From the fluid brushstrokes of Teri Kahan's lettering comes a tropical treasure: ITC Puamana, graceful as a palm tree in the ocean breeze. “Puamana” is a Hawaiian word with several meanings; among them are “the blossoming of miraculous power” and “sea breeze.” ITC Puamana captures the essence of the tropics, suggesting the sway of palm trees in the ocean air. With its ragged edges and italic slant, this brush-written alphabet has a unique visual texture that graces the page with spirited movement. Sketched on the beach in Maui by west coast designer Teri Kahan, ITC Puamana first saw life as apparel art for a Hawaiian clothing company. Now this versatile typeface is a complete alphabet that's useful for both text and titles. ITC Puamana can be put to use in everything from book jackets to in-store signage.

As most successful German private press, «Bremer Presse» has strongly influenced German book art. It was founded 1911 in Bremen to print and produce books in perfection. The role model of the press’ typeface was the english Doves Press. Willy Wiegand drew three versions of the «Bremer Presse» antiqua font, starting with the regular weight in 16 pt and adding later the regular weights in 11 and 12 pt. The revival of this beautiful font is based on the 12 pt weight. During the design process, the focus was laid on finding the elegance and strength of original prints. As it was designed to print books, the typeface is optimally used for texts. And with the revival’s new weights «medium» and «bold» and OpenType features like ligatures or old style figures, you can design sophisticatedly typographical compositions.

Symphony Pro… sounds like music, elegance and classic quality. That's exactly how Symphony Pro carries the message to the reader. Symphony Pro is a rather formal script with very beautiful, generous and swashy upper case that was redesigned, digitized, completed and expanded as OpenType in the profonts type studio. Symphony Pro comes with more than 800 characters covering the complete Latin glyph set for West and East including Baltic and Turkish. Addionally, there is a large selection of ligatures, character combinations and alternates to make this beautiful script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7. Symphony Pro is a very distinguished, elegant and versatile script font well-suited for anything in the area of classical music, art, ballet etc. Also, it is good for certificates, reports, documents and alike.

Le rock is the newborn sister of my first typeface Jazmo and a relative of my music-inspired font family. Le Rock seems to wiggle and jiggle a little as if it invites you to dance. This is caused by the gaps in the individual characters. The typeface can also be seen as eroded, carved and sculpted by mother nature. But besides, the design of Le Rock can also be associated with the characteristics of stones: Solid and since ever, here, there and everywhere. To walk on, lean against, to be surrounded by, to build with and to shelter in. It cannot be denied, that there are also some comic art influences. The font is outspoken enough to be used in any form of graphic design, like poster and flyers, but at the same time it remains readable enough for longer texts.

Experience the timeless allure of Black Oldest, a font that effortlessly blends style and bold. With its neat and clean design, this serif font is a versatile choice for a wide variety of designs, taking them to new heights of sophistication. Explore the possibilities as you unlock the potential of its alternates and ligatures, allowing you to create the perfect typography design. Whether you're working on a luxury logo and branding, a classy editorial design, magazines, packaging, posters, movies, brands, fashion promotions, or art gallery branding, Black Oldest is the ideal companion for your upcoming projects. Embrace the possibilities and unleash your creativity with this PUA-encoded font, granting you access to all the captivating glyphs it offers. Elevate your designs with the timeless charm of Black Oldest and watch them come to life with elegance and grace.

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged. The font family contains 8 styles The font is equipped with a Variable file with two axes (weight and slope) Supports languages ​​of central Europe and some languages ​​of eastern Europe Contains small uppercase letters Contains tabular figures There are several alternates in the font The font has more than 1700 kerning pairs

Here comes a New font, Introducing Roselle It's Fun Script Font is a Textured Natural Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Roselle a Natural Script Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes. This font is PUA encoded which means you can access all of 22 Ligatures glyphs.

Related to typography and art, we define exhibitionist as an innovative work that is able to invite attention. An Exhibitionist must have a strong character, dare to appear as it is, natural, simple and modern-minded. That is what is represented in this font, a handwriting with a natural rhythm and reflects the lifestyle of urban society. We want to give a definition of exhibitionist in a positive typography frame. This font is very simple, too much glyph will make you confused, we make a lot of glyphs but we've filtered out only selected glyphs, so all you do is activate the ligature on your software and feel the interesting handwriting rhythm. We are sure with this font, you will look more stunning and attract the interest of visitors to look more closely at your brand

Introducing, A NEW POWERFUL BOLD FONTS WITH ALTERNATES, Point Panther! Point Panther is a headline font with super bold style that contains up to 6 Alternates each characters! You can make a unique branding with this fonts. this powerful bold fonts also included italic and outline style! This fonts suitable to use for poster, branding, merchandise, and any street art style! Also support multilingual. What will you get: Point Panther Regular (Regular, Italic ) Point Panther Bold (Bold, Bold Italic) Point Panther Outline Regular (Regular, Italic ) Point Panther Outline Bold (Bold, Bold Italic) How to access the alternates! If you use PS/AI you can see the tutorial in this : https://helpx.adobe.com/illustrator/using/special-characters.html You can use the PUA for software design that not support Opentype. For another questions, please send a mail to saridezra@gmail.com. Thank You!

Ballerina Pro... sounds like music, ballet, elegance and classic quality. That's exactly how Ballerina Pro carries the message to the reader. Ballerina Pro is a more of a formal script, light-weighted and quite beautiful, redesigned, digitized, completed and expanded as OpenType in the profonts type studio.Ballerina Pro comes with round about 600 characters covering the complete Latin glyph set for West and East including Baltic and Turkish. Additionally, there is a large selection of manually designed character combinations and alternates to make this beautiful script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.Ballerina Pro is a very distinguished, elegant and versatile script font well-suited for anything in the area of ballet, classical music, art, ballet etc. Also, it is good for certificates, reports, documents and alike.

Waite Park JNL is based on the smallest of the die-cut letters and numbers contained in the Webway Sign Cabinet - once manufactured by the Holes-Webway Company of Minneapolis, Minnesota. The largest of the set's sizes (2 inch) was the model for Sign Kit JNL, the medium size (1-1/8 inch) was used to make Sign Production JNL and this font is a version from the 3/4 inch size. Each size of alphabet and numerals have their own unique characteristics, although they all follow the same basic font style, which is reminiscent of classic Art Deco-era sanserif typefaces. The name Waite Park JNL was derived from a division of Holes-Webway that (for some reason lost to time) distributed their sign kits under the name Waite Park Sign Company, located in the Minnesota city of the same name.

About the Product Minty Foxs layered Font Minty Foxs is a layered fonts that appear with various styles such as Extrude, Engrave, Shadown and outline version, This font comes with an bold and shadow effects. this font to complement your perfect vintage design or Retro! a collection of letters inspired by retro 70s typographic designs with original handwriting. perfect for branding, logos, stickers, posters, vintage designs, screen printing on t-shirt, wall art and more! Minty Foxs includes: Stylistic Alternates, Ligatures & Stylistic Sets. You can choose an alternative style, Stylistic Sets per letter and Glyphs. By using Glyph in software programs like Photoshop, Illustrator and CorelDraw X version. You can also access this in many other programs by using your character map (Windows) or font book (Mac). Let's play with "Mint Foxs" for the beauty of your next design project.

Welcome to a world of design full of character and creativity! Lathier is a unique display font, combining bold and fat elements into an unforgettable letterform. If you're looking for a truly powerful look for your various visual design projects, Lathier is the perfect choice. What sets Lathier apart? The unique shape of the letters is strong and full of character. With regular, shadow, and slant families, as well as complete ligature and alternate features, Lathier gives you the flexibility to create typographic designs that are striking and different from the rest. Lathier supports multiple languages. With Lathier fonts, your message will penetrate the world, without language barriers. It's time to create a truly extraordinary design. Get Lathier now and watch how this font will transform any of your projects into powerful and unique works of typographic art.

1st Ave is the most experimental of my typefaces. I took a picture of a metal and neon sign in the East Village of New York City. These signs are slowly being replaced by LED and LCD displays, but if you look hard, you can still find quite a few in the city. The signs give a mid 20th century feel to the city. To design 1st Ave, I took a picture of the sign, scanned it and increased the contrast in Photoshop so that the photographic forms became line art. There weren't enough letterforms in the sign to create the whole alphabet, so I cut up the strokes and collaged them back together to finish the entire alphabet. Important Note: 1st Ave is an experimental typeface and is not compatible with certain software such as Microsoft Word.

Lacosta is a decorative script typeface, drawn and created by Måns Grebäck during 2020. Perfect for company or product logotypes, or any typographic art that requires that classic custom look. Included in the family is the Lacosta Line typeface, a swash underlined variation of the original font. In addition to being a beautiful, ornamental lettering, it also has a lot of decorative and swash options: Use the symbols [ ] { } _ to create connections, swashes and decorations. Example: Extra[ Sweet] The font contains multiple OpenType functions, and is filled with alternates; stylistic alternates to give extra personality, and contextual alternates to make the letters flow with one another smoothly -- just as a custom logo. Lacosta has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Ink Outlaw is not just a font; it's a rebellious statement in every stroke. Inspired by the raw energy and urban artistry of graffiti and vandalism, this font unleashes a torrent of creativity onto your canvas. Each letter is a work of defiant art, meticulously designed to capture the edgy spirit of street culture. With Ink Outlaw, your designs will command attention and provoke thought. Its bold and irregular lines, dripping paint effect, and rugged edges give your text a gritty, authentic graffiti feel. Whether you're working on posters, apparel, album covers, or any project that needs an unapologetically bold aesthetic, Ink Outlaw will be your accomplice in making a powerful statement. Embrace the outlaw spirit, break free from conformity, and let Ink Outlaw become the voice of your artistic rebellion. Transform your designs into urban masterpieces with this distinctive and daring font.

Glorify SH is a Modern vintage serif typeface with Unique alternative , multilingual support with perfect kerning. This typeface is perfect for an elegant & luxury logo , classy editorial design, women's magazine, fashion brand , cosmetic brand, fashion promotion , modern advertising design, invitation card, art quote, home decoration , book/cover titles, special events, Tote bag, T-shirt, Advertising and much more. Glorify SH Features: · 4 Weights font (Regular, Italic, Outline, Semi Bold) · Uppercase And Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded If you need another format of this font, such as TTF, WOFF and WOFF2, please contact me. While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day .

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

Elevate your design projects with Cooker Cake, a vibrant and playful sans serif display font. With its charismatic style and versatile nature, this font adds a touch of excitement and creativity to any typography-based endeavor. Whether you're designing logos, posters, headers, or website elements, Cooker Cake will captivate your audience and make your text pop. Cooker Cake features all capital letters, giving your designs a bold and impactful appearance. The font also includes a wide range of numbers and punctuation, ensuring that your compositions are complete and functional. Its multilingual support allows you to incorporate various languages seamlessly, making it ideal for global projects. One of the standout features of Cooker Cake is its PUA (Private Use Area) encoding. This means that you have access to additional special characters, glyphs, and ligatures, expanding your creative possibilities and enabling you to add unique flourishes to your designs. Let your imagination run wild as you explore the various alternates and stylistic options available in this font. With its sans-serif style, Cooker Cake strikes the perfect balance between modern aesthetics and a playful vibe. It works harmoniously in both digital and print formats, making it suitable for a wide range of applications. From branding and packaging to social media graphics and advertising campaigns, this font will bring a sense of joy and energy to your projects. Experience the versatility and captivating charm of Cooker Cake Sans Serif Display Font. Let its playful and dynamic personality infuse your typography with excitement.

Introducing Popwave - a vibrant and playful font pack containing 5 unique fonts that are perfect for adding a touch of modern pop and groovy style to your designs. This versatile font pack includes a boxy font, a boxy rounded font, a script font, a narrow font, and a sans-serif font - providing you with a range of options to choose from. The boxy font has a bold and boxy design that exudes a sense of confidence and strength, while the boxy rounded font features rounded edges that give it a more friendly and approachable feel. The script font is elegant and fancy, perfect for adding a touch of sophistication to your designs. The narrow font is sleek and modern, with a slender design that creates a sense of space and clarity. Lastly, the sans-serif font is simple and clean, making it perfect for adding a modern touch to any design. Each font in the Popwave pack has been carefully designed to create a fun and vibrant style that's perfect for catching the eye. The fonts are playful and modern, with a touch of retro charm that makes them perfect for a variety of projects. The Popwave font pack also supports multiple languages, making it the perfect choice for designers who need to create designs for a global audience. So whether you're designing for print or digital media, the Popwave font pack is the perfect choice for creating modern, fun, and playful designs that are sure to stand out.

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™ and Soho®.

Sharka is heavy sharp condensed system of 7 display typefaces widths, plus 7 italics and 7 alternative version on each family member, inspired on dangerous personality and aggressive reputation of the great white shark, it was thought to create the feel of high impact, high risk action on extreme situations, polemic public scandals, financial advertisement alert, the italic version specially creates the feel of velocity, powerful mechanical energy and related similar topics. Recommended to use in big headlines, magazine covers, advertisements, robust public visual calls, but also, if it applied with good taste and good typographical skills, could be a good choice not only for prints but also for web and digital media devices.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

ITC Drycut is the work of Vancouver-based designer Serge Pichii and gives a twist to the tradition of heavy, woodcut-like typefaces. The font includes all the realistic features of a true woodcut, sharp edges, white cut marks and black slivers. The slivers around the edges suggest traces left after awkward movements of a knife, which are often visible on old woodcuts...Folk artists often didn't care much about refining their carvings and the slivers would have been left as long as the letters remained readable." The lower case alphabet is actually small caps proportioned to match the capitals. The letters of ITC Drycut have a slight slant to the right which lends the font a dynamic character."

Introducing Cynthias Brush Font, with a quick hand stroke. You can use and enjoy Cynthias for promotional material and anything. This font is perfect for signature logos, handwritten quotes, product packaging, fashion magazines, photography, branding projects, posters, social media posts, book covers, flyers, and advertising. You can create all this easily and make it as if you wrote it yourself. All fonts containing upper & lowercase characters, numerals, ligatures and a large range of punctuation. More information about how to access alternate glyphs, you can see on this link ( http://goo.gl/ZT7PqK ) If you have any questions at all, feel free to send me a private message, I’m always more than happy to help you along. Happy creating. Enjoy!

The Octa fonts are primarily intended for heading, display and decorative use. A close relative to Alert, Octa is angular by its structure but soft-outlined typeface with modern industrial strength expression. The Octa group fonts consist of five families - Octa, Octa Stencil, Octa Mono, Octa UniMono and Octa Tile: Octa and Octa Stencil - each family carry two weights of complete characters. Kerning pairs feature is included in both fonts. Octa Mono - two weights font of upper and lower case monospaced characters. Octa UniMono - two weights font of unicase (caps) monospaced characters. Octa Tile - single weight of capital letters, numbers and ornamental dingbats placed on tile squares with white and black backgrounds.

New Gerbil Sans Serif Modern has distinctive characteristics, such as bold thin lines and strong bold lines, as well as highly geometric letterforms with sharp corners. The color of this font tends to be monochromatic with white as the base color, making it suitable for use in designs that are modern and stylish. This makes this font easy to apply to various media, be it for poster designs, logos, business cards, banners, and various other design purposes. New Gerbil Sans Serif Modern is a very flexible font that is suitable for a variety of design purposes. With a modern and stylish design, this font can give your design a very luxurious and elegant impression.

KubaApplique is a bold and exciting African font that makes use of the interplay of black and white shapes -- reminiscent of the Kuba cloths that are made and used by the Bakuba tribe. Typified by a balance between dark and light areas, the characters reflect the ethos of Africa. Kuba applique contains the full range of upper and lower case characters, all punctuation and special characters as well as the accented characters used in the major European languages. Because the way in which the individual letters fit together is so important in Kuba Applique, I took especial care of the kerning and spacing of characters. The font is intended to be used as a display font.

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic. This digital version of Clearface Gothic was made in 1984 by the Linotype Design Studio."

Raven hair and ruby lips, it may have been a trick of the light but I'm sure sparks flew from her fingertips. I definitely heard echoed voices in the night, of a restless spirit on an endless flight. If I remember correctly she held me spellbound in the night, with dancing shadows and firelight. Yes, I think I did see a crystal ball on the table, showing the future, the past and I did drink the potion she offered me, when I really should have gotten out of there fast. And that's my story and I'm sticking to it, your honor. It was that girl with the white hair, I'm telling you. She has my wallet too.

Bitblox fonts are based on the lettering created for Glyfyx’ eponymous wooden alphabet blocks. The characters are inspired by the low-res bitmap lettering seen on early generation computer devices. The Bitblox family consists of eight pixelated fonts, including a trio of styles that stack up to create a colorful, dimensional effect. An extensive multi-styled dingbat collection is also included. The Bitblox lettering was designed by James Beall with PSY/OPS Type Foundry, for Glyfyx Inc.