ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Austral Sans is a hand-drawn layered font designed by Antipixel. Based in the Slab version, it is part of the Austral type family. This sans makes your work unique & noteworthy, because the possibilities of combinations of textures & styles create distictive results. Austral Sans comes in three weights, Regular, Light & Thin, which all share the same crooked look with irregular strokes and outlines. For these reasons this font can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Sans has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Sans offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use! Check Austral Slab!

Since 2010 I started my research and experimentation in layered fonts, and I immediately understood that the future of creative graphic fonts is precisely the exploration of it. Over the years I have tried different expressions on the use of the layered system ... but I realized that my propensity to use colors in the font led me to the creation of BILYA. The real creative cue of BILYA is the wonderful childhood memories where nostalgia for them generated the creation of it, which I dedicate to all lovers of glass marbles classic game and beyond. BILYA Base, Outline, Color One, Two, Three, Four, Five and Color Six is a 8 font system that can be layered in different ways to create infinite title effects used commonly in poster and logo design, in flat gradient color style for spectacular 3D emboss styles or realistic 3D logos design projects. BILYA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste in same position to create different layers styles combinations to build out your desired effect. BILYA works great in any graphics application that allows you to utilize layers or 3D graphics effects.

Le Havre. It's a family with no lack of characters diverse, yet none are as deep or tested in their appearance as the weathered, hand-drawn texture of Le Havre Hand. Tall and lean, the well-aged face carries with it the stories of a thousand miles. Starting with a sans as its origin, this handwritten font's layered structure has been shaped through time and trial, ultimately capturing the simple beauty of a wise, experienced character. This layer-based font family includes style variations and new layering solutions. Le Havre Hand includes 21 font files. It also includes an outline, crosshatched versions and five inline variations, several extruded variants including a unique wireframe options. There are two extruded fonts and two drop shadow fonts. For users that have Opentype programs, such as Adobe Illustrator, Photoshop, InDesign, Microsoft Publisher and Quark, each font also comes with an established set of art deco alternatives. Le Havre Hand's alternate characters come together to exhibit a clear sensitivity to the art deco style. Use them on their own or increase your options by using them with any of the other members of the Le Havre family. Take time to look deep into the soul of Le Havre Hand. It's often the tested, weathered hand that is most reliable to guide you to success.

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

Double Porter - an elegant font collection. Double Porter includes following: • 6 fonts - a clean and textured version of each. • Ornaments • Catchwords • Ending swash ornaments for the script Double Porter is a clean cut script font with five strong sans fonts. All the fonts are designed to work nice together. Here’s a short introduction to the fonts: • Double Porter 1 -Clean connected script with Swash Alternates for caps and lowercase letters with ascender or descender. The Script also has Contextual Alternates that add variation & make the flow smooth. Contextual Alternates are automatically on. • Double Porter 2 -Wide Sans Serif font. • Double Porter 3 -Bold version of Double Porter 2 • Double Porter 4 -Semi condensed Sans Serif • Double Porter 5 -Condensed Bold Sans Serif • Double Porter 6 -Serif version of Double Porter 5 • Double Porter 7 -Set of 60 icons and ornaments • Double Porter 8 -Set of 68 Catchwords • Double Porter 9 -Set of 62 Ending Swashes and Strokes designed to go with Double Porter 1 - the script. In addition there is a “Printed” version of every Double Porter font. Printed versions are named Double Porter P x. Printed versions are exactly the same but the shapes have rugged outlines and a worn-out texture. Double Porter has wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.

One of the earliest fonts published by Canada Type was Almanac, Phil Rutter's digitization of Imre Reiner's 1957 calligraphic typeface, London Script. In 2007, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch, using larger originals. This new digitization maintains a soft contour and, slightly darker and steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Reiner Hand, to better reflect the origins of the design. Reiner Hand is soft and irregular jolts from a calligraphy master's hand. In a very Reineresque fashion, most characters include the one finishing stroke that makes professional calligraphers pause and ponder this additional touch to a letter's personality. Reiner Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them loaded with alternates and ligatures. The OpenType version combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

Use this font to make lines, borders, patterns, backgrounds, unique bullets, or use it inline within text. Let your imagination explore the possibilities to combine these geometric shapes. Use letter spacing to connect the shapes in a continuous pattern, or space them apart horizontally. Stack them vertically and control their distance with leading (line spacing). Make fields of pattern and explore layering and opacity for color mixing. FormPattern Color Six takes inspiration from mosaic patterns seen in the south of Italy. It is easier to use this font to make patterns than to use drawings because you can control the size, color, and spacing from the type menu. It is also an effective way to make web graphics that are responsive with text. Using it is simple. As you type, forms will appear instead of letters. Each font in this collection is a colored set. The sets are primary, secondary, tertiary, analogous, dark, old world, vintage, greyscale, cool grey, and warm grey. There is a solid font that can be colored in the same way as regular fonts. The color fonts are accessed in the type menu where you would normally find the different weights or italics Most design software, such as Illustrator, InDesign, and Photoshop provide a glyphs palette where you can choose the precise form you want. It can work with the simplest text editors too. However, these may not support the color options. FormPattern Color Six is a vector-based and fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator 2018, and QuarkXPress 2018 (and later versions). This version of FormPattern Color Six is compatible with all FormPattern fonts by Tarallo Design. The display artwork shows it paired with the typeface Scanno.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

Aint’ nuthin but the Thang. Thang is a street cred script family with big initial caps and tight flow. Thang is great for flashy headlines or as a logotype. Thang family comes with three weights. Thang Extras is a pack of strokes and dots that can be used to decorate your texts typed with Thang. Thang Extras can also be combined with Thang letters for custom Swash. Thang is packed with several OpenType features: keep on Standard Ligatures and Contextual Alternates for smooth flow. Try Swash, Stylistic or Titling Alternates for alternate characters to create customised lettering works. Check out Glyph Palette for even more alternate characters and go wild the Thang.

Neustade is a layered typeface based on a simple grid, taking inspiration from the work of Wim Crouwel and Foundry Types. I challenged myself to create a typeface where words and letters can appear within or outside of other words and letters with the help of layering. Neustades grid also applies to the spacing and kerning of individual letters or words, ensuring that every layer will line up and allowing different weights to interact with each other. Individually each weight within the Neustade family has been designed with legibility at small sizes in mind, allowing for smooth and uninterrupted reading. Neustade in large sizes feels both modern and retro, especially when mixing weights and colors.

Mister Earl, released by Bitstream in 1991, was designed by Jennifer Maestre. Inspiration came from a page in a ‘how-to’ book published in the 1930s. Later versions of Extra Light, Light and Bold were added by Jim Lyles, with the help of Wally Petty. Mister Earl is named in honor of Earl Biscoe, a Bitstream designer who retired in the mid-1980s because of illness. In the winter of 1994–1995, Richard Stetler accidentally left a copy of Mister Earl outside his Alaska home... In the spring, amazed to discover the unfortunate font was still just about alive, he decided to release the result to a wider public as Snow Cap.

The hand lettered words “Pere Noel” under a vintage French magazine’s photo of Santa with two bikini-clad beauties inspired the digital version of this quirky, condensed type style. Unusually Deco JNL is available in both regular and oblique versions From Wikipedia: “Père Noël “Papi Christmas”, sometimes called ‘Papa Noël’ (“Daddy Christmas”), is a legendary gift-bringer at Christmas in France and other French-speaking areas, identified with the Father Christmas and/or Santa Claus of English-speaking territories. Though they were traditionally different, all of them are now the same character, with different names, and the shared characteristics of a red outfit, workshop at the North Pole/Lapland, and a team of reindeer.”

Endurance Pro was designed by Steve Matteson to fill the need for a more graceful, less industrial-looking neo-grotesque sans serif design. The name Endurance lends itself to the reality that the typeface was designed to work well under extreme conditions from billboards to mobile phone screens. Endurance Pro was designed with on-screen legibility as a key attribute, and with careful detailing for a more polished appearance in large sizes. Endurance Pro has an wide-ranging character set with WGL support (Greek, Cyrillic and Eastern European characters) to meet the needs of multinational companies and creative professionals who desire OpenType's typographic features (with old style figures, proportional figures, fractions, superiors and a slash zero).

A companion to Springsteel (sans), this serif typeface is intended for longer text blocks and smaller sizes. Like the sans-serif, it has unusual construction using curves on the outside and straight lines inside characters, giving it quite an expressive and warm feel. It contains small caps and old-style figures, as well as superior/inferior figures and common fractions and mathematical symbols. It supports Western plus Nordic, Eastern European and Turkish languages. Excellent spacing and extensive kerning (over 2800 pairs) provided by Igino Marini/iKern. The free fonts in the Springsteel Serif Extreme family (thin and heavy weights) should only be used as display typefaces, at large size and short text blocks.

Wola™, by Franciszek Otto, is not for the typographically timid. It creates vibrant digital headings, banners and navigational links, in addition to commanding print headlines and subheads – but it is not shy, reserved or demure. The design blends the stroke weight stress of Bodoni with the urgency of handwritten letterforms, conveying the energy and immediacy of a design that’s bigger than life – and outside the fence. OpenType® Pro fonts of Wola provide for the automatic insertion of ligatures and alternate characters. These are in addition to a character set supporting most Central European and many Eastern European languages, including Cyrillic and Greek. All this makes Wola a comfortable – if boisterous – world traveler.

Emily Bonza Script is a sweet calligraphy writing while maintaining its elegance. This will increase your design stand out! Emily Bonza Script is the perfect typeface for all your types of projects, such as advertising, branding, graphic design, quotes, wedding designs, logos for online or offline businesses, photography, and more. Make your business more beautiful! Emily Bonza Script: - Multilingual - Alternative - PUA encoded - Ligature - Very easy to use in any software (Include Hints) - Does not require special software installation. Compatible with Windows and Mac OS. Supported by Microsoft Word, Paint, Adobe, Corel draw, Cricut and other applications. If you have any questions, don't hesitate to contact me via email. Thank you so much for finding and enjoying it!

Basilio Calafati (1800–1878) worked as a magician under the name of Salamucci in the Wiener Prater. Later he obtained the license for a roundabout and other amusement facilities in the Wiener Prater. Calafati typeface family is characterised by little contrast and strong emphasis on the horizontals. It is a robust font that has many applications. Its character shapes are simple and relatively unembellished. With regard to metrics and proportions it combines perfectly with the Wien Pro and the Liebelei Pro. Calafati is available in weights light, regular, medium, bold and black. In 2022, Calafati received a major update. The recent family, Calafati Soft, is an 100% offspring of sharp-edged Original Calafati.

Klapt Cyrillic is a geometric sans serif family that is soft on the outside and sharp on the inside. This font family of four weights includes an extended character set supporting most Latin languages ⁠ and extended Cyrillic — even Vietnamese, Serbian, Bulgarian and many more. Klapt Cyrillic can be bold or very elegant and is well suited for designs ranging from branding and corporate identity to editorial design or web design. It has a timeless style and is great for display purposes, especially for headlines, posters, magazines, book covers, logos... you name it! Feel free to share your designs using Klapt Cyrillic or just get in touch via email to hi@seventype.com. Klapt Cyrillic is the extension of Klapt.

Justone! A handwritten signature textured font, all caps. Justone font is suitable for branding, whether in the form of logo text, text on social media posts, text on offline and digital advertising, apparel, product packaging, editorial features, signature logo, etc. Whats Include? Opentype support Multilingual support PUA encoded Features: Uppercase, lowercase, numerals, punctuations, alternates, and ligatures Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word Please message me if you're unsure of any language support. Thanks for looking, and I hope you enjoy it! Please don't hesitate to drop me a message if you have any issues or queries.

HT Pasticceria is extremely eye-catching and high-contrast font. It is a chic typeface with a?sweet?and?perhaps?girly touch. HT Pasticceria is great for use in all kinds of display typography. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

HT Osteria is a monoline script, but you don’t feel it monotonous because of distinctive shapes of the characters. HT Osteria is suitable for signage, package, and posters or any other kind of display use. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Lettering on a 1933 booklet about certain facilities in Italy -- can you guess what they might be? -- by the Bertarelli Design Studio of Milan inspired this decidedly different and engaging monocase face. If you're looking for something that says "casual elegance," this is it. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Poets and musicians flourishing in southern France and northern Italy during the 11th to 13th centuries. Troubadour was designed by using a custom brush created with Adobe Illustrator. A digital tablet was used to draw all the characters in the font. The thick and thin strokes were created by applying pressure to the pen, like jesters dancing and bouncing in the streets as the music played.

This font consists of thin lines, we get very delicate impression.The straight lines are regularly arranged, at the same time, this font has very beautiful curved lines. So its overall atmosphere is intelligent and sophisticated. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Three carefully crafted script styles by the Brazilian type designer João Henrique Lopes. Another type project by Joao in which each style can be written by itself but combined they have an unique vitality and develop their full potential. An excellent readability make Meyling the perfect partner for a variety of projects, from stylish invitations to magazine ads, from poetry books to restaurant logos.

PLAM is a sans serif font in Geometric style, based on the new concept ofstructure and ratio between the elements of the letters. The proportions are subordinated to the decorative element present inall signs, which creates a sense of rhythm, dynamics and drive. The representation of PLAM in various designs reveals itsartistic touch - a symbiosis between the classical and decorative vision reveals various application options.

Pulchra is a stylish Brutalist font. The font displays a playfulness personality, vitality, with a strong and elegant appearance. The typeface has the right visual consistency for branding communications. It comes with unique lower and uppercase plus numbers, punctuation & multilingual letters. Its thick curves give the 60s & 70s groovy vibe. What you get: - Letters, numbers, punctuation, multilingual support, alternate and ligature - Light, Regular, Medium, and Bold version.

Gelateria is characterized by its dots and tails. This font is as a whole smooth and elegant. But because its dots and end of the tails are little points, Gelateria impressed you very much. Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

Gevher is a grotesque based font family that the product of a meticulous work that spread over 2 years. It differs from other grotesque fonts with its very soft angular turns to the rounded forms and its daring ink traps. The rigid and stable structure is balanced by deep ink traps and unusual opposite angle at the joints. Thus it has a more humanistic expression. It has 3 widths: Condensed, Narrow and Normal. It consists of 8 main weights and their compatible italics, totally has 48 styles. Therefore, it provides a wide range of usage practices. It offers creative "contextual alternates" for the best reading experience. Ideal for every editorial design, packaging, corporate identity, brand, application, web and desktop usages.