The Fraga Script is Retro inspired style and combination with hand lettering style.The Fraga Script has many alternative swash and ligatures character and have opentype features like a stylistic alternative, stylistic set, ligature and swash so you can mix and match like a you want. The Fraga Script came with open type features such stylistic alternates, stylistic sets and ligatures good for logotype, posters, badges, book covers, tshirt design, handwritten quotes, product packaging, header, poster, merchandise, social media and greeting cards. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ The Fraga Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. 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. Thank you for your visit.

The reason for Nicolien van der Keur to design the Rougon font was the translation of twenty novels written by Emile Zola, a French writer, and translated by Martine Delfos. It follows the lives of the members of the two titular branches of a fictional family living during the Second French Empire (1852–1870) and is one of the most prominent works of the French naturalism literary movement. This series deserved a font with French roots and corresponded to the period in which Zola’s books were written and published, the period between 1870 and 1893, the end of the nineteenth century. Extensive research into French historical typefaces has led to a type specimen from the French type foundry Deberny et Cie in Paris around 1907. It turned out to be good and helpful source as it contained a sample of a typeface that reflected the content and style of the novels, but also represented the period in which the books were written in France. A large part of the novels are about the generations of Rougon, so it seemed a natural choice to give the font that name. It is available in one weight and contains stylized portraits of Emile Zola and the French Marianne. This font also contains various ornaments.

Idealista directly responds to its other members, Nudista and Kulturista. It shares the same proportions and the same set of weights, yet it enriches the expression means of the two typefaces with new themes — the character set is smooth, even round, and it boasts a number of special details and perky moves. Most of all, Idealista relishes juicy magazine titles, typographic logotypes and propagandist posters. Unlike cold, technicist typefaces, it has great zest for life, so there's no wonder that in each of the letters, intuition wins over intellect. Owing to this, the text set in Idealista has a special voluptuous quality and unmistakable temperament — in a single typeface Idealista combines the best of sans-serif, slab-serif, as well as geometric and calligraphic construction principles, coming down to one impressive, expressive cocktail. Some letters have serifs, some do not, some are sharp, some are smooth, and all this results in the nice hip-hop beat of the line of text. The typeface has five weights and ten styles in total, so it can easily accommodate to the needs of complex texts, unlike many of its display counterparts. Idealista is valuable partner for the more text-suited Nudista and, if need for tiny sizes arises, to Kulturista as well.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! When you have a project that needs a fun, unique font to make it pop, you can’t go wrong with Funtrude. Funtrude comes in three styles: Basic, Extrude, and Hole. Each style has more than 350 of the most beautiful glyphs you could ever dream of seeing. The Extrude style is great for titles, headings, and any other text where you want to use a bold font but don’t want it to be overly bold; the Basic style will work great for things like product names or subheadings; and the Hole style is perfect for anything else! Each individual style comes with its own swashes—so your fonts can look just as beautiful when they’re all capitalized as they do when they’re in normal text. What makes us so excited about this product is how much we love to use it ourselves. When we saw Funtrude for the first time, we couldn’t believe our eyes—it was everything we had ever wanted in a font, plus it was super affordable. GET IT NOW....!!! A Million Thanks Colllab Studio www.colllabstudio.com

While searching through microfilm of an old, 1932 newspaper, I stumbled on the word "Poultry" written with trapezoidal letters. I did not recall seeing lettering like this and it inspired me to design a typeface that could produce a similar result. Poultry Sign has two widths each with three weights giving the family six styles. It is monoline, monospaced, and all caps. The letters on the lower-case keys reverse the trapezoid of those on the upper-case keys. The designer's expectation is that the most common use for this typeface will alternate upper-case and lower-case keys, and to make this effect easy, included in the font is a contextual alternatives (calt) OpenType feature that automatically produces this result if your word processor supports this feature. To get text with all letters with big bottoms or all letters with with big tops, this feature must be turned off. The spacing of the letters is identical within each width so the styles can be layered to produce bi-colored or tri-colored letters. There is a second set of numbers that can be accessed with an OpenType stylistic alternative. Also accessible with OpenType stylistic alternatives are variations of letters T, N, L, Y, and V.

Agatized Informal is a rough-edged stencil typeface with chunky letterforms and tight spacing. Designed primarily for display use, it’s ideal for posters, logos, advertising, book cover designs or small chunks of text such as pull-out quotes. The design is something of an enigma, a curious mish-mash of genres – imagine splicing Uncle Buck and Deadpool into a horror movie – it’s big, bold and funny although has a dark side. But what really makes this typeface a joy to drive is its boot full of alternative characters and ligatures. There is a saying: Use sparingly. Not on this street! Make your Glyphs palette burn rubber. Set your OpenType to full throttle: crank up your style and get those liga-tyres screeching. Agatized is a souped-up old campervan spinning doughnuts on the beach. The design started life as a piece of lettering for a book design that didn’t progress past the sketch stage. I liked the rough, dense character shapes, so during some down time I started drawing more characters and the lure of a new typeface pulled me in from there. Although this is a single-weight typeface it has a younger sibling, Agatized Formal, a neater, more dapper brother, smoother round the chops and smartly dressed – certainly no less fun though.

Improved kerning of the Updated Version of 2020 - New Features: • Cyrillic language support • Bulgarian Localization • Completely New Nexa Text subfamily • New ExtraLight weight with a corresponding italics • Stylistic Set suitable for Display purposes - ss02 • Tabular Figures Even the most recognizable typefaces of our time, such as Nexa, should be updated sometimes. We proudly present you with the latest upgraded version of the notorious geometric sans serif. The completely refined family design comes with an addition of one more weight—Extra Light—and its matching italic, alongside an entirely new subfamily—Nexa Text, optimized for longer text, and even a futurist stylistic set of Nexa for an alternative display look. The outcome is altogether 9 weights and 36 fonts! The glyph case now covers not only an improved Extended Latin but a new set of Cyrillic with adequate language localization. The fluent functionality of Nexa is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. The unique appearance of Nexa combined with rich variety places it beyond the scope of regular geometric typefaces for all kinds of scales and purposes and designs that speak for themselves.

Colonial Press is a font based on serif typefaces designed by William Caslon I (1692-1766) and various revivals thereof. Caslon is cited to be the first original typeface of English origin, but some type historians point out the close similarity of Caslon's design to the Dutch Fell types, presumed to be the work of Dutch punchcutter Dirck Voskens. Colonial Press harkens to the look and feel of newspapers in Colonial North America around the mid 1700s without the rough edges commonly associated with colonial printing and many reconstructions. The rough quality of the American typeface is believed to be the result of oxidation from the exposure to seawater during the long voyage from England to the Americas. Colonial Press is a heavy font that retains some of the handcut quality of these fonts while smoothing out the irregularities that make many of these fonts so visually distracting at larger point sizes. For the italic version of this font, I chose to emulate the more ornate letterforms that I have encountered, giving the italic characters a more ornamental feel. Colonial Press comes with full punctuation and a 362 glyph character set for most Western European-based Latin alphabet languages. It is a font that is designed both for normal typing and for larger, decorative display.

KnockType is based on the concept of braille notation in Japanese. It does not support braille notation in other languages. KnockType is not necessarily aimed at facilitating “braille transcription”. It is designed so that someone who understands the grammar of “braille transcription” can instantly transliterate into braille text that was previously transcribed to kana characters, etc. In addition, it allows ink characters to be converted to braille using OpenType features. It is recommended for use in applications that are compatible with OpenType features. If they are not compatible, KnockType is “simply a kana font”. To be a little more specific, it is assumed that KnockType will be used in Adobe’s InDesign and Illustrator applications. If you don't have them, you will not get satisfactory results. Four types of font are available. There are “hasBox&Line”, “hasnotBox&Line”, and the reversed font of each. When displayed on a convex surface, the assumption is that they will be used mainly for printing applications. When displayed on a concave surface, the assumption is that they will be used mainly for writing on braille boards, etc. By printing, you can get a rough idea of the dot positions. It is more effective to match them to the grid size of the braille board.

The careful balance between the emotional swings and shapes set in strong contrast such as the burly serifs, or generally vertical and orderly appearance within the Duwal Pro determine the special look of this Antiqua typeface. All characters of the Duwal Pro are designed to be open and accessible. The lowercase letters are designed with a large x-height, which is why they are ideal for small font sizes. Many striking details give Duwal Pro a defined and firmer appearance with increasing font size so it is also suitable for use in headlines and work marks. The deliberately constructed and emphasized design of the serifs give the font a strong position and at the same time force the reading direction. Using Duwal Pro in Bold weight, the serifs look clearly striking, the design language is concise and the typeface receives an additional sympathetic force. The Italic weight draws on the expressive but not intrusive design of the Regular, but appears sharper and is ideal for text passages. The font family contains italics, small caps, lots of ligatures, swashes, another format set, contextual alternatives and special characters as well as other open-type features which allow the use of Duwal Pro in 48 languages.

John Seddon (1644-1700), was a famous english writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - YES (that is the title of the book) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, animal and human kingdon inspired penmanship forms in the Bestiario font. On the other hand, his highly ornamented animal kingdon inspired capitals and alphabets in the Seddon Penmans Paradise Capitals typeface. The “SeddonsFleurons” completes the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Odisean Fonts and its 3 styles (One, Tech & Small Caps) are ideal for graphic design, editorial, logos and posters. Its rounded finish and marked contrast between antlers evoke the charm of bygone eras. In addition, it has a collection of retro icons accessible through OpenType: Small Caps. Letter proportions are multiples of 8, ensuring exceptional visual harmony, while metrics and kerning use values multiples of 8 for impeccable legibility and aesthetics. Discover Odisean and revive retro nostalgia in your designs. Each Odisean variant comes loaded with a set of alternative letters that allow you to customize and adapt each project to your liking. In addition, you will be able to access an exclusive collection of retro icons through the OpenType feature: Small Caps, adding even more versatility and charm to your creations. - Odisean One will transport you to a bygone era with its retro charm, offering you alternative lyrics that evoke the aesthetic of the golden and happy years. - Odisean Tech for those who love technology and innovation, the font is full of graphic elements and retro transportation icons, which will immerse you in a futuristic world of the past. - Odisean Small Caps bring elegance and versatility to your designs with their small capital letters.

Press Gothic is a revival of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s. Just like its inspiration, Press Gothic aims to be a fresh alternative to big economical poster fonts with clear sans serif forms and an urgent, strong, yet elegant design appeal. In the summer of 2008, Press Gothic underwent a major linguistic and aesthetic reworking for an international publishing company. The result of this on the retail side are new small capitals and biform/unicase additions to the main font, as well as expanded language support that includes Cyrillic, Greek, Turkish, Baltic, Central and Eastern European, Maltese, and Esperanto. Press Gothic Pro, the OpenType version, combines all three fonts into one, taking advantage of the small caps feature, and the stylistic alternate feature for the biform shapes.

Jantar Sharp is a text family with flared terminals that eludes the catego­ries of serif or sans. Its most recognisable features are taken from both styles to achieve proper design and high legibility standards. Jantar Sharp performs especially well when used for continuous reading including texts on web platforms. Its personality lies in the flared stroke endings and certain details which make its shapes neither sans nor serifs. Rather than following any particular historical model, it picks up elements from various periods to achieve an organically dynamic look which is entirely compatible with the reading process. Jantar Sharp Italic makes a nice contrast, though the pace and proportions are not drastically different from the upright. This allows for effortless reading of longer passages of italicised text. Jantar Sharp – as well as its teammate Jantar Flow – has been designed in seven weights from ExtraLight to Heavy, all with accompanying italics; it has a tabular and proportional set of figures in both old style and lining options are included together with a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European language and a set of case-sensitive characters.

Its inspiration comes from the types without serifs, with features ranging from architecture to modernist design products. With generous shapes and counterforms, the type becomes showy wherever it is, masterfully fulfilling the purpose for which it was designed. Initially designed for a signaling project in the Brazilian city of Jaraguá do Sul, Santa Catarina, the STP Display was expanded to include the largest number of characters in the Latin alphabet. This helps to find solutions in cases where a large number of languages to communicate something is needed, such as to inform a specific place for a tourist or also a direction to follow for an employee in a company. The STP Display is a modular feature, developed with rounded corners and a design based on geometric elements, ideal for use in large sizes. Forms and counterforms, its main characteristics, bring prominence to any signaling project. The STP Display also has another version, the STP Stencil, and in addition to wayfinding projects, both can be used in architectural projects, advertising, packaging, posters, and others. With a complete Latin alphabet, STP Display covers over 90% of the supported languages, covering the whole American continent, East and West Europe and most of the countries of Africa, Asia and Oceania.

Pyke's Peak is a spirit type descended from Paeleoflex: The Angel of the Odd. Wraith-like forms mix Roman inscriptional letters with an ar'deco theme for an ethereal graphic art effect. Suitable for magazines and editorial design, book jackets & interiors, posters & broadsides, art & craft objects and other things needing a touch of the extraordinary. Over 500 extra characters give Pyke's Peak unusual range and ability. Mirror capitals, phantom forms, dot phantoms, "superposed" (overlapping) ligatures, capitalized ligatures and fitted pairs for hours of trippy rub-down arcadian magic. Includes hanging numerals, lining numerals, full punctuation, standard math & monetary symbols. Accented characters for Latin 1 and Latin 2 cover the following languages: Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Spanish and Swedish. Available in OpenType format only. Pykes Peak comes in two versions: (1) Pyke's Peak the full-blown OpenType version with over 500 extra characters, (2) Pyke's Peak Zero, the zero cost version with full Latin 1 & 2 character set but no extra characters. Pyke's Peak Zero is free to download, is licensed for commercial and personal (non-profit) use, and may be embedded on webpages using the CSS @font-face property. This typeface is dedicated to Australian musician James "Jock" Paull, who is a free spirit.

Mesmerised by the sparkling greenish-yellow mineral called Olivine hidden within the black basalt of Lanzarote's lava fields, we named the gem of our library after this natural beauty. Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot Devanagari supports Devanagari and Latin and covers over 330 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot Devanagari comprises 20 static fonts, family package, and variable support. It is the gem you ought to have in your collection.

New Age Gothic is an original design by Alex Kaczun. It is a contemporary gothic design based on generous proportions and clean crisp lines. Ideally suited for easy reading and long lines of copy. The concept for the design came from a previously successful font family Contax Pro. Alex felt that the skeleton for Contax Pro was ideally suited to modify the design into a true gothic companion typeface series. Numerous modifications where made to the body proportions, stems and shapes. Serifs where added reminiscent to Copperplate Gothic to solidify the overall design. The result is a truly unique modern gothic font. Unlike other typefaces, New Age Gothic incorporates uniform stems throughout the capitals, lower case and figures. This gives the design a uniform appearance in overall color and strength. There is a perfect visual balance between inter-letter spacing, stem weights and proportions. The large Pro font character set, which supports most Central European and many Eastern European languages, also include small caps to compliment the old style figures. As a result, the design is ideally suited for display copy as well as text composition. In the near future, Alex plans to expand the typeface to include a broad range of weights along with italics.

Ahmed is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s. Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design. The contrasting proportions of the tall vertical strokes and the rather elongated counters lend a monumental look to Ahmed, allowing its effective use in titling. During the later 1980s Ahmed was developed into a traditional typeface, with the introduction of medial forms to improve character spacing and balance. Recently, Ahmed has been converted into the OpenType font format, ensuring its continued popularity as a heading face for newspaper typesetting. The Ahmed typeface contains two weights, Ahmed and Ahmed Outline. Both of the OpenType fonts include Latin glyphs from Clearface Gothic Roman inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Ahmed fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Sabat Brush is a handmade font written with a real brush pen. Written with quick movements using a brush pen. It's Handwritten with quick dry strokes. Suitable for those who need a font with real textures.