Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Span is a modern chiseled style family that flaunts its engraved heritage with sweeping serifs and sculptural forms. Bridging the contemporary and traditional, Span appears exuberant yet dignified. Designed primarily for luxurious headlines and titles, Span’s strong vertical stress is softened by elegant organic curves while its compact height accentuates the deep serifs. The family offers five weights, each with three widths and italics. The condensed styles provide an invaluable advantage when designing within narrow spaces. Span’s italics strike a balance between true italics and oblique letterforms to create a change in rhythm while preserving its chiselled style. A variety of additional features enhance Span's typographic capabilities including restrained swashes and flourishes are available in both roman and italic styles. Span also introduces an additional set of capitals for exceptional typographic control over uppercase settings. ‘Mid Caps’ sit midway between full-height capitals and lowercase letters and extend Span's title setting options to All Capitals, Capitals with Mid Caps and Capitals with Small Caps. Choose Span and take full control over your title settings and produce classic typography with statuesque poise. Overview: 30 styles comprised of 5 weights, 3 widths and accompanying italics Additional features include alternate characters, swashes, Small Caps and Mid Caps 987 glyphs per style See the Specimen Supported Languages: Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, Filipino, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Malay, Maltese, Moldavian, Norwegian, Occitan, Polish, Portuguese, Romanian, Samoan, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof, Zulu

Arabetics Harfi is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. Careful spacing and kerning was used to enhance resulting text legibility both scripts. Arabetics Harfi fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi type style with connected glyphs, but it emphasizes a horizontal look and feel rather than verticalone, utilizing slightly varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Harfi includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Arabetics Harfi includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. It includes two weights, regular and bold, each of which has normal, right slanted Italic, and left-slanted styles.

Hanna has its roots in the Plato and Cilantro fonts published earlier by Wilton Foundry. It is an informal roman and very legible at any size - a rare combination for many applications. Hanna was specifically designed to generate additional income for an orphanage in Ethiopia. Hanna Teshome runs an orphanage of roughly 140 children in Addis Ababa, Ethiopia. She is an amazing lady with a deep passion for orphan kids as well as innocent kids that find themselves in jail because their mothers have been imprisoned - they are treated as prisoners and are typically sexually abused - it is not uncommon for them to commit suicide when they are released from jail at age 18. Most of the orphans end up with Hanna because one or both of their parents have died from AIDS. Hanna relies entirely on donations to keep her orphanage running and this font is a small but tangible way for you to help make a difference in the lives of the orphan kids. I am committed to helping Hanna after visiting the orphanage several times and seeing the jails from where the kids have been rescued. Hanna is my hero because she stepped out of her comfort zone, with no financial support, to take care of the kids. My hope is that you will use this font as a messenger of good. All of Wilton Foundry royalties for this font will go to the support of Hanna’s orphanage in Ethiopia. Thank you in advance for your support on behalf of Hanna and the kids!

In designing the Millenium® typeface, Patrice Provost was inspired by great typographers in the great French typographic tradition to create a unique and modern variable font. His goal was to reinterpret the mid-20th century sans serif style in a variable typeface that will conform to the need of the 21st century. He succeeded with mastery in drawing large characters. In doing so, patrice provost added an exceptional dimension to the design of this typeface, a graphic personality that evolves over the styles. The attention to detail brought to each letter, each accent, each diacritic, make this font a solid tool for all Western graphic designers and layout artists. With more than 1000 glyphs per style, Millenium® can be used in more than 210 countries. With its 13 styles drawn in Classical Roman style, in Italics and in condensed Millenium® provides designers from all walks of life with a fantastic tool to bring novelty and class to your creations. Ideal for signage, Millenium, thanks to its "wide case", is also widely used for posters. It is also a gold mine for creating logos for dynamic tech start-ups. The Millenium family is made up of designs with progressive weight changes. it is very extensive. It ranges from "Super Thin" to "Extra Black". Unique in the world, its thinness makes it possible to design a very light style even to print on posters and other large formats. Designed from the outset as a variable typeface, Millenium offers a range of 900 possible variations and an infinity of creations...

Aure Westra embodies the liquid look of a broad-nibbed ink pen. These bold forms engage the reader with a subtext of exotic wisdom. Westra’s entrancing flow brings a dramatic intrigue to text and titles and an esoteric savor to astrological expressions and chartwheels. Westra is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. The unique look of Aure Westra stands on its own as a text font. Where needed, use the clean lines of Aure Jane to provide contrasting text that will showcase Westra’s exotic nature. Give Aure Westra a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

This typeface has been beloved throughout history. Bodoni used it to print his first masterwork, but it has never before been publicly available. Now available for the first time, CAL Bodoni Casale has been painstakingly crafted from hi-res scans of 4 original Bodoni printings. Unlike many Bodonis drawn from computerized straight lines, this Bodoni follows the original contours of the master himself. With small caps, old style numbers, special options for $, %, £, €, Bodoni Casale allows you to make elegant pricing, sales signs, or logos. Besides it's authentic origins, Casale's 21st century debut includes Features & Alternates never seen before, including Frankenfont (giving the font 6 fun alternative uses with 1 click!). Other alternates, such as the $ and €, give the user options when styling their work. Various word and letter spacing options are also automatically included so the user can choose to preserve Bodoni's original spacings or go with a more modern look. The Bodoni for White on Black Most Bodoni fonts will start to disappear on black. Bodoni Casale’s robust strokes don’t disappear, even when set to smaller sizes. The robust strokes of this Bodoni font also lend visibility and legibility at large sizes with dark background, such as on signage. What You Get ✓Bodoni's original font, Roman + Italic and small caps ✓Style Sets for quick and beautiful formatting ✓5 Unicase Options ✓An army of percentage signs, dollar signs, and money symbols. ✓Punctuation Options for any reading situation ✓A Realistic and Inky look ✓Designed by Bodoni Himself For a Full Tour of Bodoni Casale, here's a video!

Madrigalle was seven months in the making and may be described as a contemporary copperplate. When designers look for a font that is both elaborate and strong, they generally have to go back to styles of a previous period, possibly produced recently but not contemporary in their look and feel. In Madrigalle, I believe that I've produced a font that is contemporary but has the boldness and delicacy that mark the fonts of previous generations. I feel that most fonts that derive their style from the complexity of their characters place too much emphasis on upper case characters, and that lower case characters are very conservatively treated. I have tried, with Madrigalle, to redress this imbalance and to introduce informality and vigor to the genre. Madrigalle comes in three options: Two simpler options, Madrigalle Nocturne - slightly less elaborate, and Madrigalle Minuet - slightly more elaborate. Each of these options may be easily used in packages that don't support the Character Map OpenType feature. The Professional Option, Madrigalle Expert, combines all the features of Nocturne and Minuet and has a large number of additional opentype character alternatives. It takes full advantage of Opentype features to provide the designer with a wide range of options, enabling him to give an individual stamp to his work. I recommend that packages such as InDesign and Illustrator, which support Character maps, be used with Madrigalle Expert in order to make full use of this font’s OpenType features. (Just select GLYPHS from the TYPE palette, and set your creativity free!) All Madrigalle styles contain the accented characters used in the major European languages. Try Madrigalle, use it for invitations, advertising media, fashion media, music media, contemporary cosmetics, anything romantic... the list is endless!

JT Collect is a hybrid sans-serif typeface for the 21st century that takes a playful approach to the type design heritages of Germany and Switzerland. Confidently built on a geometric structure and infused with elements from traditional grotesque typefaces, it hits the sweet spot between geo and grot. I developed JT Collect purely digitally, drawing from years of experience with analog type design. The letters aren’t based on one particular source but seek to merge different type genres from the first half of the 20th century and lift them to a contemporary quality level. JT Collect is less reserved than strictly geometric designs and brings some industrial workmanship and honesty into the game. The six weights plus three optical sizes of JT Collect offer what you need to make an impact. While cool and elegant in the Light weight, the fonts show more presence on the page as they grow bolder. To this end, I drew the letterforms with a slightly unrefined, brawny air in the bolder weights. This sets them apart from the perceived purity of more geometric designs. The Book weight is ideal for short texts and medium-length copy, and the forceful Bold makes wordmarks look crisp and lets headlines radiate cosmopolitan self-confidence. JT Collect is suitable as a primary typeface for branding, advertising, packaging, stationery, posters, documents, and websites from trades and industries as diverse as food & fashion, media & makers, culture & creators, games & gems, sports & startups. Use JT Collect for film titles or watch faces, for leaflets or store signs, for business cards or billboards: this font family is as adaptable as a chameleon (and like a chameleon, it’s never boring). Try it in different contexts. You won’t be disappointed. Its adaptability also makes JT Collect a great starting point for poised and persuasive font combinations. Even a sans/sans pairing is possible due to hybrid nature of JT Collect—something that’d be hard to achieve with most other sans-serif typefaces on the market. You can add to it a heavy slab from the OGJ library, like Temper Wide. You might go for a geometric or a grotesque typeface as secondary (text) typeface. Or you could set your body copy in a classic serif typeface such as Caslon, Sabon, or Plantin. That’s right: JT Collect is a true team player. Whether you need a grotesque or a geometric sans: try JT Collect. You can get the best of both worlds.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Mathelo is a modern semi geo-humanist sans font. With three different weight stroke, fun character with a bit of ligatures and stylistic alternates. To give you an extra creative work. Mathelo font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Mathelo font. Cheers, Maulana Creative

If you’re looking for a gorgeous font to attract your audiences or customers then we’ve got the font for you! Introducing Romely- A Sans Serif Font This handmade font typeface with modern style looks very interesting for loads of different projects and promotions. It is perfect to be used on your website, for your social media branding, Pinterest banners, printed products, and more! Features: Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Hartsinger is a fancy handwritten font. With cartoon vibes or notes on the book scratch, had a fun character with a bit of ligatures and fun swashes. To give you an extra creative work. Hartsinger font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Hartsinger font. Cheers, MaulanaCreative

Pina Colada this beautiful handwritten font duo is a smooth script and playing sans, they perfectly combine and complement each other, they will bring their unique style to any design project and make it unique. It is as sweet as Pina Colada, fall in Love with its incredibly versatile and simple style and use it to create gorgeous wedding invitations, beautiful stationery, greeting cards, attractive social media messages and more! This font is easy to use, has OpenType features, and supports PUA encoding.

Satigof by Holyline is a playful sans serif font family, This font very playful and unique comes in nine weight, thin to black . It's very unique, fancy, playful very easy to combine with multiple design style. Satigof perfect for headline, sub headline ,custom logo,packaging, quote, invitations, watermark,social media posts, label, anything for your creativity and Satigof is perfect font if you want something new with your project, and you can pairing this font with the weight, its very satisfy. Happy creating!

Nicestrips is a fancy casual script font With clean stroke, super slanted and fun character. It has Opentype features of ligatures and some alternate lowercase character, To give you an extra creative work. Nicestrips script font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Nicestrips font. Cheers, MaulanaCreative

Quiny Alissa is an expressive signature script font. With high contrast slanted stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Quiny Alissa font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Quiny Alissa font. Cheers, Maulana Creative

Monndy is a rough stamp style fun sans serif font. With semi bold stroke and slant, fun character with a bit of ligatures and alternates. To give you an extra creative work. Monndy font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Monndy font. Cheers, Maulana Creative

Nun Waw is a modern humanist condensed sans display font. Bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Nun Waw font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Nun Waw font. Cheers, Maulana Creative

Marselid Serif. Marselid Serif.is a Serif Display Font with a modern, classy, fun, unique and versatile style. It looks amazing at display size and is easy to read in text size. This font also has lots of unique alternatives and binders that will make for stunning design projects. Marselid Serif. works well for branding projects, logos, wedding designs, social media posts, advertisements, product packaging, product designs, labels, photography, watermarks, invitations, or any project you are working on. File Includes: Regular Slant Outline Condensed

Introducing Hulahoy Typeface. This font is inspired by the design styles of the 70s. The style is funny, groovy, classic, not serious but has aesthetic and unique value, besides that the Hulahoy font is very easy to remember and becomes the image of a design. Hulahoy is very good for being your font collection because this font is very unique and easy to apply to any media that has a design concept that is not so serious, groovy, classic, funny and unique.

Half Blvd is an industrial genre display sans serif font. With bold soft round edge stroke, fun character with a bit of ligatures. To give you an extra creative work. Half Blvd font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Half Blvd font. Cheers, Maulana Creative

Eskos Display is a bright and eye-catching headline set. It is designed specifically to attract attention and be the base of the composition. It is deliberately diagonal and gives a sharp oblique texture to the texts. Such an exciting font will be perfect for posters, headlines on media sites or magazines, and it can also be the base for a corporate identity. The font supportsBasic Latin, Cyrillic and more than 100 languages all together. Eskos Display was designed by Viktor Pesotsky.

Calm Lovely is Modern Duo, these fonts are of two types serif and script. Display Serif inspired by famous logo and stylish, This typeface has been made carefully to make sure its premium quality and luxury feel. Calm Lovely perfectly for headlines, wedding, social media, logos, posters, packaging, T-shirts,coffee shops, restaurants, magazine’s headers, signs or gift/post cards,cafe’s and weddings or any type of advertising purpose. if you have any questions, don’t hesitate to contact us Ergibi Studio

Frollyness is a casual signature script font. With a gel pen line stroke, slant and fun character with a bit of ligature and bit lower alternate. To give you an extra creative work. Frollyness font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Frollyness font. Cheers, Maulana Creative

Gentlysoftly is a characteristic signature font of Maulana creative, with clean monoline storke, slanted, condensed and fun character. It has Opentype features of ligatures character, To give you an extra creative work. Gentlysoftly signature font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Gentlysoftly signature font. Cheers, MaulanaCreative

Contoursy is a Fancy Signature script font. With light stroke, slanted and fun character with a bit of ligatures and a bit lowercase alternatives. To give you an extra creative work. Contoursy font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Contoursy font. Cheers, MaulanaCreative

Angel Rise is an expressive signature font. With clean mono-line stroke, super slant and fun character with a different Upper and lower alternate style. To give you an extra creative work. Angel Rise font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Angel Rise font. Cheers, MaulanaCreative

Bigzo Hams graffiti bubble display font. Bold stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Bigzo Hams graffiti display font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Bigzo Hams graffiti bubble display font. Cheers, Maulana Creative

Chorest is an SVG handwritten font. With brush stroke, slant and fun character with a bit of ligatures and bit lowercase alternatives. To give you an extra creative work. Chorest SVG font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Chorest SVG font. Cheers, MaulanaCreative

Le Greg is a modern soft sans display font. With bold stroke, fun character with a bit of ligatures and ton of stylistic alternates. To give you an extra creative work. Le Greg font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Le Greg font. Cheers, Maulana Creative