has however been developed in a variant text version that applies slight corrections to design and metrics to allow for better legibility in long body copy. In Aristotelica Pro both the display and the text subfamilies have been complemented with a condensed version, though especially for mobile screens and other situations where space-saving is a concern. Also the original language coverage (extended latin, greek and cyrillic) has been expanded with the inclusion of arabic language glyphs, bringing the typeface to a total of over 1100 glyphs and 200 languages covered. The family is further enriched by the inclusion of Aristotelica Icons, a set of matching variable-width monoline icons that can be used to faultlessly match the typeface line width. OpenType features includes stylistic alternates, old style and lining figures and small caps.

I hope that you enjoy the "Linden" font. The basis for this new font is my Leaf font. As much as I love the Leaf font, however, I felt (and still feel) the desire to have a larger font, for three reasons: 1. I enjoy customizing my internet browser to show different fonts. The original "Leaf" font was a bit too small for that. The new "Linden" font is perfect for this function. 2. Some of the fonts that I use in writing e-mails look their best at sizes 24 or 36. That’s fine for me, but unless I want to go to the trouble each time of changing the size, then the recipients oft my e-mails get wolloped with an enormous-sized font. When I use "Linden" for my e-mails, it’s automatically a perfect size at 12 or 14, solving this problem. 3. I also enjoy customizing the font in which I read my e-mails. Unfortunately, there are only a few which are legible in the tiny size in which this is configured. Again, "Linden" is configured to be large enough automatically so that it can easily be read by anyone. I am pleased to offer a pleasant font for use in any or all of the scenarios; I love fun solutions and hope that you will enjoy the "Linden" font. (Just a tip: when printing out documents using the "Linden" font, I love it best in font size 11!)

Fonts are sometimes so limited and boring that it is hard to stand out your designs. What is worse is that you want unique, visually interesting designs, but you still have to use common fonts people have already used. Therefore, Happy Twigs can be your interesting alternatives. Happy Twigs is a twig branch-inspiring display font of which letters are made in a lot of lines forming complex, attractive displays. Its unique character is due to the complex, detailed displays with which you can apply for any artistic, creative designs. Such a display font is applicable for any nature related products. Its complex, attractive letters will help you emphasize the messages you deliver and express different nuances depending on the design and color choices. In addition, it shows crowded and detailed, yet artistic and attractive nuances. Happy Twigs provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Happy Twigs fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself. TYMA produced all technical equipment needed for type production, including the pantograph to cut the matrices, a complete set for each size and version. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Henry Alm started the work in 1948, and Bo Berndal completed it - finally in this OpenType version.

Every font designer has their own favorite font type, which you do not need to find as it takes too much time to figure it out for you until you can match it with a perfect font. Ringtail has the best answer to your needs. Ringtail is a font containing two font types to use together or separately: sans serif and script fonts. Sans serif font has firm, modern, simple looking lines without curvy edges. Meanwhile, the script font has curvy lines in water paint or ink textures. The textures are extra lines added to each letter and to the background letter patterns. A textured script font looks more artistic and more detailed than the other ordinary script fonts to show elegant, romantic impressions in your designs. Additionally, script font can be applied for adding extra visual contrasts to designs with sans serif font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Ringtail fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.