Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Federico Handwriting is a beautiful typeface that mimics true handwriting closely. Use Federico Handwriting to create stunningly beautiful designs easily.

EKUHOT Racing Font is a font that is designed with a precise shape and has many alternate variations and various ligature styles that make every word beautiful when written, make this font for various titles and text in your special projects so that your project looks beautiful. dignified character, bold and sporty. This font is perfect for headlines as well as others, what are you waiting for, use this font now.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. “Pablo Handwriting” is a beautiful typeface that mimics true handwriting closely. Use Pablo Handwriting to create stunningly beautiful designs easily.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Phil Handwriting is a beautiful typeface that mimics true handwriting closely. Use Phil Handwriting to create stunningly beautiful designs easily.

Hello Giraffe font is inspired by the style of letters in comics which have a less serious and fun character. The letters in this font are sans serif with a font character appearance that gives a fun impression and design for children. The Hello Giraffe font is very suitable for creating designs with non-serious concepts, designs for children, book headers, and of course for text in comics.

Piano Keys is a musically-inspired font. It can be used for commercial as well as educational projects. In other versions, I tried to accurately replicate the pattern of black and white keys across the character set. Of course when used, the randomness of text and characters often produced less than realistic results when needed. This version allows black and white keys to be accurately arranged, if desired.

Brushine Collection is a solid and complementary pair consisting of a serif all caps, with contrasting letter thickness and sharp edges making it more elegant and classy. As well as a handwritten script that look natural because they are made with marker by hand. All together your text will be beautiful, elegant and classy. Suitable for all creative projects, especially on, branding, advertising, product design, social media, and more.

The 80s era of techno/angular/mechanical fonts is typified in Wrenchworks SRF. The original design is by Ray Larabie with a remix by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

This design from Ray Larabie (and adapted by Jeff Levine) is so unusual. The lettering lends itself to messages of sinister intent or horror movie titles. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

English description Karela is a humanist slab serif family. Karela is also the Basque word for gunwale, this is, the widened edge at the top of the side of a boat, where the edge is reinforced with wood or other material and to which the thwarts are attached. Gunwales resemble the way slab serifs reinforce vertical stems giving a more robust appearance to the letters. The sturdy, solid and often mechanical structure that is customary in slab serif or mechanistic typefaces is softened in Karela applying subtle tweaks as: humanist proportions, slightly curved endings in ascenders, and curved edges in serifs. The influence of calligraphy is noticeable all over the character set, especially in counters and letters with instrokes like “m”, “n” and “r”, and it becomes explicit in the italics. On the other hand, its low contrast, generous x-height and the constant width of characters across weights makes it very convenient for editorial uses when low resolution is a concern. Karela pursues to give a human touch to a strong and highly functional structure. It seeks for the ideal combination of strength, precision and warmth of the wooden parts painstackingly handcrafted by ancient boat builders. Besides its 12 standard styles, Karela offers also four additional fonts called "grades". Grades are subtle changes in stroke weight in order to compensate for differences in printing media or display conditions of text layouts. To minimize these subtle changes without a reflow of the text they have to be designed with the same character width of the base style. Karela offers 4 grades for its Regular weight: Grade Minus 5, Grade Minus 5 Italic, Grade Plus 5 and Grade Plus 5 Italic. This makes possible to counteract the effect of changes in paper, temperature, paper, background color… In addition, Karela takes this no‑reflowing idea from grades and extends it to the whole range of styles, allowing to play with any of its weights without undesirable text reflows. Enjoy the layout stability while you experiment and play with variations! Karela presents also a wide range of Opentype features for a professional text layout.

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

Evans was named after Walker Evans, an american photojournalist whose photographs often featured unassuming subjects – ordinary people, roadside scenes, and the subtle details of the American landscape. His ability to find beauty in simplicity and appreciate the mundane inspired Cosimo Lorenzo Pancini and Andrea Tartarelli to create this typographic family that aims to convey the ideals of journalistic storytelling: simplicity, clarity, and unpretentious honesty. Looking for a soothing, relaxed visual flow in body text, Evans was designed by gently narrowing classical proportions to answer the designers' need of maximizing the arrangement of lengthy text within confined spaces. Combining the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis resulted in text-oriented typeface with visual charm on both printed and digital pages. Subtly reducing the size of majuscules allowed the effect of an increased x-height, balancing space saving with increased readability at same point size. Using soft, semi-calligraphic shapes and keeping a generous letter spacing, the designers embraced a minimalist approach, aiming at a smooth reading experience. For maximum versatility, Evans provides two distinct variations tailored to different purposes: the Regular and the Narrow subfamilies. While both are fine-tuned for body text applications , the second is suited also for display-oriented contexts, where attention-grabbing headlines take center stage. Each subfamily is developed in a range of 8 weights from Extralight to Heavy, and includes over 700 glyphs with full coverage of language using extened latin glyphs. True italics are designed for all weights, providing additional typographic control through the design of Swash Alternates, available through Open Type features that also include Standard and Discretionary Ligatures, Positional Numerals, Case Sensitive Forms and Stylistic Alternates. The family is complemented also by a rich set of Ornaments, available both as special glyphs or in a separate font. With its retro-inspired design and unwavering commitment to form and function, Evans effortlessly extends its versatility from editorial design to digital interfaces and logo creation, inviting users to appreciate the beauty in simplicity, find joy in the ordinary, and embrace a relaxed and unhurried mindset.

Discover Cocogoose Pro Narrow Weights! Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark color and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and color-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters. Cocogoose Pro has been completely re-engineered in 2020 to include extra features and technologies. A variable font version allows you to fine tune precisely the appearance of the text while minimizing download size on the web. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new text subfamily has been developed for body text usage, to keep the look and feel of Cocogoose while maximizing readability on screen and on the printed page.

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Refinery is the newest font in the Evanston Collection of square typefaces. With a similar capital structure to Tavern and Alehouse, Refinery includes both lowercase and small caps, making it an ideal typeface for paragraph text settings. It also comes in a wide array of weights and widths, with 85 font files in total. DESIGN Refinery has it’s roots in early 20th century signage and saloon typography, but has been modernized - even future-ized - to fit the 21st century digital landscape. The design was aimed at providing a type family that could work in many modern design fields, from sports, tech and military to gaming, HUD, virtual reality and augmented reality. ENGINEERING Essentially. Refinery is a simple mono-linear square design has been expertly refined into an easy-reading sans serif typeface. It was designed to be used in both display and text settings. From hairline to black in ultra-narrow or extended, the wide array of weight and width options makes it easy to find the right font for each text need. SPECS Refinery not only includes 85 font files, but each one include a wide array of Opentype Extras that allow even further customization. • Stylistic Alternatives: Letters A W Y have a styling variation that rounds the pointed apex into a square curve. The S and 2 variation straightens the spine, making all curves in the alphabet read as 90º angles. • Small Capitals: A shortened version of the capitals for alternate header settings. • Titling Alternatives: In this typeface, this feature turns on lifted small caps. Take the small capitals, raise them to level with capitals and underline at the baseline. When multiple lowercase or small capital letters are typed in a row, the underlines connect, creating unique ligatures. • Figures: There are different figure styles for different text needs. Options include, proportional lining, tabular lining (for math), old style and small capitals. • Discretionary Ligatures: A little funk to this otherwise serious typeface. Letters with a long baseline or cap height stem - F, L, T - get elongated to hug a small capital vowel. Other ligatures include Co. and No. • Catchwords: These are common words that bring emphasis to a design. In English these words include ‘and’ ‘as’ ‘by’ ‘in’ ‘of’ ‘the’ ‘to’ ‘when’, among others. Refinery also includes multilingual catchwords of ‘el’ ‘la’ ‘oder’ ‘go’ ‘para’ ‘pour’ ‘und’ ‘y’, among others. For the full list, please check out the specimen images. EXTRAS To round the typeface off, a set of over 150 ornaments, icons, arrows, patterns and line breaks is included to provide complimentary graphics. These can be found in the Ornaments labelled font, it is recommended to use the Glyphs panel to select which text glyph is needed.

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

UMBA Sans is a contemporary typeface designed by Anita Jürgeleit. The wide shaped curves show a new aesthetic appeal in an unexpected pleasant way. Umba Sans fulfills your corporate design needs as well as your editorial demands and helps to push your design to the next level. Thirty styles from thin to bold and matching italics - as well as small caps and alternates - help you create a contemporary design. Umba Sans provides a wide range of variations. Your design may have many faces but it all matches together. Separate styles for alternate and small caps will show up in your font menu, making sure that you stay aware of the wide range of possibilities your new favourite typeface provides. If you like our fonts, you might want to sign up at: www.typethis.studio

Autumn Scarf Latin + Cyrillic Autumn Scarf is a cute handwritten font with Cyrillic support. It is perfect for branding, wedding invitations, menu design, YouTube covers and many more Font includes a full set of gorgeous uppercase and lowercase letters, numbers, a large selection of punctuation marks & Cyrillic support Autumn Sweater - это милый рукописный шрифт с поддержкой кириллицы. Он идеально подходит для брендинга, свадебных приглашений, дизайна меню, обложек YouTube и многого другого Шрифт включает в себя полный набор великолепных прописных и строчных букв, цифр, большой выбор знаков препинания и поддерживает кириллицу Test it out below to see how it could look for your next project! Includes: Regular Script Latin languages support Cyrillic languages support Uppercase and lowercase Numbers and punctuation Check out my blog: https://www.instagram.com/superdizigner https://pinterest.com/dmitriychirkov7

BLT Balfour : Art Deco Revival Font Balfour is a modern Art Deco typeface revival. Built from historic references in architecture during this time period, Balfour exudes class and elegance, yet still honors the style with unapologetic bold geometric forms. Pay close attention to the letterforms B and R, and how their extreme x-heights play off of the elongated strokes of C, D and G. Unique features throughout the character set make it less predictable and more unique than any Art Deco typeface before it. The geometry of this typeface plays from one letter to the next. Fill and Outline styles work well in headlines, logos and large type. The Line style is effective at all sizes and can be used in combination with other styles to achieve visual hierarchy.

Common use(s) of Comicraft's All-new, All-different SENTINEL font include FACTOR-X, X-MAN, GENERATION NEXT and X-CALIBRE. Possible Side Effects: This font should not be used if you are trapped in a world you never made or a world full of people that hate and fear you. Prolonged exposure to this font during an Age of Apocalypse may cause fatigue, muscle soreness, first degree burns and immobility. Contraindications in Homo Superior may manifest as an outbreak of large purple automatons. Interactions: Before using this font in either regular or bold doses, notify your doctor of any recent exposure to mechanoids, synthezoids or paranoid androids. Reprogrammed Sentinel has improved spacing and kerning, Western & Central European accents, alternate lettershapes, and a new Interlocking Mode with over 100 connecting letter combinations!

Willard T. Sniffin designed this extra condensed art deco typeface for American Type Founders in 1932. Low-waisted capital letters curve in stunning geometric fashion next to large, oversized lowercase letters. The heart of this classic design is undeniably 1930s but it also looks just fine in contemporary situations. Many of the original alternate characters plus a few new ones have been included in this complete digital version. Newport Classic with Alternates is also available as an OpenType font. This version now contains small caps, lining and oldstyle figures, prebuilt fractions, stylistic alternates, word ornaments and a wide assortment of f-ligatures. These advanced features currently work in Adobe Creative Suite InDesign and Illustrator. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Golden Light Cyrillic + Latin Golden Light is a cute handwritten font with Cyrillic support. It is perfect for branding, wedding invitations, menu design, YouTube covers and many more Font includes a full set of gorgeous uppercase and lowercase letters, numbers, a large selection of punctuation marks & Cyrillic support Golden Light - это симпатичный рукописный шрифт с поддержкой кириллицы. Он идеально подходит для брендинга, свадебных приглашений, дизайна меню, обложек YouTube и многого другого Шрифт включает в себя полный набор великолепных прописных и строчных букв, цифр, большой выбор знаков препинания и поддерживает кириллицу Test it out below to see how it could look for your next project! Includes: Regular Script Latin languages support Cyrillic languages support Uppercase and lowercase Numbers and punctuation Check out my blog: https://www.instagram.com/superdizigner https://pinterest.com/dmitriychirkov7 Enjoy

Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents. The typeface adds a fresh, bold and non-rational feeling to headlines and titles in books and posters in display sizes where emphasis and detail are equally important. Randomly-generated contextual alternates included in the family contribute to add a distinctive look to words with repeating characters, whenever they occur next to each other. The difference between the Poleno Set and the Poleno Alt Set is in the accented characters. In the first one, accents are merged with the characters and in Alt version, accents are separated from the characters.

Luce Stilren is a serif font with a modern and geometric design from Objectype Studio. With clean lines and bold shapes, this font adds a professional and contemporary touch to any design project. The main feature of this font is its flexibility. Whether you’re working on a branding project, logo design, magazine headlines, or wedding invitations, Luce Stilren is the perfect choice. This font is designed to provide reading comfort, making it a great choice for both print and digital publications. Luce Stilren supports various languages and includes various typographic features such as ligatures, old-style numbers, and letter-style variations. With these possibilities, you can customize the font according to your needs. With Luce Stilren, you can take your designs to the next level. Get it now and start creating!

Inspirited as much by nature and the elements as it was by the decorative and ornate alphabets of early sign-painting and lettering books, Alchemist aspires to become the next surefire, go-to staple in the display type community. This semi-condensed, high contrast, and stylish take on classic Roman forms is certain to stand out in your arsenal.Alchemist lends itself adeptly to signage, headlines, cinematic and gaming titles, packaging design and much more. This protean display face can shift and adapt to your every need with over 100 alternate characters and more than 40 ligatures. Explore this massive 500+ character font today and see what you can create with it. 100+ Stylistic Alternates Standard & Discretionary Ligatures Uppercase & Lowercase Numerals & Punctuation 500+ glyphs Supports 75+ Latin based languages OTF file Design by Jason Carne

Autumn Mittens Latin + Cyrillic --- Autumn Mittens is a Cutout handwritten font with Cyrillic support. It is perfect for branding, wedding invitations, menu design, YouTube covers and many more Font includes a full set of gorgeous uppercase and lowercase letters, numbers, a large selection of punctuation marks & Cyrillic support --- Autumn Mittens - это вырезанный рукописный шрифт с поддержкой кириллицы. Он идеально подходит для брендинга, свадебных приглашений, дизайна меню, обложек YouTube и многого другого Шрифт включает в себя полный набор великолепных прописных и строчных букв, цифр, большой выбор знаков препинания и поддерживает кириллицу --- Test it out below to see how it could look for your next project! Includes: - Regular Script - Latin languages support - Cyrillic languages support - Uppercase and lowercase - Numbers and punctuation --- Check out my blog: - https://www.instagram.com/superdizigner - https://pinterest.com/dmitriychirkov7

Say hello to Glary Tropic, the top choice for stunning, tropical-inspired designs. With boldness and strength imbued in every accent, this font brings a bold touch that immediately steals the show. Glary Tropic's bold style brings strong and eye-catching design elements. Filled with a fun tropical feel, each letter creates a fresh, vibrant atmosphere, perfect for projects that require exceptional visual appeal. This font is designed to provide maximum clarity and impact. With a strong tropical theme, Glary Tropic will be the perfect choice for posters, announcements, branding designs, or other creative projects that require a fresh and dynamic touch. Enhance your creativity and create unforgettable designs with Glary Tropic. With strength and uniqueness in every accent, this font will be an undeniable choice to take your design projects to the next level.

STF Eclectic Web is the ultimate web design dingbat tool - with 80 icons designed for creating e-commerce, navigation, and interface designs. Use it as a starting point in your favorite vector program, or use the icons as is - they are optimized for sizes down to 20 point and anti-alias beautifully in all of the major applications (any smaller than that and you're on your own…) Shopping carts, directional arrows, buttons galore! It's like a pinata in font format, surprises for everyone! This font includes: a new button, order, buy, and close buttons, home, security, email, search, and a host of other icons and images to make designing your next website a breeze!. Most of the icons are shown Available in Mac and PC formats, in TrueType and Postscript formats. License it today!

Beautiful and sexy handwriting types. You will love the look of this font. Autentico font was inspired by modern calligraphy, but with a more crushed look, making it perfect for wedding invites, greeting cards, or logos. Use the upper case letters to add elegance to images or give your design some style. We included a full set of lower and upper case letters, numbers, punctuation marks, and 93 ligatures to take your design to the next level. Authentico features: A full set of upper & lowercase characters Numbers & punctuation 93 Gorgeous ligatures Alternates in lowercase Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Kestia is a modern and elegant typeface, which leans towards the Neue Nouveau type style. The inspiration for the Kestia typeface came from the early Art Nouveau typographic designs. I wanted to combine type styles from different eras, to create a typeface that is strong yet modern and unique. I designed the typeface with creative letters and ligatures, which makes it perfect for creating nostalgic and retro designs such as: posters, magazines, logos, wedding invitations, Instagram posts, websites, blog posts, pull quotes, social media posts and much more. If you are looking for something modern and retro for you next project, Kestia is the font for you. KESTIA INCLUDES A FULL SET OF: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Multilingual symbols. I hope you enjoy using the Kestia typeface.

Making a Christmas card takes a lot of work! Finding the right typeface can be tough, too. Have you ever spent hours searching for the right one? Well, in 2003, instead of spending hours searching, German designer Guido Bittner made his own. Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio. This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner’s own handwriting. Expectation Swash includes additional swash letters, which can be paired with regular version of Expectation to create superior effects. Perhaps it is already time for you to begin working on next year’s holiday cards. Let these fonts be the starting port for your inspiration! Expectation was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Pear Shaped Latin + Cyrillic Pear Shaped is a cute handwritten font with Cyrillic support. It is perfect for branding, wedding invitations, menu design, YouTube covers and many more Font includes a full set of gorgeous uppercase and lowercase letters, numbers, a large selection of punctuation marks & Cyrillic support Pear Shaped - это милый рукописный шрифт с поддержкой кириллицы. Он идеально подходит для брендинга, свадебных приглашений, дизайна меню, обложек YouTube и многого другого Шрифт включает в себя полный набор великолепных прописных и строчных букв, цифр, большой выбор знаков препинания и поддерживает кириллицу Test it out below to see how it could look for your next project! Includes: Regular Script Latin languages support Cyrillic languages support Uppercase and lowercase Numbers and punctuation Check out my blog: https://www.instagram.com/superdizigner https://pinterest.com/dmitriychirkov7

Xekova Typeface is a modern font with an artistic and elegant touch. This typeface can be used for various purposes such as Films, Titles, Magazines, Posters, Logos, and many more. Experienced designers will love the extra touches that make Xekova unique, the elegant and unique blend of fasteners, subtle curves, sheer shapes, and elegant circular pins to bring your project out of the ordinary. With this extraordinary typeface, your next design will stand out from the rest! What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support Thank you for your purchase!

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

Your branding missing something that makes people amaze? Looking for an elegant font to attract your audiences or customers? What if we told you, you only need to change one element to engage and convert your clients? Introducing Anthony Hartman - A Modern Script Font Giving you a simple, yet gorgeous solution to your branding. This font is another level script font. It encapsulates the essence of elegance and modernity. With its clean script-type design and curved indentations, this font will take your projects to the next level! Use it for headings, logos, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Anthony Hartman includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Alternates Swashes Multilingual Support PUA Encoded Numerals and Punctuation

Meet Vendura, an elegant serif-family with a modern touch. While being a homage to the beloved high-contrast didone typefaces from the 18th and 19th century, Vendura comes up with some unique design details, giving this family a modern twist. It adds a lot of personality to any Editorial Design, Branding Project or User Interface. The seven weights of Vendura have lots of crisp sharp edges, while its matching italics create a slightly softer and warmer look. Vendura has an extensive character set to offer, covering more than 200 languages. Plus, there are ligatures, stylistic alternates, numerical variations, automatic arrows and so much more to find, making sure it can catch up with all your typographic demands. Offering 625 glyphs per font, Vendura is a truly versatile companion for your next design project.

Introducing Kibriya font! A playful blend of Serif and Sans-Serif, perfect for adding a touch of fun to your designs. This font is versatile and can be used in a variety of projects, from logos to posters to social media graphics. Its unique combination of classic and modern styles creates a fun and fresh look that will make your designs stand out. Get Kibriya font today and add some playful charm to your next project! Featured: Standard, Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw, so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Signature Script is a smooth pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, signature, poster, brochure or any display use. Signature Script is great for typing headlines or a restaurant logo - it’s stylish but legible enough due to its smooth shapes. Signature Script has at least three alternates for every basic lowercase letters that are automatically connected to next letter nicely. This feature is coded inside Standard Ligature so I recommend keeping that on. There’s also Stylistic Alternates for every standard Uppercase letter and Swash, Stylistic and Titling Alternates on certain lowercase letters that can be used to spice up your words. The font is PUA encoded so you can access extras in most graphic design softwares even without OpenType support.