Calmine is a font duo package contain a hand drawn bold script and sans serif which looks great to be paired especially for vintage and adventure theme! This font duo is purposely made for headline, display or logotype, and signature which need a standout appearing. This font is also suitable to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Calmine Script Regular and Rough Calmine Sans Regular and Rough uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

“Kamenica” - named after a beautiful small mountain river in Serbia - is a font family containing 3 weights: Light, Regular and Bold. The Kamenica river is only a few meters wide. Mostly shallow and cold, clear and green, it was the direct inspiration source for the creation of this condensed typeface. As our other typefaces, “Kamenica” also combines traditional shapes with modern forms, tall x-height and a collection of more than 300 glyphs. Comparing the river with the font, we could say that letters are the fishes that lives in the Kamenica river and that the font weights are the seasons in which this river shows most of its own character.

Low Def, short for Low Definition, is inspired by fonts displayed on old CRT televisions / monitors, sometimes with quirky characteristics. From video game consoles, home computers to the dim noisy arcades. With it's lower resolution analogue signal shown through scanlines, it created a smoothened look that blended together the pixels on CRT displays. The family consist of 5 different widths, from Extra Narrow to Extra Wide. Roman, Cyrillic, Katakana & Hiragana are supported.

Mama Bunny was inspired by a playful style in combination with Hand Lettering. Every single letters have been carefully crafted to make your text looks beautiful. I hope this can inspire you for your work. Font is PUA encoded so you can access the extras from the character map in most design software. Files Include : Alternate Stylistic Character Multilanguage Support PUA Encoded To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw. There are additional ways to access alternates, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). Happy Creating!

Elevate your designs with Fendesert – the ultimate vintage and stamp font duo. This collection features a pair script and san serif font in regular, rough, and stamp styles. Plus, you get 20 hand-drawn western illustrations for added creativity. Perfect for logos, branding, apparel, and more. Unlock vintage charm with Fendesert. Fendesert font features : - 3 style typefaces (regular, rough and stamp) - Uppercase, lowercase, numeral, symbol, punctuation and alternate in script font - All-caps, numeral, symbol and punctuation in sans serif font - Multilingual - PUA Encoded Fendesert includes : - 7 fonts (script, sans serif and dingbat) - 20 hand-drawn illustrations in dingbat

Fashion is about style, pairing the right one with the best one. Let me introduce Mode Style, best paired font between Sans Serif and Handwritten Script. It's suitable for logo, display purpose, or something else that needs elegant style. YOU'LL GET: 1. Mode Style Sans, an elegant Sans Serif font with medium wide characters. This is All Caps font with large range of punctuation and multilingual support. 2. Mode Style Script, a classy thin Handwritten Script font with natural pen stroke feel. Comes with ligature make this font more close to the real handwritten, also support multilingual and already PUA Encoded.

Megatype Script is a handmade script that comes with a extrude effect. This font Inspired by Retro style and combination with Hand Lettering style. I hope this can make inspire you from your work. You don't need extra effort to create an extrude effect for this font. That's because we include the extrude with this font. This means you can saves your time by only adding the extrude font on the back layer. Megatype Script is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Poster, T-Shirt/Apparel, Magazine, Quotes, Signs, Instagram Design, Advertising Design, and any Type Design needs. Megatype Script also has a standard Multilingual Support. Megatype Script features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. Megatype Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks so much for looking and Enjoy it!

Originally released in 1995 as a three font family, Paradigm forcefully addressed the emaciating effect that digitization was then exerting upon traditional serifed typography. Investigating the new media of a much previous era, Nick Shinn deconstructed the first roman type, designed by Sweynheym and Pannartz in 1467, and gleaned, from its minuscules, the low contrast and discreet serif treatment (portrayed by a novel convex effect), which he subsequently applied to both capitals and lower case of a classically proportioned Venetian invention. Now in 2008, the glyphs, metrics and hinting of the 1995 fonts have been refined, Extra Bold and Light weights added, a full range of OpenType features instituted, and the number of characters per style increased almost threefold. It is a major upgrade to a unique typeface.

Magnetic Pro is a typeface inspired by typewriter characters with a mechanical aspect. Equipped for professional typography, this font family has many OpenType features such as small caps, case sensitive forms, tabular and old style figures, pro kerning, circled numerals, ligatures, and extra graphics. It comes in 8 weights with corresponding italics and it's suited for multiple purposes including display and editorial use, especially for advertising, long text, packaging and branding. Magnetic Pro has true italics with a 'mechanical script' aspect to give more style in long texts. It has also an extended character set to support Central and Eastern European as well as Western European languages. Magnetic Pro has also an extra graphics style for those who wants to add catchwords, special titles, arrows and geometric shapes to their creative projects.

In the world of webfonts, Condensed proportions are key to maximizing your page's premium real estate while keeping your copy clean and catchy as you cut down to the essentials. Soon after the introduction of webfonts, I began to see Insigne's Le Havre used frequently for web headlines, not so much for its Art Deco look as for its more compact proportions. There seemed to be a need for a font that was designed to be used solely for the web's unique constraints. Enter Coegit Sans. Coegit is built specifically for web applications. Its highly Condensed forms range from thin--offering the greatest number of uses--to the attractive, accenting black. With three widths--Compressed, Compact, and the widest, Condensed --the family holds a total of sixteen fonts. The typefamily has also been hinted for excellent, onscreen display quality, even at small sizes. Overall, its lighter, humanist features provide the reader a more congenial welcome than its square, sans-serif counterparts can offer. Coegit is equipped for complex professional typography with stems, small caps and plenty of alts, including titling capitals. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The family also includes glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Coegit supports over 40 languages that use the Latin script, making the new addition a great choice for multi-lingual publications and packaging. While the advanced OpenType features of webfonts are not currently supported in many browsers, the near future promises wide support. As acceptance of these features grow, Coegit Sans will prove to be a versatile element for your wide range of web projects.

Autor is a medium-contrast sans serif font with a dynamic stroke modulation. Its clean look and angled terminals give your designs a ‘sharp’ and contemporary feel. Autor Family comes in 7 weights, ranging from Thin to Black, with matching italics, resulting in a total of 14 styles. Autor is well-suited for editorial design, body text in books and magazines, headers and titles. It can also be used—as a display font—for logotypes, branding, advertising and publishing. The font includes a character set containing more than 400 glyphs that support over 200 languages.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

Xenois is a sweeping suite of designs that will provide solutions for a multitude of projects. Annual reports, restaurant menus, business correspondence, corporate identity programs, movie credits and advertising campaigns can all be set with various faces from the family. Interrelating perfectly, the sub-families within the series include Xenois Sans, Serif, Semi, Soft, Slab and Super. The designs have a common and obvious design bond, yet each is able to stand on its own as a distinct typestyle. The Xenois typefaces are based on a common underlying model; they have the same cap height, the same lowercase x-height, the same stem weights, and the same basic character shapes. This unity of shape and proportion results in a remarkably complementary set of typeface designs.

An all-capitals reversed sans-serif font, designed for easy creation of signs, labels and banners. Various endpieces are included. Upright and italic can be combined.

this is a cool sans serif font with a casual and complete with unique icons that you can make a logo or decoration on your design

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Modularico was initially designed in 1991 for the logotype of a sound recording studio in Kremenchuk city. At the end of 2008 I decided to make a digital version of this font. Final design of font was finished in June 2009.