More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

Artificial Intelligence is a computer generated typeface, in a brush handwriting style. As the world's first public and commercially available AI typeface, Artifical Intelligence celebrates the interaction between humanity and technology, in an attempt to blur the lines between hard data and interpretation. Based on 400 of Mans Greback's typefaces, this machine learning is bold and expressive, with a touch of retro while keeping it hip. It is provided in an all-caps uppercase style, Artificial Intelligence Caps, as well as the Regular style with lowercase lettering. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

The Edit Collection is a brand new super family designed to create multi-platform brand and editorial typography. The Renaissance construction allows the typeface to handle long texts in small, medium and large sizes, balancing its astonishing and recognisable details with high legibility. The Edit Collection with its rational, clean aesthetics and great versatility is best suited for complex typography programs. Edit Serif Pro is a modern multilingual multi purpose typeface and the first release of Atlas’ next super family. Its humanist contrast combined with modern details makes Edit Serif Pro suitable for headlines and texts that need to distinguish themselves — while still expressing rational and clean aesthetics. Each style comes with 1.540 glyphs, many features and alternative character sets. As the well known Heimat Collection and Novel Collection already are, Edit will soon become a huge superfamily like all typefaces published by Atlas Font Foundry. Designed by Christoph Dunst for Atlas Font Foundry between 2012 and 2017.

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.

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.

Günter Jäntsch designed Pierrot in 1973. Its irregular flowing letterforms express the design from this time, where many personal irregular designs had been made. Pierrot is suitable for invitation cards, posters and signage.

Grow your imagination, this font is for you. Skillwize is a bold and fun typeface. This playful, thick font is perfect for your next design project. It will give you the personality you've been looking for. Skillwize is fresh, creative and has a little bit of everything: it's casual, yet serious; soft yet hard; and made for everyone. Use Skillwize for product packaging, posters, newsletters, invitations, blog posts, headlines - any design where you want to stand out with your creativity. Try it out today! So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. Accented Characters : ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØŒŠÙÚÛÜŸÝŽàáâãäåæçèéêëìíîïñòóôõöøœšùúûüýÿžß PUA Encoded and fully accessible without additional design software Simple Installations, works on PC & Mac Thank You. We hope you enjoy our fonts.

A New modern Calligraphy font, with stylish and lovely. It comes with a handy set of opentype stylistic, use the beautiful ligatures, alternates and swashes. You need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, Microsoft Word 2010. It is perfect for logo, greetings, branding, quotes, prints, invitations and crafting. All lowercase letters include alternates, beginning & end swashes, that makes the font look fabulous! Included in the pack: Angelta Script (OTF) These are all coded with PUA Unicode. 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 favourite text editor/app. Thanks and have a wonderful day :)

A New Calligraphy font, with stylish and lovely. It comes with a handy set of opentype stylistic, use the beautiful ligatures, alternates and swashes. You need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, Microsoft Word 2010. It is perfect for logo, greetings, branding, quotes, prints, invitations and crafting. All lowercase letters include alternates, beginning & end swashes, that makes the font look fabulous! Included in the pack: Beauty Queen (OTF) These are all coded with PUA Unicode. 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 favourite text editor/app. Thanks and have a wonderful day :)

Looking make your brand unique and memorable? Maybe you wish to create advertisements that draw attention? If you can say “yes” to any of these then hold on to your seats and get ready for a modern, fun, and delightful experience! Mirola-Serif Font Mirola is a serif that is aimed to be used in modern style. It fits right in with your designs. It’s beautiful without trying too hard, it’s gorgeous without being apologetic, it’s brave in the face of uncertainty, these all represent you. Go ahead and use it on your website, for your social media branding, Pinterest banners, printed invitations, and more! Features: Stylistic Set Alternates Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Vaccine Sans is a humanist sans-serif font family with soft terminals, but stem junctions on the contrary use hard constructions. Such combination of basic design features makes the font distinct and strong in setting and delicate and soft in appearance. This design peculiarity, together with very low contrast, produces a range of qualities needed for small sizes, low quality print and bad reading conditions. Vaccine Sans has a modern stylish design and takes its rightful place among popular faces. The family consists of 10 members — five weights with the corresponding italics. It can be used in a wide range of applications — magazines, advertising, corporate identity, urban navigation, packaging, children books, etc. Designed by Manvel Shmavonyan with the participation of Alexandra Korolkova and Gayaneh Bagdasaryan.

The font family "DEADman" is mostly inspired by the weird style of the British illustrator Ralph Steadman. He had a long partnership with the American journalist Hunter S. Thompson, drawing pictures for several of his articles and books e.g. "Fear and Loathing in Las Vegas." Like Steadman's artwork all the letters are painted with ink. The best ones were selected out of hundreds of variations to get the whole character set complete and look uniform. By combining the regular weight with one (or both) of the additional weights "Blotting" and "Squirting" you can achieve a more freaky and psychadelic look.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

Daenerys is a thin, elegant signature font that is perfect for a wide range of design projects. It has a delicate, calligraphic style with smooth, flowing lines that give it a sense of grace and beauty. The letters have a slight slant, which gives them a hand-written feel, making it suitable for invitations, wedding stationery, and other special occasions. One of the most striking features of this font is the abundance of swashes. These are decorative flourishes that extend from the letters, adding a unique and ornate touch to your designs. The swashes come in a variety of shapes and sizes, and they can be used to add emphasis to specific letters or words. This makes the font perfect for creating elegant, eye-catching titles and headlines. The lowercase letters have a unique and modern touch, The uppercase letters are more formal and elegant, making them great for headlines and titles. Daenerys is a versatile font, it's perfect for branding, packaging, and web design. The thin lines make it easy to read in small sizes and it's also great for overlaying on top of other design elements. Overall, Daenerys is a beautiful and sophisticated font that can add a touch of elegance to any design project. Daenerys features: A full set of uppercase and lowercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +274 Total Glyphs +40 Signature Swashes

ITC Bookman font was designed by Edward Benguiat, whose goal was to design a typeface that had a clear resemblance to previous Bookman faces but was different and more versatile. This typeface retains all the traits of the original and adds a large x-height and moderate stroke contrast for optimal legibility. ITC Bookman font also has italics which are true cursive forms, as opposed to oblique roman characters. Featured in: Best Fonts for Tattoos

Limoen means 'lemon' in Dutch. Why did I call this font Limoen? Well, I guess I ran out of meaningful names, so I had to work with whatever popped in my head - which happened to be Limoen. Don't ask… Limoen is a very cute, very threedee-ish typeface. It works great in poster ads and as a display font. It comes with upper and lower case letters and a whole bunch of diacritics. Enjoy!

FHA Condensed French One could speculate that FHA Condensed French probably started life as wood type for displays, headlines and posters. The exaggerated sharp serifs and condensed forms were not uncommon for that period. At some point, sign painters picked up Condensed French added their own character. At the end of the nineteenth century, Frank H. Atkinson included Condensed French in his samples of lettering for his book, ”Sign Painting, A Complete Manual.” This book became one of the definitive guides for signwriting and hand lettering. In 1999, Mike Adkins digitized Condensed to add to our Atkinson collection. For its re-release, Condensed French has been updated with more language support, ligatures, and OpenType alternates. It has true vintage character but still plays well in more modern designs. A font for all seasons, the condensed forms and sharp serifs fit in every layout from wildwest days posters and creepy film credits to Christmas ads and Mother’s Day cards. While I can’t really see FHA Condensed French as the font for phone aps or video game text, it will provide impact to logos, branding, and product labeling.

Proudly Present Railway Gank - Street Marker Type, created by ikiiko The free-spirited brush strokes of hand lettering and the strong, urban attitude of street markings combine electrifyingly to create Railway Gank. This font effortlessly jumps out and attracts attention because it embodies the fervor of the streets and the unvarnished reality of graffiti. Railway Gank's brush-style aesthetics give it a handcrafted, real charm. Its flaws and differences give it a unique personality and capture the actual spirit of street art, where each stroke is distinctive. Railway Gank uppercase letters exude confidence and flare, while the lowercase letters give off a more laid-back and welcoming vibe. It is a versatile option for numerous design concepts because of the contrast's ability to create a pleasing equilibrium. This typeface is perfect for an poster event, book cover, movie title, streetwear stuff, magazine layout, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates Multilingual Support Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Chalky Spritely and full of personality, FS Sammy is a hand-drawn font with a chalky texture, available in one weight only. Give Sammy a run in branding, packaging or billboard advertising for a fresh, informal, honest personality. Calligraphic Too many script fonts have a rushed and thrown-together feel about them. It’s a deceptively complex feat to achieve forms that hold together neatly in text yet still have the breezy, natural air of real handwriting. That’s FS Sammy: considered and crafted. Pencil FS Sammy was originally drawn for a drinks manufacturer by Fontsmith’s calligrapher, Sehmi Satwinder, who made handwritten impressions with a large soft pencil on textured watercolour paper. The digital interpretation of Sehmi’s letters was pushed to its limits and, after a lot of experimentation, a balanced alphabet was achieved. Texture and spirit FS Sammy’s success and uniqueness within the script font category is down to its versatility. In the large text of billboard advertising or headlines, all of its texture comes to life, and small, on menus or booklets, it conveys all of the spirit and personality of a considered piece of handwriting.

Lialisa is a smooth, elegant and flowing handwritten font. It has a beautifully balanced character, goes well with many designs. Lialisa 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. Lialisa 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. Lialisa 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. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

The Century Old Style font family was modeled on Century Expanded which had been cut in 1900. Similar weights and proportions were maintained but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style font family is a useful text design that offers good legibility and economy.

The Century Old Style family was modeled on Century Expanded, which had been cut in 1900. Similar weights and proportions were maintained, but the letter shapes were made more elegant by the introduction of a number of old style characteristics. The Century Old Style family is a useful text design that offers good legibility and economy.

Venecian Old Face fonts had a strong influence on typeface design in the 1930s and 1940s in England. Such influence is evident in the font Electra, designed by William A. Dwiggins for Linotype in 1935. Electra combines its classic roots with the Zeitgeist of the 1930s, also displaying characteristics of the Bauhaus and Art Deco styles.

I was doing the laundry the other day and, as usual, I was going through the pockets of my jeans. After I had emptied my party pockets, I figured it was a great name for a new font! So, without further ado: here’s Party Pocket: a handwritten all caps font - great for product packaging, greeting cards and posters!

Tequila… I have to admit that I am not a drinker. I do like Tequila, though, even though I can’t remember when I last had a shot. Tequileria is a very recognisable inline display style font. It would look great on posters and book covers, packaging and even bottles (with or without tequila). Comes with an abundance of diacritics.

Tombstones tumble as the night shift begins; as bloodsucking bats turn into pale predators and the undead reach through the dirt that covers their coffins to crush and destroy those who dare cross the cemetery path... Finally there emerges a cold cast of creepy characters, a macabre cadre of lurid letters we had to call… GRAVEYARD SMASH.

Introducing Pragnea, a modern sans serif font with a unique touch. It had many unique quirks such as its distinctive e, curved stroke on R, K, V, W, and many others. The type family consists of three weights plus matching italics. Packed with 300+ glyphs, it works well both for impactful headlines and for reading sizes.

Chop chop! VLNL Cleaver is an important tool in the Vette Letters’ kitchen. It’s a butcher knife of a font. Razor sharp, ultra heavy and with pointy slanted serifs. At first glance it seems straight-lined, but a closer look revails that all straight lines are curved inward slightly, which enhances the sharp image even more. Cleaver was originally designed by DBXL for cutting meat - hell, it even hacks right through bone. It can easily splice a chicken in one slash or seperate ribs, just like that. You can also very well use it to chop up hard vegetables like pumpkin or squash on the chopping block. It gets better, the opposite blunt side can be deployed to crush ingredients like garlic, nuts or spices like black pepper. You could use a grinder, but with Cleaver it’s more fun, isn’t it? VLNL Cleaver is suitable to give a sharp edge to flyers, posters, logos (Heavy metal bands and other) or magazine headlines.

PM Orchid is a soft, flowing Art Nouveau typeface with tons of ligatures and alternates. It comes in two handy styles - clean and printed. PM Orchid Clean has sharp, clean edges with slightly rounded corners. It is designed to be used with projects that require a clean edge like wedding invitations and modern layouts. PM Orchid Printed has the feeling of vintage letterpress printing. It's slightly rough distressed edges allow it to fit in with vintage style designs that have more tactile design elements.

Broger Display belongs to the "twisted shape" category with beautiful ligatures, it's a little hard to read in small sizes but very awesome when in large sizes, that give any headline an elegant appearance. Broger Display presents luxury, glamour, exuberance, and beauty. It works perfectly for creative project such as logo, T-shirt / apparel, badge, invitation, packaging,headline, poster, magazine, greeting card, and wedding invitation. You can access the open type features and multilingual on mostly Adobe programs, such as Adobe Indesign, Adobe Illustrator, Adobe photoshop etc.

NONLOCAL, has a firm personality and clearly produces a sturdy and consistent font, making it very easy to read that is suitable for everyday use. All caps fonts. USE NONLOCAL works great in branding, logos, Quotes, headlines, high fashion, Landing Page and Magazine. Have 2 Style give you full to explore for your project. FEATURES 2 Style / Numbers & Punctuation / Extensive Language Support Thanks for checking out NONLOCAL. I really hope you enjoy using it! please kindly send us a message for any question about our product. DLetters.Std

Albus is bold and friendly. It is your wizard when you're lost in communication. Perfect for the not so serious statements, or maybe for the very serious ones? Maybe it fits on your next children’s book, or maybe on your webshop? The Albus Friends (ornaments) includes speech bubbles, clouds and other fluffy stuff. You can also buy the whole family for an extra friendly price. Let Albus be your wand and let it help you create the kind of message you want. Let’s create some magic!

Designed by Alex Rütten, Ginkgo is a stylish text typeface. It works well for setting extended passages of text at small sizes thanks to its open counters, generous character widths, and clear and unique letterforms. On top of that, the handling of details such as in the serifs, cross bars, and terminals are wonderful to appreciate when used at large point sizes as well. Gingko received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

The 1960 British film “Beat Girl” (released in the U.S. as “Wild for Kicks”) was a typical [for its time] story of a teenage girl looking to have some fun by hanging out with SoHo beatniks and going against parental authority. One of the posters for the film features the title in a condensed slab serif stencil form, with eroded edges. The basic letter forms were smoothed out and cleaned up resulting in Jazz Beat Stencil JNL, which is available as in both regular and oblique versions.

Introducing Killuminati - Gothic Type, created by ikiiko. Killuminati is a simple english old type with modern blackletter style. This typeface is inspired by gothic & classic rock band logo. killuminati has a bold font with a combination of sharp and curved corners. This font is perfect for an poster event, stencil, logotype, magazine layout, fashion stuff, quotes, and so much more. What's included? Uppercase & Lowercase Number & Punctuation Alternates Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Yasbigan Script is this beautiful font for those who need a modern beauty and is perfect for wedding invitations, saving date cards and feminine branding. Yasbigan Script includes a handy OpenType feature that makes the font look more natural that includes a full set of letters with initial strokes and strokes end as well as an alternative set of lowercase letters with beautiful bindings. How to Access Alternate Characters: https://www.youtube.com/watch?v=Go9vacoYmBw https://www.youtube.com/watch?v=XzwjMkbB-wQ https://www.youtube.com/watch?v=x1A_ilsBsGs

Easy to use, but hard to miss. That’s dT Delicatta. An elegant script face that adds a special touch to any message. Script typefaces usually come packed with endless features and, more often then not, all those possibilities take their toll on the designer or art director. With usability in mind, we kept dT Delicatta simple and straightforward to use while delivering refined shapes that enhance your or your client’s communication. dT Delicatta is a revised, improved and virtually new font of our old classic Delicatta

Sans Atwic Modern is a clean simple sans serif typeface. It has a universal and neutral look thanks to repeated vertically cut end strokes and thanks to letters that have similar width. Lowercase has higher x-height and its end strokes are open, that a guarantee for better legibility in smaller sizes. Atwic has several alternates which together with left slanted italics freshen the whole font family. It's handy while working on poster, headline, brand identity, website or mobile app. Specimen: http://carontwice.com/files/specimen_Sans_Atwic_Modern.pdf