Introducing Karimshine, a captivating display font that seamlessly merges the artistry of Arabic script with modern design principles. Karimshine draws its inspiration from the graceful curves and strokes of Arabic calligraphy. It captures the essence of this artistic tradition, infusing each character with the timeless beauty of Arabic writing. The font retains the integrity of Arabic script while prioritizing readability through consistent proportions and low contrast. In addition, enjoy the features here. Karimshine fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview.

After Midnight - a serif look with simple, clean and visual elegance with smooth curves and beautiful ligatures, A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as: headlines, logos, labels, branding projects, magazines, homeware designs, product packaging, mugs, quotes, posters, and more. It can also be more expressive and fun, thanks to the many alternatives and binders that combine harmoniously in this font and make it more interesting and versatile. Try to change alternatives, binders and you will get many options for your project which will make it Smooth & beautiful.

Like its feline namesake from Kipling’s “Jungle Book”, Baghira has an elegant, smooth appearance and an impressive set of large, sharp teeth. With smoothly drawn curves, precisely placed corners, and rectangular dots, Baghira is a design rooted in the here and now. Its true italics gently allude to calligraphic roots, but overall, Baghira doesn’t follow any historical model. This cool cat sets his own standards. Designed by Christian Gruber & Moritz Kleinsorge, the Baghira font family consists of 8 fonts, with 4 weights ranging from Regular to Bold. Its character set contains 800 characters per style and is suited to quality typography in editorial design, corporate design and advertising.

Al Chevrola is a dynamic modern sans serif. Strong, with curves and an elegant touch. It is a rounded, geometric near-monoline construction sans serif typeface with display details which gives it modern, simple, elegant, chic, cool, and strong vibes. Each style and character looks amazing in large headlines. Al Chevrola works great in branding, logos, magazines, packaging. FEATURES: 4 Weight OpenType support Easy to use (with special combination) Multilingual support (15 languages) PUA Encoded Thanks for checking out Al Chevrola. I really hope you enjoy using it! If you have any questions I'd be more than happy to answer them, just send me a message.

Gemas is a wide typeface that looks incredible and has attractiveness when you see it. Each letter shape has been designed to have a character that is easily recorded in the mind. This font has cute and classy characters, clean lines, and smooth curves giving any project an extra touch of class. A serif modern and wide typeface that his own unique style & modern look. This typeface is perfect for large point size, for example in magazine layouts, packaging, book, title design, fashion brand, clothes, lettering, quotes design, and many other ways to your work. A-Z Character Set a-z Character set Numerals & Punctuations Multilingual Thanks, Alamsa

Ahkio is a brushed disconnected script family of 5 fonts. Ahkio’s roots are in 1930s sign painting and showcard lettering but with a modern and individual twist. Main characteristics are soft, rounded forms and a bit curved stems. Ahkio is a friendly and gentle font that suits well in titles, packages, logos and for example posters. 5 weights makes Ahkio a versatile font that gives you a possibility to add contrast and interest to your typography. Ahkio includes black and white manicules. You can use them easily with OpenType options. Just choose Stylistic set 1 and make sure Standard ligatures are on. Then just type: >> for Blackmaniculeright >> for Whitemaniculeright

Grobek is a serif typeface inspired by Garamond and American Typewriter fonts as well as classic 15th century typefaces. Its main features are a diagonal stress and soft curved teardrop shape terminals. Grobek comes in 8 weights, from Thin to Heavy, with matching italics- 32 styles in all. The font consists of 2 subfamilies: the basic family is classic yet contemporary while the alternative version has a stronger personality and allows more design freedom. Grobek is ideal for short text and paragraphs, and specially designed for logos, branding, editorial design and web use. This font contains 576 characters that support over 200 Latin-based languages.

Weisya is a charming and pretty handwritten font that effortlessly captures a sense of delicate beauty. With its graceful and flowing letterforms, each character in Weisya exudes a whimsical and feminine elegance. The slight variations in strokes and the gentle curves give this font a natural and handcrafted feel, making it a perfect choice for projects that seek a touch of romanticism and sophistication. Weisya adds a soft and inviting charm to wedding invitations, beauty products, and stylish stationery. Its versatility shines through as it effortlessly blends vintage charm with modern sensibilities, making Weisya an enchanting option for those looking to infuse their designs with a touch of lovely handwritten appeal.

Balgino Display - a serif look with simple, clean and visual elegance with smooth curves and beautiful ligatures, A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as: headlines, logos, labels, branding projects, magazines, homeware designs, product packaging, mugs, quotes, posters, and more. It can also be more expressive and fun, thanks to the many alternatives and binders that combine harmoniously in this font and make it more interesting and versatile. Try to change alternatives, binders and you will get many options for your project which will make it Smooth & beautiful.

Salosendo, an elegant serif typeface, exudes sophistication and refinement in every stroke. With its graceful letterforms and balanced proportions, Salosendo adds a touch of timeless class to any design project. The serifs are subtly crafted, conveying a sense of tradition while maintaining a modern and versatile appeal. The letter spacing is meticulously tuned, ensuring a harmonious flow that enhances legibility. Salosendo’s versatility shines through in both print and digital applications, making it an ideal choice for editorial layouts, branding, and high-end invitations. Its graceful curves and meticulous details make Salosendo a typeface that effortlessly elevates the visual aesthetic, embodying a perfect blend of classic charm and contemporary finesse.

Lostgun is a Stunning, classy upper and lowercase typeface that looks incredible in both large and small settings. Best used as a display for headings and logos, Lostgun has clean lines and smooth curves that gives any project an extra touch of class. IMPORTANT NOTE: Lostgun includes a lot of Ligatures that may show by default. If you want to use an alternate character in the place of a ligature or to use the basic characters instead, you may need to disable the OpenType Feature on your software. Main Features: Uppercase & Lowercase letters Punctuation and special characters Multilingual support OTF Format Alternate and Ligatures

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Alfazine Script is a bold and spirited script with extensive ornate detailing. This versatile font is evocative of antique signpainters' letters, circus wagon & carnival booth graphics, groovy 1960s psychedelic scripts, and even sportswear team insignias, all combined with a modern approach towards lively curlicues and ball finial stroke ends. As with all other font offerings from Mysterylab Designs, we take great care with artful kerning and weight-matching of glyphs to allow this font to be used not only at attention-grabbing headline and logo sizes, but also at small body copy sizes in extended passages. Alfazine also features an extruded shadow version that's very useful for designing logos and customized layered lettering.

Swedish designer Karl-Erik Forsberg created the original Berling typeface in 1951. Owned by Verbum in Sweden, Berling was completely redesigned and released in 2004, under the name Berling Nova. Forsberg (1914–1995) is considered one of Sweden’s most masterful graphic designers, and his original Berling has come to be seen as possibly the most definitive Swedish typeface. But a redesign was necessary in order to secure that the spirit of Berling would survive in the digital age. Linotype, the distributor of the original Berling™ , provided its collection of source materials to the designers working on Berling Nova. Additionally, Akira Kobayashi — Linotype’s Type Director — lent them his advice as their project advanced. Berling Nova is available in two optical sizes: Text and Display. The original Berling was a classic Renaissance roman face, with fine terminals and sharp, beak-like serifs. If one looks at Berling’s old lead type proofs in the smaller type sizes, it is clear that these had a fuller and more readable form than in later digital versions. So, in order to help return the new Berling Nova to its original splendor, both the base forms and the serifs were softened and inflated. In the text version, the x-height has been increased a bit (by 4%), the diagonal axis is less apparent, and special glyph ranges, such as those for small caps and old style figures, have been included in the font’s character sets. The display version still has the unmistakable “Berling” character that displays Forsberg’s mastery. Berling Nova is well suited for longer text passages in books, publications, and magazines. This typeface fulfils all the demands that one can make on a legible newspaper typeface. Access to both text and display versions are important to the demanding typographer. This is the first time since the typeface was digitalized that it is possible to use it in order to create truly beautiful and functional typography in all type sizes.

Quiroga Serif began in 2007 with the name Quadratta Serif. This typography was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes. Formally, my idea was to make a serif type that had a unique color, this is visible due to the light modulation. This is also complemented with the incorporation of not common, alternative signs. Some parts of the letters that are usually curb or diagonal where made horizontal (for example: a, q, p, etc.), this makes the eye of each character to be wide and unique. The serifs (wedge type) suffered diverse variations during the process. At the begining they where thicker and ended vertically, but this caused a great deal of printing errors. And so we decided to modify them by giving them an angle to avoid visible errors in medium and small sizes. The ch, and ll ligatures where rescued because they are a part of our current spanish alphabet. The historic ligatures and stylistic alternates give different options to users who want different alternatives within a text. The accentuation signs were composed in a middle line above all signs to avoid visual shock. We also gave plenty of importance to small caps numbers, mathematical signs and currency signs so that the could interact well.

I don't know why exactly, but I felt the need to create a Western font. Band Wagon is a handcrafted cowboy font. It comes with curly slabs, spurs and ye olde outlaw spirit.

SILLY is Cocomilk Studio's first homegrown typeface. This typeface, made by Cocomilk designer, Yas Liamco, features curvy, drooping forms and rounded edges that add a sense of fun and silliness to any project!

Rose fonts are based on examples published in the book "Script Lettering" written by M. Meijer in 1957. These kind of handmade lettering were served as a point of departure or inspiration for many other designers along the time. These writings had flowing lines, elegant curves and flourishes, which gave him a lot of rhythm and unique personality. Mont Rose is thin, feminine, friendly and sexy, each font contain 637 glyphs with many stylistic variations, swashes and ligatures in all its letters, and a set of interesting catchwords that you can mix and match to achieve a more interesting effect in your design project.
 They support also, Central, Eastern and Western European languages. Mont Rose are very versatile fonts, ideal for high-end logos, magazines and book covers, fashion, headlines, cards, posters, websites, packaging. Using these fonts you will achieve a very elegant and warm work.

Uranus is a futuristic font inspired by space and extraterrestrial civilizations. The proportions of the letters are wide, the elements of the letters have organic curves, reminiscent of the design of streamlined spaceships. What gives the font a special character is the excessive contrast between the upper element and the crossbar in letters such as A, B, E, F, K, P, R. In these letters, there is a barely noticeable intra-letter gap in the form of a line. Due to this contrast and rounded elements in these letters, a negative space of a triangular shape also turned out. Particular attention should be paid to the broad language support for the font. The font has support for Latin, extended Cyrillic, and Korean (2780 base syllables). Total glyphs: 3562. Uranus is well-suited for large typography, logos, and any other design related to futurism and space.

I've been in a vintage-meets-modern mood in my most recent font construction, and this is no exception. Whiskey Tango is a fun retro-style tall and narrow sans-serif font with a scoop of variety: it includes over 110 items in the Private Use Area, including small caps, alternates, ligatures, and ordinal indicators. There's just enough imbalance in stroke widths to make this font a little goofy and quirky, and really charming. All of the lines and curves are clean and sharp, making it great for text that's large, medium, or small. And it's great for crafting as well! As usual for me, this font contains over 300 extended Latin characters for language support, as well as full uppercase and lowercase sets of Greek and Cyrillic characters. And everything, as always, is fully PUA-encoded so all characters are easy to access, no matter what method you use.

Saigon is a minimalist condensed serif family. With clean lines and tight curves, its personality dwells in its simplicity making it a timeless editorial typeface. As the italic breaks with the traditional strokes and embrace a more modest yet modern look, it blends in nicely with its upright sister, thus creating an harmonious rhythm which emphasis the minimalist approach of Saigon. The low contrast serif is created to look great in both display and text. Whether it’s bold headlines of descriptive paragraphs, Saigon aims to be as versatile and functional as possible. It supplies 6 weights from thin to bold allowing you to elevate your typography designs in a minute while keeping it simple. Cause great design should be simple. The type family supports major Latin-based languages along with opentype features such as fractions, old style numerals, ligatures, case sensitive punctuation, stylistic alternates symbols and more.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

The Joanna® Sans Nova family is the only typeface in the Eric Gill Series that was not initially designed by Gill. Created by Monotype Studio designer Terrance Weinzierl over a three-year period with digital applications at the forefront of the design criteria, Joanna Sans Nova is a humanist sans serif based primarily on Gill’s original Joanna. The design comprises 16 fonts, from thin to black, each with a complementary italic. Joanna Sans Nova has a larger x-height to ensure high levels of legibility – even on small digital screens. Due to its inherent humanist proportions, Joanna Sans Nova is surprisingly comfortable for longer form reading. Its low contrast in character stroke weights also improves imaging in a variety of environments. In addition, the calligraphic and fluid details enable the roman and italic designs to shine in headlines and other display uses. Joanna Sans features a robust range of OpenType features for fine typography, including small caps, old style figures, proportional figures, ligatures, superscript and subscript figures and support for fractions. With over 1000 glyphs per font, Joanna Sans supports more than 50 languages – in Latin, Greek and Cyrillic scripts. “I've always been a fan of Gill’s work, explains Weinzierl, and found the simple, humanist qualities of Joanna really fitting for a sans serif design. I wanted to make something with Gill flavor, but with more harmony in the extreme weights than Gill Sans – and with my twist on it. I went through six or seven different italic designs before landing on the current direction.” “The original Joanna had a very distinct italic, Weinzierl continues. “It’s very condensed, and has a very shallow angle. I wanted to have an italic that stood out, but in a different way. I took a cursive direction for the italic details, which are wider and slanted more, both improving character legibility.” The Joanna Sans Nova typeface family is part of the new Eric Gill series, drawing on Monotype’s heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Bikra Plain and Bikra Stencil are tough and curve-less fonts.

Geometric stencil font completely based on curved lines. Soft techno style.

Intuitive freestyle handwriting font, with unique emphasizes on curves and rhythm.

Continue your branding with the ever popular Viva Beautiful font. A new hand-painted brush script collection by Cultivated Mind. Viva Beautiful is back with nine new fonts that include six scripts, a caps font, free words font, free extras and plenty of alternates/ligatures. There are five sets of alternates for every letter adding to the uniqueness of your designs. The new Viva Beautiful scripts are a much cleaner brush script than the original. All scripts come in pro and regular versions. Both versions are Latin Pro. Pro scripts include 260 alternates and 8 common ligatures. Ligatures are programmed to pop up when specific letter pairs are typed. Try the alternates and ligatures together to give your designs a realistic hand-painted look. The all caps font is a basic version that includes 5 common ligatures and looks great paired with the scripts. Regular versions include Latin Pro characters but do not include alternates and ligatures. Viva Beautiful Collection works best for beauty products, music branding, film, television, cookbooks, book covers, food marketing, magazines, and websites. Check out Cultivated Mind Type on Instagram for fun Viva design ideas. Bring beauty to your designs with Viva Beautiful! Fonts designed by Cindy Kinash. Poster designs by Corinne Alexandra.

The font is actually not a revival of ‘Avant Garde’—by Herb Lubalin—but it takes its spirit. Fibra is a geometric sans serif, yet without the typical structural strictness of these kind of fonts, that represents experimental type design. This can be seen in the contrast between curves and straight lines in some characters such as ’n’ and ‘h’ unlike rounded ones such as ‘a’ and ‘d’; details of some display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra a strong personality—a sans serif typeface that ‘gives you the chills’. Fibra was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

Whatever the medium, Girard’s love for typography was the common thread that wove his work together. We are honored that the Girard family has entrusted us to celebrate and expand upon the legacy of this design icon with this collection of fonts. The Girard Slab family gracefully synthesizes illustrative sensibilities into a practical typographic framework. Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. From boutique chocolate packaging to the titling sequence for an indie vegan superhero cartoon, Girard Script deftly adds a contemporary sophistication to text and display settings. Inspired by a workhorse lettering style that helped Alexander Girard implement thousands of design elements in his overhaul of the Braniff identity system, Girard Sky pulls its weight in any contemporary application. In Girard Sansusie, each character stands alone as an illustrative element while coming together with its counterparts as a whimsical yet functional typeface. FEATURES: The ligatures feature substitutes specially-drawn letter combinations that combine two, three or even four characters to create smoother transitions and simulate lettering sensibilities. Girard Slab’s three widths and four weights ensure versatility in a modern editorial setting while its gentle curves transcend the sterility of traditional typography to add an unprecedented warmth and personality. Copious alternate characters and “smart” OpenType programming allow Sansusie to escape the rigid confines of typography to come alive as if flowing from Girard’s sketchpad. This animation shows a sampling of the swash characters available in the font. GIRARD CREDITS: Typeface Design: Alexander Girard, Ben Kiel, Ken Barber, Laura Meseguer Typeface Production: Ben Kiel Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Ignazio is a powerfull sans serif font family with modern touches. A balance of hard lines and smooth curve makes them able to stand on their own dynamically Ignazio includes all-caps fonts Features - Support for MAC or PC - Simple installation for Adobe Illustrator, Corel Draw, Photoshop, or Procreate (New Updated) - Support Multi-language Ignazio works great in any branding, logos, magazines, films. The different styles give you a full range to explore a whole host of applications.

Fragille – Modern serif typeface This font is great for designing elegant logos, quotes, magazine covers, wedding cards, invitations, and brands. Its highly contrasting lines are best used in headlines and projects of a large type. Fragille adds timeless beauty, heavenly curves, and a classic look to any project. It is recommended to use Adobe Illustrator or Adobe Photoshop. Hope you enjoy our fonts and if you have any questions feel free to send a message & I’m happy to help

Kelluhan is a vintage typeface with visual elegance, smooth curves, and beautiful ligatures clear, making your work look true and attractive. A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as invitations, logos, branding, magazine, photography, card, product packaging, mugs, quotes, poster, labels, signatures and more. A font that is perfect for all business sectors including personal projects, studio, corporate, creative agency, industrial, company, etc.

Biens dailymo is elegant serif fonts with visual elegance, smooth curves, and beautiful ligatures clear, making your work look true and attractive. A versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as invitations, logos, branding, magazine, photography, card, product packaging, mugs, quotes, poster, labels, signatures, and more. A font that is perfect for all business sectors including personal projects, studio, corporate, creative agency, industrial, company, etc.

Simple Crush is my down-to-earth-comic-font with no hassle! Well, actually Simple Crush might take you by surprise here and there - because there is no real rules to height, width, curves and thickness…or whatever. When it comes to Simple Crush, you’re in luck - because Simple Crush is legible and stands out as a strong comic font, ready for action…even though the mission is a party invitation, birthday, poster or products for kids and pets!

Chiffon is a serif, display typeface. With high contrast and elegant curves. Chiffon includes three different versions of ‘c’ and ‘e’, which are carefully placed throughout the typeface, paired seamlessly with the following glyph. However, OpenType features and stylistic sets make the alternate forms available for the user to choose from as they see fit. Velour is available in 5 weights, from Extra light to Semi Bold, and supports Western, Central, and South-Eastern European languages.

Burnt anchor is clean serif fonts with visual elegance, smooth curves, and beautiful ligatures clear, making your work look true and attractive. A versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as invitations, logos, branding, magazine, photography, card, product packaging, mugs, quotes, poster, labels, signatures, and more. A font that is perfect for all business sectors including personal projects, studio, corporate, creative agency, industrial, company, etc.

Merino Equil is classic serif fonts with visual elegance, smooth curves, and beautiful ligatures clear, making your work look true and attractive. A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as invitations, logos, branding, magazine, photography, card, product packaging, mugs, quotes, poster, labels, signatures, and more. Font which is perfect for all business sectors including personal projects, studio, corporate, creative agency, industrial, company, etc.

Arniek is beautiful fonts with visual elegance, smooth curves and beautiful ligatures clear, making your work look true and attractive. A very versatile font that works in both large and small sizes. This font is suitable for a wide variety of projects such as invitations, logo, branding, magazine, photography, card, product packaging, mugs, quotes, poster, label, signature and more. Font which is perfect for all business sectors including personal projects, studio, corporate, creative agency, industrial, company, etc.

Its open counters and large x height give it excellent performance in small sizes. On the other hand, its curved diagonals, generous width and soft shapes give it a friendly but functional personality for a wide range of messages and voices. We recommend the four most extreme weights (Thin, ExtraLight, Black, and Heavy) for large sizes starting at 18 points, and the five intermediate weights (Light, Book, Regular, Medium, and Bold) for small sizes starting at 7 points.