Masha is a new 3D font notable for its unique style and attractiveness. It is appropriate to use this font as addition to different pictures or pieces of art, it is a good final touch for something unusual and beautiful. The hand made letters provide individuality and an unusual appearance. It supports all European languages.

Larsson is a hand-drawn, all-caps, ultra-narrow font created by Bartek Nowak. It contains two variations for each letter and a lot of ligatures. Use for invitations, greeting cards, posters, advertising, weddings, books, menus etc. Language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

The 1885 specimen book of the Palmer and Rey Type Foundry of San Francisco featured the inspiration for this typeface under the name Courier. This version has been thoughtfully designed to use Contextual Alternates to avoid unsightly swash collisions. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

Cherkessk - Handwritten Font is a handwritten with a natural & stylish flow. This collection of scripts is perfect for personal branding. this works well for many applications. Everything from personal branding & wedding invitations to advertising could benefit from this collection of signature fonts Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature

Caracas is a new family of sans serif fonts, looking friendly, sweet and comfortable to read. Where text flow between straight lines and round by becoming transparent in the interest of readability. Caracas is ideal for working in small letters and texts of a technical nature. Caracas is a humanistic approach to reading sans forms.

Bleeding Heart is a smooth, elegant and flowing handwritten font. It has a beautifully balanced character and as a result, it fits into a wide set of designs. Bleeding Heart has a varied baseline, smooth lines, gorgeous glyphs and amazing alternatives. Add to your most creative ideas and watch how they bring them to life!

Atteron is a elegant serif font. Made for any professional project branding. It is the best for logos, branding and quotes. Every letter has a unique and beautiful touch. Includes: Atteron (OTF) Features: Beautiful Alternates Stylistic Set Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Rooster Scratch is an uppercase handwritten typeface, it'ill give your work natural and hand crafted feel. Now you can see what happens, when rooster takes a marker pen in its foot. Perfect for quotes, logos, magazine & poster design, bold headers, apparel, packaging & label design. In other words this typeface is perfect for your next project!

Angelus is a flowing script that can be seen as a more casual modern version of the copperplate script, with a fresh take on the way the ascenders and descenders interact with the totality of the setting. Angelus is ideal for use in package design, as well as on personalized collateral and book covers.

A rather droll unicase typeface, discovered in a 1970s chapbook of suggested lettering for Soviet propaganda posters, inspired this bouncy beauty. Way more fun than a barrel of Volga Boatmen. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

Frantic Pace JNL is based on hand lettering found on the lid of a late 1950s or early 1960s edition of the Print Craft alphabet printing set once manufactured by the Superior Marking Equipment Company of Chicago. The free-form spurred serif lettering is fun and casual; giving the impression of movement or action.

This unicase beauty is based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin and introduced in 1926. Classic, stylish and elegant, this typeface will add grace and charm to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Roelle will look beautiful on holiday invitations, wedding invites and stationery, logos, and more. Test it out below and watch the posters to see how it could look for your next project! Includes: Opentype SVG with ligatures Uppercase and lowercase Numbers and punctuation Foreign language support Check out my blog: www.instagram.com/zloillev pinterest.com/dmitriychirkov7

Aventi is an absolutely elegant serif font. This typeface includes stylistic alternates set (a, e, g, y) and discretionary ligatures. It will elevate a wide range of design ideas, from cards to branding, labels, and more. This font is PUA encoded, which means you can access all of the glyphs, alternate characters, ligatures with ease.

Gangrena is a display font family, based on a old lettersets and style of UK punk posters from 80’s. It is characterized by a huge amount of automatic alternates, cycling in a random way trough the text. Each letter has three versions. To complement the font Gangrena has a set of six different brushes.

Blacklisted is a vintage script font with clean brush strokes. It’s very recommended for logo, branding, clothing, poster, and many more. You can customize every word with alternates characters and swashes. Blacklisted also support special characters for multilingual. Files & Features: Uppercase & Lowercase Numeral & Punctuation Stylistic Alternates Stylistic Sets (SS01 & SS02) Special Characters PUA Encoded

Here comes our new font Unranked this is a sans handwritten that is written casually and quickly. this font are made with brushes on Procreate. Then crafted carefully drawn into vector format. That is why Unranked has Rough and strong characteristic more natural look to your text with a more modern look to your text.

DUPLICITER is an experimental display sans serif font which has two typefaces for comfortable and experimental use. DUPLICITER is a (latest) part of new school in type design that could be called like mind-free and geometric direction in the world. Sans serif, condensed, sharp edges, geometric, experimental, these are the main attributes of DUPLICITER.

I have been eager to create a pattern font, and Garamono is a set of patterns which you can simply create by typing an alphabet on keyboard. Garamono consists of 26 unique and original patterns, and 26 elements from traditional to modern. This pattern font is good for using as background, wallpaper, clothing, etc.

Manifest is a geometric typeface family based on the principles of simplicity, modernity and functionality. With a low-contrast design approach, it performs excellently in any project from print to digital. It comes in five weights with an extended character set including 240+ glyphs per typeface which supports Western and some Central European languages.

"Summer is Never Ending :D" Introducing a Better Summer Script. Made from a chic brush, it will make your design more beautiful. Includes: Better Summer (OTF) Features: Character Set A-z Numerals and Punctuation (OpenType Standard) Accents (Multilingual characters) PUA Encoded Beautiful ligatures I hope you can enjoy the font as you enjoy the summer :)

Drakoheart Revofit is an initiative to make sans fonts. It’s one of my personal favorites, in fact. In its first release, this font had a cool appearance but was improved with better kerning and a cool look in this new release. Perfect to write some digital texts as in web articles, blogs and branding.

Miftah is a modern serif font. Made for any professional project branding. It is the best for logos, branding and quotes. Every letter has a unique and beautiful touch. Includes: Miftah (OTF) Features: Beautiful Ligatures Stylistic Set Swashes PUA Encoded Multilingual Support Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Hurstville - Brush Signature Font with a natural & stylish flow. This collection of scripts is perfect for personal branding. this works well for many applications. Everything from personal branding & wedding invitations to advertising could benefit from this collection of signature fonts Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature • Swash

Florens is a flourished, semi-formal script that designer Garrett Boge modeled after his own italic calligraphy, which is a contemporary version of the chancery script of the Italian Renaissance. In addition to the standard character set, a Flourished font provides old-style figures, special dingbats, and swash variants for all upper and lowercase characters.

Built with both thick and thin lines this display font uses heavy round terminals giving this almost didone-style font a more playful and slightly stylish look. Perfect for magazines and publications as well as for identity and branding. The character set contains typical OpenType features in addition to small caps, and old style numbers.

A modern journalistic style typeface. The subtle condensed characters create great economy of space best suited to brochure, editorial and magazine layouts. Also using the contrasting weights you can add great dimension across headline and body copy. Details include 6 weights with italics, an extended European character set, manually edited kerning and Euro symbol.

ITC Redonda is the work of Montreal designer Gerard Mariscalchi and based on a common style of 19th century French handwriting. It comes with two sets of caps, both highly flourished, which are complemented by a refined lowercase. ITC Redonda is a distinctive upright script with intricate forms and will lend elegance to any application.

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

SHILIA – AN ARABIC FONT THAT LIVES HAND IN HAND WITH LATIN TEXT CHARACTERS A special design principle underlies the Arabic font Shilia created by Mamoun Sakkal: the form of the characters means that they harmonise happily with sans serif Latin fonts, such as Univers. Because of this, Shilia is the ideal choice for any bilingual project and for use in international corporate branding. Shilia™ had its beginnings in the 1970s. Taking one of the oldest variants of Arabic script, the minimalist Kufic, as his inspiration, Mamoun Sakkal fashioned simple stroke shapes that are combined according to a geometric grid. Shilia is at home in both worlds, that of the East and that of the West. And although Shilia has been primarily designed to be used as a display font, it is also ideal for setting shorter texts. Before being published by Linotype, Shilia underwent major adaptation and updating, and is now available in the modern OpenType format. Mamoun Sakkal increased the characters available per individual typeface variant to over 1,800, and his daughter, Aida Sakkal, worked on programming the extensive OpenType features for the font. There are numerous ligatures that can be used to provide suitable variation and avoid repetition within a given context, and many special features such as the dots under the initial and final segments of words being automatically centralised. Shilia not only supports Arabic, but also Persian and Urdu. Special character combinations for setting texts in these languages, particularly Urdu, are provided through OpenType. And there are a total of 19 stylistic sets with additional character variants available to the user. An example of Urdu text Shilia is available in eight weights, from UltraLight to Black. The corresponding condensed versions are in the course of preparation. Along with the Arabic characters, all of the typeface versions include matching Latin alphabet letters of Adrian Frutiger’s Linotype Univers® family, making Shilia intrinsically suitable for setting bilingual texts. A set of ornaments carefully designed to allow for numerous compositions of bands and decorative patterns rounds off the range of characters on offer. With its 21 weights, Shilia is one of the most extensive of Arabic typeface families that is currently on the market. Its clear and well-balanced forms emphasise the linear nature of the font without allowing it to appear sterile or artificial. Shilia not only cuts a good figure as a display font for signage or in artistic projects, thanks to its substantial range of features, the font family can also be used to set texts, such as corporate and administrative documents. In addition, but the full compatibility between the Arabic and Latin characters makes Shilia the perfect choice for international and multilingual design projects.

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.