Lunga is a wonderful condensed font. It was designed to be a legible type. It has lots of decorative glyphs and ligatures which were possible thanks to the open-type format! Lunga Real Ligada is the most complete style. The Open Type format contains all the ligatures and alternates. It also contains the SMALLCAPS function. Lunga Exacta has the right quantity of glyphs. The necessary ones if you are not a ligature lover. Lunga Versalita is a SMALLCAPS font. These glyphs are also contained in Lunga Real Ligada. Lunga Extras shows some ligatures and alternates which are actually contained in Lunga Real Ligada thanks to the Open Type format.

Steamy Miracles is a handwritten script font which is a mixture of incredible drama and gracefulness to clearly express a modern design. Each letter’s details show some curvy, sharp strokes on the edges. Due to its great legibility, you may apply this font for either bigger- or smaller-sized texts. Features: Ligatures Stylistic Sets Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Sreamy Miracles fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Thank you for purchasing our font and happy designing.

Draughtwork is a special decorative font designed to have the look of a work in progress, showing the process of constructing letters using a ruler and a compass on a grid. It's in the tradition of our very popular Roughwork font, but more detailed and with additional features. Unlike Roughwork, Draughtwork includes a full upper and lower case character set plus some special alternate character variants. Developing Draughtwork was a monstrous task. The complexity of the 9x9 grids with each character were a challenge to the rendering capacity of Fontographer and required an extraordinary amount of fine tuning - but the result was worth the effort.

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

I am proud to introduce the new Rombusa Font! This is a unique and fun calligraphy model with feminine and elegant letters, specially made for business cards, wedding events, posters, books, magazines, fashion, etc. Feature; • Full set of uppercase, lowercase letters • 428+ glyphs and 237 alternate characters • Characters with accents • Multiple Languages Supports • PUA encoded This kind of Rombusa has become a work of true love, making it heartwarming and delightful. I can't wait to see what you do with Rombusa! Feel free to use the #Suza Studio tag and the #Rombusa font to show what you've been up to, I really hope you enjoy it! Thank You!

Soyuz Crash is a Modern Sci-fi font that created special for Technology, Sci-fi, modern and more stand out typography needs, with extra alternative styles that make your design more memorable. It's so perfect to add your style and headline overview for future, technology, actions, and technology theme. And specially for this font, we crafted for bold action style and modern feels so enjoy to create any project that will show your main idea out. Soyuz Crash Modern Sci-fi font ready with: Modern Font variation characters prepared to get creative Preview as a inspirations that you can do Ready with All Uppercase characters Wish you enjoy our font. :)

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

Your design project is your brand’s introduction to the public, so it is crucial to do it in the right way. An inappropriate font can totally change your messages and damage your work. For that reason, Karita is here to assist you with your needs. Karita is a classic, elegant, professional display serif font to increase the product and brand values promoted. This font looks more prominent than the others and shows strong, yet elegant impressions to attract customers. Continuity elements on every little scratch of the letters’ edges lead your eyes to follow one letter to another in line with serif font characters. Besides, this font type has thick lines and strong contrasts to attract customers and to show firm impressions. For a legibility reason, you can use this font for big text sizes. You can enjoy the available features here as well. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Karita fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Gill Sans® Nova typeface, by Monotype Studio designer George Ryan, expands the much-loved Gill Sans family from 18 to 43 fonts and features a coordinated range of roman and condensed designs. Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. A variety of OpenType® features are supported that make it possible to include experimental characters from different points in Gill Sans’s long history, including pointed diagonals on ‘A’, ‘V’ and ‘W’ and alternatives for ‘b’, ‘d’, ‘p’ and ‘q.’ Proportional figures are also available as an alternative to the tabular designs. The Gill Sans Nova family has a large character set that supports Latin, Greek and Cyrillic languages. The display weights support Latin only. “Gill Sans was fast to strike a chord with people after its initial 1928 release and quickly became popular,” explains Ryan. “It’s been adapted for every publishing technology, from mechanical typesetting to digital imaging – always receiving the best treatment from Monotype in each iteration. This is especially true with all that we’ve added to the new series, while still retaining the familiarity of Gill Sans. My goal was to ensure clarity across digital environments, add missing weights, and bring more personality to the family with new display fonts, as well as Gill-inspired alternate characters.” The Gill Sans Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The Series also brings to life new elements inspired by some of Gill’s unreleased work, recently discovered in Monotype’s archive of original typeface drawings, designer correspondence and documents from the last century.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect 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. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

Our Binder Family is a revival and expansion of Binder-Style, a typeface designed by Joseph Binder and released by D. Stempel AG in 1959. It originally was a single weight. In later film type adaptations, a bold style, and an outline with drop shadow style were made available. However, this typeface never really had a true sense of family or larger language compatible character set. The original Binder-style typeface found revived popularity with its super condensed style when it appeared on the movie poster for "Silence of the Lambs". It was always a disappointment to me how this typestyle had never gained more traction in use. And so, many years later, we decided to revive the original typestyle, and expand it with a range of weights and obliques to pair with those weights. We've moved most of the unusual lowercase forms to a Stylistic Alternates feature, along with unicast alternates for the Capitals. The family includes a full standard character set with expansive international support of latin based languages, and 4 weights jumping from Thin to Bold, along with 4 accompanying obliques. This family is ready for you to eat it up with a nice glass of Chianti. Here's what's included with the Binder Family: 538 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 4 weights: Thin, Light, Regular, & Bold. Accompanying Obliques with each weight/width style. TTF formatted fonts have been hinted for optimal performance. Here's why the Binder Family is for you: You're in need of a stylish condensed font with a variety of weights and obliques for your designs You're a fan of the typographic works of Joseph Binder, but wish there was more to them You love the style of Agency and Bank Gothic, but want something uber-narrow You are desperate to recreate the movie poster from Silence of the Lambs You just like to collect quality fonts to add to your design arsenal

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

fj Alabaster Antique™ is a hybrid typefamily with a 10 styles inspired of the develop and exploration of “serif” since the first half in XIX century, envolves a special influence of the slab humanist typefaces, —with a calligraphy flavor in his Italic— with the goal to generate a contrast in to texts sheets. Has a three display versions based in the universe of “woodtypes” to deliver a “unity” in all typeset, like his versions fj Alabaster Antique™ Display, Engraved & Shaded. Include Small Caps, Swashes, Modern and OldStyles figures to decimal notation that envolve to fj Alabaster Antique™ in a ideal typeface for first and second lecture in the most of the visual communication pieces. • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Wasted Youth: A 90s Grunge Inspired Brush Font by Wingsart Studio Wasted Youth is a versatile brush font with shades of grunge, punk and horror. The font comes in three styles including a clean-edged original, plus two additional versions drawn with inky brush and marker pen. It takes inspiration from 90s grunge bands, with a hand-made punk aesthetic that’s equally at home in music videos, album covers, horror movies and skate culture. It aims to combine the best of these popular looks into one versatile font. Along with its unique uppercase and lowercase characters, Wasted Youth also comes with a host of custom ligatures, underlines and alternatives, along with numerals, punctuation and language support. It’s a truly flexible font that can be shaped into titles and headlines that look authentically hand-made. Try it on t-shirts, posters, stickers, movie titles, YouTube videos and more! Check out my visuals to see it in action.

Tom Lincoln's award-winning type design work since the 1960s has been one way or another of expressing his fascination for the Roman majuscules inscribed at the base of the Trajan Column in Rome. This time he has really outdone himself by bringing us Roma, a definitive, contemporary, mature sans serif expression of those majuscules. With Roma, Lincoln is not satisfied with simply creating a proper "Trajan Sans". He goes on to make it a family of four weights, with built-in small caps and oldstyle figures, then he really goes to town with the options he makes available for shading and multi-color settings. Precise renderings of the Roma capitals are provided in different fonts that can function individually or be layered atop each other for two- or three-color treatments. The Roma family comes with extended language support that spans the majority of Latin-based languages. For more information on the design, complete character sets, technological features, and print tests, consult the accompanying PDF.

Behrens Initialen is based on the type graphics of the German architect and type designer Peter Behrens (1868-1940). The drawing of the original typeface is in tune with the Art Nouveau (Jugendstil) style in which Behrens worked. This is a light, delicate, somewhat theatrical typeface, the forms of which bear at the same time a certain shade of Gothic and modernity, and can be used, in particular, when there is a need to make a reference to medieval graphics while maintaining the modern style of composition. In the proposed version, the original initial graphics are used not only for uppercase letters, but also for Arabic figures, while for lowercase letters and for the base of other characters are used the letters themselves - without decorative framing. This feature can be useful for obtaining various effects when using both lower and upper cases in parallel, including when they are overlaid. The font includes the Latin, Cyrillic and Armenian ranges. Created by Ruben Tarumian in 2020.

BUNK is an 11 font system that can be layered in different ways to create various classic titling effects, think Old Timey signage 'COME IN WE'RE OPEN'. It's a display font that produces the different results by mixing and matching the various fonts together. Bunk's layer combos give you the control to create brilliant bevel, convex and 3-D styles. Each font contains the same metrics, so when your title is set, copy and paste-in-place to create layers of different weights/styles to build out your desired effect. Unlike other Layered Fonts out there, BUNK has upper case and lower case as well as currency symbols and lots of foreign characters too. Over 180 glyphs!. Five of the fonts (Shades 1,2,3,4,5) are clearly dependent on each other to create a complete font, so theses are only available in the Full family pack (11 fonts) or in the Layer Kit Family pack (7 fonts).

Zombie Apocalypse is way more versatile as its name would suggest. It might be used as a horror font (red color tones in horror games, movie covers) or in ads for an Offroad Experience Tour (or wherever it comes to dirt, mud and spatters in combination with brown tones). When used with light blue/red/yellow/orange colors, the font can express creativity and freedom (on fashion, inspirational art and advertising) because it is not bound to classic straight-lined fonts. In various shades of gray or in black, it can be used to support a "worn out" look. Zombie Apocalypse - with its "worn out" look and many details - is espacially designed for use with large font sizes, for example in high resolution print media or in large images on digital media. The font is designed to be used in many different languages. It has a large set of accented characters and diacritical marks.

Introducing The Loud & Proud Bobby Jones Font Collection Inside you'll find 16 quirky handcrafted fonts, oozing with personality, ripe and ready to take center stage within a variety of creative and fun design projects. If you're looking to grab eyeballs with an ad campaign, a logo design, apparel, printed stationery, and all that other good stuff, then worry not. Bobby has you covered. We all come with imperfections and Bobby is no exception! His outlines are slightly off, his corners are irregular, his straights aren't straight, but he's cool with it. In fact, he's too busy strutting his stuff. - What's Inside? Each of the fonts listed below boast multilingual glyph ranges and their own individually handcrafted outline style! (16 fonts in total!) - Bobby Jones - The original Bobby.J - Bobby Jones Soft - A rounded version of the above - Bobby Jones Condensed - The thinner and leaner sibling to Bobby Jones - Bobby Jones Condensed Soft - A rounded version of the above - Bobby Rough - A high-res textured version of the original - Bobby Rough Soft - A textured version of Bobby Jones Soft - Bobby Rough Condensed - A textured version of Bobby Jones Condensed - Bobby Rough Condensed Soft - A textured version of Bobby Jones Condensed Soft Designed a little over five years ago, the original Bobby Jones Font was my first ever product. This new and improved version has been entirely redesigned from bottom to top. Holding dearly to the punch that the original had, while adding a whole lot of extra power. I hope you enjoy the Bobby Jones Family as much as I do and have, and as always if you have any questions or comments, please do not hesitate to get in touch. I'd love to hear from you. (tom[at]tomchalky.com)

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

Paralucent Slab is an addition to the ever-popular Paralucent family. Paralucent is versatile all-purpose modern sans and slab serif design. Available in seven weights, from Thin to Heavy, with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. The addition of the Slab family adds even more options for running text and headline.

From the heart of the Blue Ridge Mountains, by way of Toronto, comes Martie's handwriting. Martie Byrd is a school teacher in Roanoke, Virginia, and a friend of Canada Type's Rebecca Alaccari. After years of admiring the cheer and clarity of Martie's handwriting, we asked her to write out full alphabets for some cool font treatment. The intent was to do three different versions of her writing in two different pens, then use the auto-magic of OpenType to determine letter sequences and rotate character sets on the fly when the fonts are in use. A successful endeavor it was. Take a look at the images in the MyFonts gallery to see the character rotation in action, along with a visual explanation of why Martie is not just another handwriting font. Unlike other available felt tip and ballpoint handwriting fonts, the regular and bold variations are style-based, not weight-based. They are the handwritten expressions of two different Sharpie pens: The fine point one (Martie Bold), and the ultrafine one (Martie Regular). The style-based variation considerably helps the realism needed in design pieces that take advantage of the contrast of two different handwriting fonts. Weight thickening in handwriting is an obvious mechanical effect that only happens with computers. Weight changing by replacing pens is what happens in the real world. Martie Pro and Martie Pro Bold each contain three different character sets in a single font. Language support includes Western, Central and Eastern European languages for all three sets. This translates into each Pro font containing over 750 characters. Add OpenType code and stir, and you have true handwriting fonts with versatility unavailable out there in anything else of the genre. A software program that supports OpenType features is needed to use the randomization coded in Martie Pro and Martie Pro Bold. Current versions of QuarkXpress and Adobe applications (Photoshop, Illlustrator, InDesign) do contain support for the randomization feature. But if you don't have one of these apps, you can still use the interchangeable Type 1 or True Type fonts and change the characters manually to achieve the appearance of true handwriting. The Martie fonts come in a variety of price packages, from the affordable single fonts to value-laden complete sets. All the proceeds from these fonts received by Canada Type will be donated 50/50 to two primary schools: One in Roanoke (where Martie teaches), and one in Toronto (where the 10-year old, real Canada Type boss goes). So next time a design project needs a handwriting font, do the write thing and use Martie to keep it real.

Inspired by various shapes such as leaves, flowers, hearts etc., Apresia Script is harmonically crafted. My first intention is only for standard design, but, later added simpler characters for normal(standard) typings. Apresia Script is rich with capital letter variants and ornaments. There are also lowercase variants in lesser numbers. I assume that many or perhaps most people want to have their name or the other of their important designs to be written with some letters that are in various shapes harmoniously. Apresia Script with more then 4000 glyphs support this aim, also support many latin based languages. However, because of many variations, except the standard characters, the full marked capitals are only set in two variants; in ss01 and ss02, which is also some marked lowercases included here. Swash variants (swsh) consist only one variant of every uppercase and lowercase characters, but no marked characters. All the others capital and lowercase variants are put in stlystic alternatives (salt). There are tens of unmarked caps and fewer for unmarked lowercase in salt (see Apresia Script opentype features(1) poster for some). The ornaments can be accessed via opentype ornaments(ornm), using less() characters for easier access. There are also beginning small letter(lowercase) ornaments, end word(lowercase) ornaments and insertion ornaments to make your typing/design more flourish, using ornm via “[“ (bracketleft), “]” (bracketright) and “\” (backslash), respectively. For marks; marks via combining marks and mkmk was set for many characters variants, however, it seem most applications not yet support this features. Alternatively, you can add non standard unicode combining marks via ornaments for the language supported: asterisk “*” list for uppercase marks above letters; ASCIIcircum “^” list for lowercase marks above letters; underscore “_” for uppercase and lowercase marks below the letters; numbersign “#” for slashing characters, horn, caron alternate and reversed comma for g, (see Apresia Script opentype features(2) poster and save it if you download the font). Thus, it is recommended to have the application which are support these opentype features such as: Adobe in Design, Adobe Illustrator, CorelDRAW or others for easier accessing the glyphs. Still, for non supported applications, you can insert these glyphs via Character maps, insert symbols or other similar tools. Apresia Script will go for most typing/design such as invitation, wedding card, greeting card, banners, logos and many others. Use it for whatever you intended to, Apresia script will give an amazing end design, though you are not a designer. As intended to be able to be used by many, this font is set in an affordable price. Thank you very much for downloading this font.

Like many of Jim Parkinson's alphabets, Pueblo began as poster lettering. It shows a range of influences: turn-of-the-century sign painting, old Speedball lettering books, and a touch of art nouveau. While developing Pueblo, Parkinson debated whether to make the ends of the serifs rounded or square. Rounded looked more like the work of a Speedball lettering pen, but squared stroke endings made the letters more legible at small sizes. The finished design sports serifs that are just slightly rounded. According to Parkinson, the design feature is “enough to be noticed at large sizes, while going virtually unnoticed at smaller point sizes,” adding to the versatility of this distinctive typeface.

Seconda XtraSoft is the extra soft companion of Seconda and Seconda Soft. Friendlier, easier on the eye, more informal, more fashionable — but still the refined and reliable Seconda. Seconda XtraSoft’s extra softness comes from the moderate rounding of both the edges and the inner corners of its characters. Seconda XtraSoft has sixteen styles, extensive language support, eight different kinds of figures, sophisticated OpenType features — so it’s ready for advanced typographic projects. For text and display use. When using Seconda XtraSoft in small text sizes, it will be a reliable and legible text face. When using it in big display sizes, it will show its interesting details. For more information about Seconda XtraSoft, download the PDF Specimen Manual.

The first sans serif types were made in London in the early 19th century. They were severely modern, all caps and bold. The Figgins foundry, inventor of the term sans serif, showed a ?ne example in its specimen of 1836. The extra bold weight of Figgins Sans is a close revival of the original, with the addition of a lower case which retains its partly geometric, partly grotesque quality. The family is rounded out with other weights and an italic, and extended into Cyrillic and Greek, all executed in what is assumed to be as authentic a manner as possible, given the hypothetical nature of the exercise. Together with Scotch Modern, comprises The Modern Suite of matched fonts.

Disco Rendezvous: An Adaptive Font Pair Inspired by Neon Soaked Club Culture Combining an elegant script and a tall sans serif font, Disco Rendezvous is a perfectly contrasted design that evokes the golden-age of disco, inspired by neon soaked night clubs and epic dance floor hits. The superstar of this show is the highly customisable script that takes full advantage of OpenType features to offer countless creative options via alternative characters and automatic ligatures, giving your headers and title designs an authentically hand-made look. It features a complete set of uppercase and lowercase characters, along with numerals, punctuation and language support, and used with the included Sans Serif font pair you have a perfectly matched type treatment.

Casta is strong Modern contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Casta come with elegant style, strength and contrasts, with features an extended latin character set of 429 glyphs covering over 28 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Casta is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

Lihataja Handbrush is designed to show a strong charm. With quick, dry strokes and a signature style, Lihataja is perfect for branding projects, homeware designs, product packaging - or simply as a stylish text overlay to any background image. Ligatures • Are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with opentype capability or a glyphs panel, e.g. Photoshop/Illustrator. That's it! I really hope you enjoy it - please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Come and say hello over on Instagram! Khaiuns

Do you want your designs to have strong characters? Hirace is a display font in capital letters perfectly created to meet your needs. A racing theme sticks in its display, which is a brilliant idea. This font, in accordance with its theme, shows a strong brave character to use anytime designers need a large-sized text. Other incredible features are also available to maximize the design projects. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Apply this font for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing.

The inspiration source for Tryst Monogram is a showcard script (capitals only) from the 1912 A Show at Showcards book by Atkinson & Atkinson. What began as 26 referenced script letters became an over 800 character font in order to create its unique cameo effect! Tryst Monogram can create one, two, or three letter monograms as well as a unique two letter cameo monogram style - made by simply typing two lowercase letters in a row (using OpenType Ligatures). Add framing to a cameo monogram by adding a number 0-9 before the two letters. It's that easy! Download and view the Tryst Monogram Guidebook if you would like to learn a little more.

Jack Martine font duo is a textured, hand-drawn slab font in a regular style with upper and lowercase letters and bounching italic script style solid proportions that works great for a variety of display uses. Carefully drawn for quality and legibility, but still rough enough to show handcrafted details. Jack Martine is great for display, branding, packaging, advertising, food, sports, craft, titles and more. Jack Martine Features: Regular and Script Style Different uppercase and lowercase characters Simply switch between upper and lower case for alternatives Hand-drawn details and textures Extensive multilingual character support This font has broad Latin support for Western, Central, and Southeastern Europe. Includes: Uppercase Numbers Punctuation Symbols Multilingual support Begin and ending alternate