Hi...Thank for your visit :) Halloween a handcraft font include 4 file font with ghost is a spooky seasonal halloween font. It features halloween-themed characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs and swashes that are full of halloween-themed! It also features many special features including glyphs and alternate ligatures. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look spooky and attractive, and also Multilingual support!!! Happy design ...

Hi...Thank for your visit :) You are my everythink a font duo is a beautiful script font with beginning and ending swash and display font. It features characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs and alternates that are full of love! It also features many special features including glyphs and alternate. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look cute and attractive, and also Multilingual support!!! Happy design ...

Say hello Geraldyne Signature, a handwritten script-inspired font that flows with an aesthetic touch. Geraldyne Signature is flexible enough for web and print and can be used in a wide variety of projects such as stationery, packaging, apparel, wedding stationery, prints, quotes, social media graphics, planners, greeting cards, logos, branding, and more. This font includes a character set of uppercase, lowercase, numbers, symbols, multilingual, alternates, and ligatures. Make sure you enable OpenType Ligatures to see the magic as you type. Software requirements: No special software is required to type with standard font characters. To enable additional alternative letters and ligatures, you can use a design application that supports the Opentype Feature in Fonts, such as Photoshop, InDesign, Illustrator, etc.

Trithemius, a 15th century Abbott, and influential counselor to Emperor Maximilian I, was also an author who wrote both histories and the first printed work on cryptography which gained him much adverse notoriety. He has been long regarded as a mystic and some of his works were therefore banned. However, it may have been his intention to cloak his cryptology essays in mystical writing to keep people from easily grasping the subject matter, which it has been recently demonstrated, at heart was really cryptological methodology. This font is based on a printed version of the Polygraphiae -- a text that included many methods of encryption. The examplar for this font in that text was described as anothor method of Alchemists recording secrets.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Agilo Handwriting Pro is an upright, medium weight handwriting font with a simplified, slightly sloped print (non-connecting) style that mimics true handwriting closely. Use Agilo Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Described as “An extended script type that lends itself well to fine fashion, ready-to-wear and all quality merchandise” in a marketing blurb pitching Beaufont by the Morgan Sign Machine Company of Chicago for their Line-O-Scribe sign printing system. This advertising script font was originally manufactured exclusively for Morgan Sign under license by the Hamilton Wood Type Manufacturing Company. The source patterns and original artwork for this typeface exist in the archives of the Hamilton Wood Type & Printing Museum, and were used for this fresh digitization of this font. This digital take includes alternate letters as originally designed in the mid-century wood type version, and now includes a full extended latin character set with over 350 characters.

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.

Sipur Knight is a fun and whimsical paint brushed display font. This font is perfect for many themed designs.

Based on the 60-point Amati designed by Georg Trump and issued by C. E. Weber (Stuttgart) in 1953.

The font was intended primarily to have a stronger body. It has a simple geometrical surface. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks. "Finalist Round Slab" is carefully crafted and a unique slab serif. Use for websites, print, motion graphics, logo design, packaging design, t-shirts and more. The designation “Finalist Round Slab Regular” forms the central point. The first figure of the number describes the stroke thickness: Thin to Black. "Finalist Round Slab" comes 7 weights and italics total 14 types. The family contains a set of 450+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. You can enjoy using it. UPDATES: - 30 December 2015 Opentype Feature (fractions) and some kerning. - 11 June 2018 Solving some UNICODE problems on the internet. - 12 March 2019 Some error has been fixed. - 19 November 2019 Some error has been fixed. - 16 August 2021 New Version - 2.0 Some error has been fixed.

The early Twentieth Century was a golden age for cinema, and for the artists who lettered the iconic title sequences. Stanffords Family evokes the soul of this vintage brush lettering with a modern twist. Its main characteristics are bouncy baseline, round forms. These qualities give Stanffords its casual, friendly and handmade looks. The font family is characterized by excellent legibility in both - web & print design areas, well-finished calligraphic designs, optimized kerning etc. Stanffords Family include 5 fonts: Stanffords, Stanffords Bright, Stanffords Sans and Stanffords Ornaments and Stanffords Bright Ornaments (sets of 86 ornaments) to combine and give options to your typographic elements and designs. Stanffords is a very versatile script font: it includes initial forms, and a generous complement of alternate characters, ligatures and ornaments, creating a genuine connecting hand-painted look in dynamic OpenType format. You have a lot of options to customize it and that makes it perfect for logos, packages, titles, food packaging, t-shirts, blogs, photo books, wedding and invitation stationery and for everything you think necessary ... You get the idea!

Vernon’s inspiration came while researching and investigating a 'legible' typeface design for tangible purpose. The main characteristics of ‘Vernon’ can be seen in the slightly modulated strokes that reference the natural and friendly humanist proportions of the humanist hand, with open interior letterspace characteristics. The subtle detailing and finishing of strokes and junctions – seen in the curved tail of the lowercase ‘l’ and the head serif of the lowercase ‘i’, create a smooth rhythm along the baseline. Utilizing the ‘contextual alternative’ feature of OpenType, Vernon substitutes select characters in words with word-shapes that may cause visual confusion to some readers. Vernon uses subtle character differentiation in the detailing of the inner-shape / counter space from similar letter shapes (for example: ‘p’, ‘d’, ‘g’ and ‘q’) to assist in creating the contextual alternate designs. Vernon is recommended for use as a text typeface, as it performs well at small text sizes (12 point size and below) intended for continuous reading of printed instructional and presentational information, especially where an inclusive audience demographic is required.

Gilam is a sans serif font with semi-condensed proportions. The typeface was based on the famous DIN but combines its popular neo-grotesque look with characteristics, such as the pointed edges in the “W” and “M” as well as the outward cut terminals, which gives a distinctive look to the modern geometric typeface. The complete set of 9 weights plus italics gives to designers the absolute freedom to create anything. Perfect layouts with blocks of text, headlines, motion graphics, logos, apps, and websites are just part of the intended usage of this versatile typeface. Features: • 765 glyphs in 18 styles; • Extended Latin, Cyrillic and Greek; • Geometric forms and low contrast; • Prominent x-height which makes it legible in a text; • Perfect for headlines and logos; • Suitable for web, print, motion graphics etc. • Semi-condensed proportion; • Advanced typographical support and OpenType features including case-sensitive forms, fractions, superscript and subscript characters, and stylistic alternates; • Complete set of figures - old style and lining figures, which come with proportional and tabular variation; Gilam means “joy of people” so that you can enjoy it!

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

ITC Magnifico Daytime and ITC Magnifico Nighttime are inspired by nineteenth-century decorated types and letterings. “Although they are designed as display typefaces, their use is not limited to large headings. Usually three-dimensional types are employed in gigantic headings in large posters, but I thought it would be interesting if such decorative types were used as well in small sizes, say at 12 point,” says designer Akira Kobayashi. “There were a few examples of small three-dimensional types used in cards printed in the nineteenth-century. I studied their letterforms carefully and became more and more interested in those small three-dimensional types. The outlines of ITC Magnifico are robust enough to endure use at small sizes. Sometimes the angle or the shape of the 'shadow' had to be slightly modified or even illogical, because the letterforms ought to look as simple as possible. The resulting types are fairly easy to read at small sizes, and I hope that at large sizes those occasional oddities will appear charming.”

Rialto dF is a book face inspired by calligraphic tradition. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers… As tradition demands, uppercase, numerals and punctuation are used in combination with italics – the same solution adopted by Francesco Griffo when he cut his first italic for the Virgil, the first of the octavo series printed and published in Venice by Aldus Manutius in 1501. Rialto dF comes in two optical weights: Piccolo, for up to 14 pt, and Grande for 16pt and above. Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke.

Because Contenu is designed for text use, it is spaced for body copy in the 9-12 point range. That is far too much spacing for heads, subheads, and the like. So I made the display version of Contenu Book to use for headers. In the process of tightening the spacing at the very large sizes, I also made some minor modifications to the glyph shapes to make this version a little more elegant. Contenu Opentype has two Opentype families for print design. Contenu Book has five fonts: Regular, Italic, Bold, Bold Italic, and Display. Contenu has Medium, Medium Italic, Black, and Black Italic. The name is French for content and this is what the family is designed for: text, body copy, and book layout. If it has a style, it is a modern take on oldstyle serif font using Jenson as a mask. There are no plans for display versions of the bolder weights or the italics. If you want them, use Contenu Medium, Book Bold, Contenu Black, or any of the four italics and tighten the tracking.

A Bold Display Family in Three Personalities: ego, id, and alter. Dez Boulder works like a character actor, presenting the author’s lines but not with the deadpan delivery of a news reporter. Boulder develops the role, adding meaning through facial expression, gesture, and body language. The Dez Boulder family of display faces acts in a supporting role to give meaning to message and context to content. It is a very bold face, not understated. Each of its three personalities (and their sub-personalities) have a different timbre to speak the nuance of your message in a bold voice. Dez Boulder averages more than 800 glyphs per style with uppercase, lowercase, small caps, proportional lining figures, small cap figures, superiors, inferiors, fractions, stylistic sets, alternates, ordinals, case specific punctuation, and more. It has a full range of diacritics and covers all European languages using the Latin script.

A new font inspired by vintage hand-painted paper grocery store signs. The Doorbuster Collection is based on retro hand-painted paper signs primarily seen in grocery stores from the 1920s through the 1970s. We meticulously hand-drew each font, modeling the spacing and uneven baseline found in vintage sign painting. The purposely organic ascenders and descenders, along with a huge set of ligatures/contextual alternates to avoid the same letters repeating when paired, give it a real hand-lettered look. Doorbuster Script is perfect for both vintage-inspired and contemporary marketing, branding, and packaging designs. Check out a few of the samples included in the thumbnails above.

Huxley Cyrillic is based on our Huxley Amore Bold, retaining all the Western and Central European characters of the latter, while adding upper and lower case Cyrillic characters. Huxley Cyrillic, like Huxley Amore, is visually simple and direct and yet sophisticated and unexpected. Those are the qualities that give it such freshness in so many applications. This font is intended for display use. It is highly condensed and is therefore difficult to read below 18 points. It works well at 36 points, but really works best at 48 points and larger. Huxley Cyrillic has 499 glyphs. I think we should have made at least one more!

Its one  of the modern Arabic fonts, a spontaneous free line characterized by beauty and speed of reading. To be used in advertisements, writing titles, magazines, cartoons, films, serials, comics and plays.

Intuitive free hand strokes are so unique to Alexandra and will stand out in a crowd. The brush like brush strokes are so personalized yet so legible, even in small font sizes.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Mak is a display font with a Ukrainian feeling inspired by Ukrainian music. This is a big update of the first free two styles of Mak (SemiBold High & Black High) that were created in 2019 and become widespread among free display fonts. The big update wasn't been only adding more weights and contrasts but also changing a lot of glyphs and adding new ones. Now Mak supports all Latin-based languages and European Cyrillic. Experiments with historical forms, contrasts, and daring shapes to create a new image of Ukrainian Cyrillic and Latin based on it.

Teorema. Well balanced Reading. Looking for a geometric yet flexible character? Teorema typeface combines different geometric shapes, according to a pragmatic approach that favors flexibility and ease of use. The font is distinguished by the contrast between perfectly circular shapes, and other, more angular ones in search of a formal balance aimed at optimizing the recognizability of the characters and finally the legibility of the text. Worthy of a geometric “theorem”? Try Teorema for free. Download a free version of Teorema Regular and Bold with a reduced character set. Check it out!