Sobriquet means 'nickname'. The font is a narrow, handmade typeface, in an art-deco-ish style. It comes with a bunch of ligatures, distinct upper and lower case letters and extensive language support.

La tipografía Castelan Hispane es una tipografía inspirada en documentos y textos antiguos históricos españoles del siglo XVI. Los trazos semi-medievales - cursivos, le dan una apariencia antigua pero también moderna para los proyectos en los que se desee utilizar la tipografía. Cuenta con seis estilos y tres pesos, ligera, regular y negrita. Cada peso contiene también su forma “itálica”. The Castelan Hispane typeface is a typeface inspired by ancient Spanish historical documents and texts from the 16th century. The semi-medieval - cursive strokes give it an ancient but also modern appearance for projects in which you want to use typography. It has six styles and three weights, light, regular and bold. Each weight also contains its “italic” form.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

TWA Assembly Sans is not your standard workhorse sans. Although it sports the same geometric shapes, grotesk characteristics, and comes in many weights, its unique qualities and slight diagonal curves give Assembly Sans a friendlier appearance. As the weight increase, the contrast becomes more extreme, adding to its approachability.

Jazmo is an offspring of an assignment I did for a Dutch architect. A classic building and coincidently the place of my studio in my hometown Zwolle, Netherlands, needed to be renovated. My job was to design the house numbers and signs for this building. This building I refer to was built in 1932 and designed according to the ‘New objectivity’ architecture. Now it accommodates several artist and craftsmen and also houses students. In my design I used elements of the Art Nouveau, which is related to the ‘New Objectivity’. Words as stately, angular, linear, stylish, artful, playful and frolic came to mind. It should be a design with a hint of the past and a flirt with the future. This house numbering is the root wherefrom Jazmo arises. The name Jazmo cites to the Jazz scene, which was a new and very popular artistic influence that time and age and is still a vibrant source of musical renewal. Mo stands for my Name Marit Otto. Together with my intern Arie Blok I created the missing characters and completed the font. Welcome Jazmo!

Venecian Old Face fonts had a strong influence on typeface design in the 1930s and 1940s in England. Such influence is evident in the font Electra, designed by William A. Dwiggins for Linotype in 1935. Electra combines its classic roots with the Zeitgeist of the 1930s, also displaying characteristics of the Bauhaus and Art Deco styles.

Carelia is a modern multilingual (including cyrillic) serif family with classic forms, enhanced by extended OpenType features. It is well suited for all sorts of design - starting from web, to editorial and branding. Its stylistic alternates, swashes and ligatures (more 1200 glyphs in each font) will make your design even more stylized and unique. Carelia comes in two styles Upright and Italic - each has it's own character but both share the same curves and style. Both fonts are fully unicode mapped - can be used in any application of your choice.

JH Lea cursive is a school kids typeface; it is designed based on cursive handwriting , typical for children books, first hand calligraphy experience.

Bonfires is an elegant font in beautiful handwriting styles interconnected to each other to create smooth, continuous flows. The letters are shaped in curvy, smooth pen lines and the low letter contrasts can express smooth nuances. Details of this font are crucial as each curve and connection must look equal and proportional to create visually balanced, solid displays. Furthermore, its smooth, connected texts are able to let readers’ eyes stay warm and comfortable. In addition, you may enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Bonfires fits best for any design projects requiring casual, personal displays such as greeting cards, merchandise designs, and any casual-related designs. In web designs, this script font is perfectly applicable for blogs and sites to show intimate and personal nuances to the contents. 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.

Josef Wein Moderne Blackletter is inspired in the rare work of Josef Heinz, who publish, in 1900 (Wien, Leipzig), a small catalog with gothic and art nouveau inspiration : "Moderne Schriften / herausgegeben und verlegt von Josef Heim", or, in the french title : Alphabetes Modernes. Soon, other fonts in that collection... Enjoy it

Thanks for checking out November Starlight! A lovingly hand-painted script font, fantastically elegant & eccentric with a sprinkle of carefree fun. November Starlight doesn't play by the rules - with extra bouncy characters, long vertical brush strokes and authentic hand-painted edges, it's bound to make a bold statement on anything from greeting cards and invitations, to personalised logos and handwritten quotes. November Starlight consists of 4 fonts; November Starlight • A cursive font containing upper & lowercase characters, numerals and a large range of punctuation. November Starlight Alt • This is a second version of November Starlight, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. November Starlight Clean & Clean Alt • Totally clean versions of each of the November Starlight fonts, with all rough brush textures removed. Perfect for specialised printing techniques such as laser & vinyl cutting, or simply for a silky smooth finish to your text. Special Characters are also available for several lowercase letters, with added beginning & end swashes - please see the character map image for a full list. These characters are accessible via software with a glyphs panel, e.g. Photoshop CC, Adobe Illustrator.

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

A makeup ad in the December, 1937 issue of Modern Screen magazine inspired Single Line Deco JNL, an Art Deco monoline which is available in both regular and oblique versions. The font is based on the hand lettered headline touting “Modern Eyes”.

Experimental and accidental unicase grotesque. A font in which all the letters and numbers fell down and deformed under the force of gravity. Everything that was hanging fell down. Everything that was curved horizontally straightened. The form and principle of construction of each symbol in the font is dictated not by tradition, but by physics. This makes FE Planking 2020 an excellent tool for creating phrases and statements in advertising and art projects that attract attention and make your head spin. The first free version with a minimum set of Latin and Cyrillic alphabets was released in 2019, and in 2020 the font was updated and supplemented with an expanded set of characters. Dedicated to @Serge Rachok, who invented the Planking Game before it was invented by others.

Arcato is a font family shaped from spherical curves inspired by celestial bodies. It supports 114 languages, features a total of 508 glyphs and includes an italicized version for each of the 5 weights.

Hi, introducing a creative bold font Lazy Dude. It's an all caps typeface with smooth curvy shape. Lazy Dude has a wide languages support with west european and cyrillic characters (check out all available characters on previews). Thank you and have a nice day!

Quid Pro Quo is a nice, handwritten, trashy font. Cursive and decorative, straightforward, yet twisted.

This font was inspired by my sister Emily's handwriting. She has neat, fluid cursive handwriting.

Capital Love just contains capital letters decorated with hearts. By pressing a lowercase button a alternative to the uppercase letter will appear. All shapes are drawn individually and do not oblige a geometrical system. The lighthearted vivid ductus remind me of a quality that can be found in the dynamics of Keith Haring drawings. Capital Love is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Create a great combination design with this font family! Leophard font family is a modern slab serif that is inspired by sporty design and vintage style. There are 6 different styles that you can apply in your design projects. This font is made with tenacious basic shapes, the visuality of strength, old school movement, and modern minimalist style. - Regular style - good for your titles, sub-headlines or body text for readability. - Bold style - recommended for your titles, naming, labels or logos. - Bold inline style - is cool for your big typographic designs that are showing the precision of the shapes. - Outline style - good for your additional text, or minimalism design purposes. - Shadow style - suitable for vintage logos, minimalist effects, and titles. - Stencil style - inspired by street art and letterpress design. Recommended for design project which visualizes strength and movement. Make a great combination on your label designs, brand, poster headlines, movie titles, storefront, monograms, sport designs and merchandise design.

Palatino Sans was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. The fonts in the Palatino Sans family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans can be mixed well with Palatino and Palatino Sans Informal. Palatino® Sans font field guide including best practices, font pairings and alternatives.

A new fresh, bold brush font from Nicky Laatz. Pink Lemonade is Sweet, Casual and curvy...with subtle brush texture left in- perfect for head-turning statements and eye-catching branding. Pink Lemonade includes 45 natural-looking Opentype ligatures - perfect for making your words look freshly lettered, and like less of a font. Try alternating between having the ligatures active and not active for an even more natural look. Pink Lemonade will work wonderfully for beauty, posters, music brands, magazines, cosmetics, cook books, culinary art, book covers, sporting brands, bold headliners, and websites. Enjoy more inspiration using all Nicky Laatz's fonts on Instagram - @nickylaatz.

Jemgonza is a Sans-serif font started on January 26, 2022. This font with hyper-extended character sets allow for usage for billboard signs, logos, and even professional documents and essays. It contains localized forms for certain languages that write them differently. For example: Л and л shaped like upside-down V's, д shaped like a lowercase g, и shaped like a lowercase u, and more for Bulgarian; б shaped like the Greek lowercase letter delta for Macedonian and Serbian. There are two non-standard variation sequences for the light and dark shades for when they are used vertically. If it bothers you, you can add Variation Selector-14 after each one of those This font also contains 256 braille patterns for the blind people. Note that each pattern is not tied to any specific letter since multiple scripts have a braille system

Habana Deco ML was inspired by a hand-lettered sign on the stucco exterior of a small pharmacy in modern-day city of Havana, Cuba. It, in turn, was based on the fat-faced Art Deco lettering of the late 20s and early 30s, especially the Futurismo posters out of Italy, as well as alphabets designed in The Netherlands, France, USA and even the Soviet Union. There are 24 stylistic alternate glyphs (SALT), many inspired by a variety of these sources, including a couple from the sign in the front of the Congress Hotel in South Beach, Miami. The others features of the Habana Deco include 363 glyphs, 184 kerning pairs (KERN), 14 ornaments and shapes (ORNM) and 15 discretionary ligatures (DLIG). This is a font with which you can have fun. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard Carouge Pro is a contemporary typeface with a classical twist. This duality gives Carouge an energetic and vivid sensibility. Its subtle shapes are highly suitable for all types of documents, including corporate collateral and publicity literature. The fineness of the types provides a pure and elegant style that is highly valued in the fashion and design industry. While extremely legible in small body sizes, its personality comes into full bloom when used in large type sizes. Carouge comprises a wide range of bold fonts, from Ultra Thin to Ultra. The italic companion of the roman type has a split-line allure with a rounded personality. Carouge Pro is available in eight weights from the UltraThin to an Ultra Black. Each weight is also supported by a strong personality cursive italic. “When I designed Carouge, I wanted to create a typeface with a sober appearance and a dash of audacity. Carouge provides a fine balance between two different worlds.” — André Simard

Praxis® Next has the same robust shapes and proportions as the original 1976 Praxis design. Its large x-height, substantial counters and open apertures guarantee high levels of legibility and reading ease in print and on screen. More weights, condensed designs and true cursive italics differentiate Praxis Next from the older design. Praxis Next shines where space is at a premium. The regular designs are modestly narrow while the condensed typefaces perform with grace in the most crowded of environments. The bold designs create powerful headlines and banners and the lighter weights are ideal for both long and short-form text copy. Because of its many weights and proportions, Praxis Next is also an ideal design to build a brand identity. Praxis Next Variables are font files which are featuring two axis and have a preset instance from Light to Ultra and Condensed to Roman. Pair Praxis Next with old-style designs like Bembo® Book and Stempel Garamond™ to create a dynamic typographic contrast. Or complement the design with its serifed counterpart, Demos® Next . Unger also drew ITC Flora® as an alternative italic design. Looking for something a little different? Pair Praxis Next with Masqualero™ .

Virgoun is a timeless ligature serif typeface, perfect for clean, elegant, and minimal designs. It features both uppercase and lowercase letters with occasional variations in shapes, adding to its charm. With its beautiful ligatures, Virgoun empowers you to create works of art that resonate with your personal style. Ideal for a wide range of projects, including branding, photography, invitations, fashion, magazines, posters, advertisements, postcards, wedding invitations, quotes, blog headers, books, websites, and more, Virgoun stands out on its own, while also complementing calligraphy, script, signature, and handwriting typefaces.

Hildor Font | Beautiful and Elegant Display Font Hildor Font is a beautiful and stylish font family that offers many elegant serif, classic and elegant style for poster design, magazines, beauty branding with a flower-shaped asterisk glyph suitable for your beautiful and elegant design concept Hildor Font | Beautiful and Elegant Display Font family with alternates that you can combine to get curves and beautiful shapes just in seconds. Play with the ornaments to create a more stunning display. Features: Regular OutLine Script Uppercase & Lowercase, Number & Symbol, Multi language, Ligatures, Alternates for each characters. 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. HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: -In Adobe Photoshop go to Window - glyphs -In Adobe Illustrator go to Type - glyphs Thanks & Happy designing

Couturier font is all about haute couture: classy ready-to-use characters for each project, perfectly drawn curved shapes and well-balanced counterforms. Elegantly embroidered ligatures, alternative glyphs and beautiful swashes give the font an extremely elegant look. Couturier comes in 4 weights, ranging from Regular to Black, with matching italics, resulting in a total of 8 fonts that help you achieve a strong composition in your publishing projects. Its true italics with a humanist feel give each design a chic personality. The font contains a set of more than 1,200 characters that support over 200 languages.

I have created the brush font named “ BrushType Michiko” in my unique brush style. This is wider than “BrushType Standard ”. I made it for ad designers. I believe this is the only one brush font in the world, so using it will enable them to get easily satisfied on their work. Brush handwriting in Japan has a long and proud Tradition and History. I tried to interject this feeling of Tradition into my font designs for you to comprehend its true meaning. I trust I have succeeded to convey my feelings to you. In addition, I can say each letter of the “ BrushType Michiko” is truly art. I am a pioneer of Brush Art. You are the first person to see and use it in the world.

Graigway is an art deco styled display font face in sans and serif. It has small caps and ‘halfcap’ alternatives included. There is an outline version with separate fillings for multilayering and color fonts with the layer-combination.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.