Noeri is Western typeface. inspiration come from cowboy era and I want to Presenting the letterform style of that era. The Typeface comes with Stylistic Set Exellent typeface to use for covering your Project, like Branding, Movie Title, Headline Letter, Bookcover or Book Content, Magazine cover, Poster, Quotes Lettering, Logos, and more your project design. - Unique glyphs - Multilingual Characters Support - UPPERCASE - Lowercase - Numeric - Symbol - Punctuation Character - Stylistic Set inumocca type Studio

Sandwich Marker Pro is a handwritten uppercase font with more than 500 glyphs. Each glyph has at least three stylistic alternate sets, designed for an authentic expression of handwritten text without boring, recurring glyphs. Play easily with stylistic sets in any Open Type savvy program by clicking the options or selecting specific glyphs manually from the glyph palette. Use bonus characters to add special personality to your designs.

Get ready for a modern spin on your typographic projects with the Typical Pro Sans Serif Font 9 Weight. This font offers a clean, grotesk feel that is perfect for any technical or heading design. Its contemporary design makes a perfect choice for projects with a modern flair. With clean lines, tight letter spacing, and a classic sans serif style, this font is sure to bring a unique edge to any project. Enjoy the perfect mix of texture and proportion with this modern font. Get ready to take your typography to the next level with Typical Pro Sans Serif Font 9 Weight. Typical Pro Sans Serif Font is a grotesk typeface of modern design, with technical precision and a clean finish. Its 9 weight offers clear and refined letters that provide perfect legibility for headlines and other text styles. Its line height is consistent and balanced, making it suitable for producing high-impact visual messages. Its modern, straightforward letterforms give projects an air of sophistication, while retaining a firm technical backbone. With nine different weights, it is the perfect choice for any heading or label that requires a strong, contemporary look.

Highland Morning is a thick weight serif font in slight watercolor or ink textures with fun retro nuance and complex styles. Its main characters are the addition of small lines/hooks on the top or bottom of the letter and the curvy ending wipes on some of the letters’ edges. With a number of alternative symbols, Highland Morning provides your designs with unique edges and has other interesting features you can utilize. Features: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Highland Morning fits for any design projects, such as posters, banners, logos, book covers, album covers, invitations, quotes, greeting cards, name cards, headings, printed products, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thank you and happy designing.)

This would be a Clarendon if it weren't for the cute serifs, which set it apart. Reads well in copy blocks.

RealBlues is a useful collection of two hand lettering fonts designed for expressive graphic designs. This family include OpenType features: ligatures, swash letters, contextual and stylistic alternates. All of this will give your designs extra flair and uniqueness, giving the impression of totally believable handwork. RealBlues fonts has an extended character set to support Central and Eastern European as well as Western European languages. RealBlues may be perfect for logos, brands, children's books, restaurants, catering, cafes, packaging, magazines, weddings, beer labels, film and clothing.

Nature Boy was born in a fantasy world of old, where you can find magic, elegance, dreams and fun all together... just like nature in its purest form with its leafy curves and shapes that make it peacefully enjoyable. Soft and simple yet fairly ornamental, attributes that create an enchanting atmosphere but keep the texts legible at the same time when combined. Nature Boy can bring life and magic to every design, from editorial to posters, brands and packagings. Just picture this font on any product intended to move your soul and take you on a journey into a different and most beautiful place and time and let the adventure begin. This font family is made up of optically corrected regular, italic and bold types. All of them contain functional ligatures with alternative glyphs for texts and words to be dynamical and fluently graphed.

Introducing “Kidyba Font” – Where Playful Typography Takes Center Stage! Unleash your creativity with Kidyba Font, a whimsical display typeface that injects fun and energy into your designs. Kidyba Font is the perfect choice for projects that require a playful touch. Its charming and lively characters make it ideal for children’s books, eye-catching posters, and playful branding that stands out. With Kidyba Font, your designs will instantly capture the essence of playfulness, drawing your audience in. Whether you’re designing a cheerful invitation or a vibrant logo, this font adds a joyful and spirited element to your work. Elevate your creative projects and let your imagination soar with Kidyba Font. Infuse your designs with a sense of fun and wonder, and watch as they come to life with this delightful typeface. Embrace the playful spirit of Kidyba Font today! – PUA Encoded Characters – Fully accessible without additional design software.

Berling is an old style typeface based on the classical Venetian model used by Aldus Manutius at the end of the fifteenth century. Berling was first cut by the Berling foundry in 1951 with further weights released in 1958. The Berling font family is intended primarily for setting text in books~ journals and magazines.

Old Earthy is a hand drawn font inspired by the mid 19th-century art movement with William Morris and the Pre-Raphaelite Brotherhood in the front line. The art and the patterns from that time is reflected in Old Earthy. It comes with a set of basic English/Latin letters and some west European diacritics.

Popcorn is a brush script family of Regular and Bold weight and a set frisky caps, Casuals. Popcorn is a strikingly clear and smooth display face with short descenders and ascenders—it’s great for stacked layouts too. Popcorn scripts are equipped with plenty of contextual alternates and ligatures, all set in Standard Ligatures to keep the smooth flow. Besides that there’s also Swash alternates for every standard letter. Popcorn scripts are PUA encoded so you can access alternates with most design softwares. Popcorn Print is a rugged version of Popcorn with rough outlines and nice print texture. Popcorn is a great display family with roots in the past but smooth polished contemporary features. For the best price grab the whole pack!

You are looking at the friendliest, happiest and most faithful of puppies. It comes to greet you as soon as your eyes see it, radiates its joy, wags its tail, jumps in circles, and begs to be played with. Showboat is a very unique bragger of a font. Its bouncy metrics and whimsical shapes are a sure formula for attention. People will soak it in and feel happy while they do. How can anyone greet such happy letters with anything other than a smile? No matter how many fonts your design box has, you can be sure that none of them is this radiant, lively or cute. This happy camper comes in four fonts: two weights and a large number of corresponding ligatures and alternates. Showboat can be used in a vast number of design applications; flyers and webs for parties, pre-teen and teen events, scrapbooking, candy branding, posters, children's publications and web sites, pet stores and products, toys, and many many other things.

Salinas imitates a friendly and warm handwritten typeface. Its particular feeling is achieved thanks to several character variations, which can automatically alternate between three different (and complete) sets of characters, giving the font the proper character of hand writing, mixing: height, weight and inclination. Through its opentype programming, Salinas generates multiple character changes in the text, without losing its surprising legibility in various sizes. The added gestural strokes for titles enriches the spectrum of variants and versatility. Itís ideal for countless pieces of design that require warmth and spontaneity.

The Standard Shaded family is an homage to the grandiose Woodtypes of yesteryear. Standard blends a contemporary sense of craft and proportion with a dash of Woodtype-era personality to keep things interesting. The Standard Shaded family features OpenType conventional ligatures, discretionary ligatures and stylistic alternates as well as a standard set of accents and symbols to provide a versatile end-user experience. The Standard Shaded family has seen action in the print, web and motion arenas for clients such as IFC, Showtime, Nike Women's Training, Nike Sportswear, Target and Starbucks.

The Standard Shaded family is an homage to the grandiose Woodtypes of yesteryear. Standard blends a contemporary sense of craft and proportion with a dash of Woodtype-era personality to keep things interesting. The Standard Shaded family features OpenType conventional ligatures, discretionary ligatures and stylistic alternates as well as a standard set of accents and symbols to provide a versatile end-user experience. The Standard Shaded family has seen action in the print, web and motion arenas for clients such as IFC, Showtime, Nike Women's Training, Nike Sportswear, Target and Starbucks.

FF Neuwelt™, from Jens Gehlhaar, is open, inviting, highly legible, and strikingly handsome. Combining the straightforward clarity of a geometric sans with a welcoming warmth, FF Neuwelt’s eight display and text weights, vast range of alternates and extended character set, make for a family with few limitations. While grounded in a solid geometric sans serif foundation, Gehlhaar has drawn a large suite of alternate characters that infuses FF Neuwelt with softened, and ultimately easy on the eyes, humanistic shapes and proportions. Alternative cursive italic forms and a choice of round or square punctuation are also available at the click of a mouse. FF Neuwelt is spaced for sizes larger than 16 point, while FF Neuwelt Text has more open letterspacing to set perfectly at sizes smaller than 16 point. In addition, five key lowercase characters were drawn with more legible shapes. The result is that FF Neuwelt adapts from text to larger sizes and one stylistic mien to another with ease and grace. FF Neuwelt is a natural for interactive design, performing well on both large digital displays and small screens. Counters are generous and apertures are open, making them a perfect choice when setting text as microcopy or in short blocks where quick and accurate comprehension is the goal. Even the heaviest weights translate well to on-screen reading. FF Neuwelt also speaks with authority in large sizes on big screens. Equally at home in print environments, FF Neuwelt is a perfect choice for long-form text, captions, editorial, packaging, point-of-purchase design – as well as extensive branding projects. Its many choices of alternative characters make for a design that draws the reader in, without overpowering the message. Although he has drawn typefaces in addition to FF Neuwelt, Gehlhaar is primarily a filmmaker. Directing commercials with style and grace, his work includes spots for Nissan, Apple, Emirates Airlines and Microsoft. As a creative director, Gehlhaar has worked on a broad range of projects for Coca-Cola, MTV, EPSN, Volkswagen and more.

A remixed variation, available in three weights, of the popular Talbot Type geometric sans Kaleko 105 Round . The addition of occasional flourishes at the intersections of strokes, in both upper and lower case, adds character charm, making the font a perfect titling font to accompany Kaleko 105 and/or Kaleko 105 Round , or a display font in its own right. Kaleko 105 Round Remix features a comprehensive glyph set including accented characters for central European languages.

Xalapa is a wavy and rugged script. The font comes packed with OpenType alternates and ligatures. Included are fifteen titling alternates, small caps, oldstyle figures and a full set of stylistic alternates to ensure that your designs are unique every time. Sixty-four contextual ligatures are available to extend the organic nature of the lettering and make certain that no two letters in a word are alike. Choose Xalapa when you need to evoke the spicy flavors of Mexico.

MVB Fantabular proves that monospaced faces needn’t be formal or bland. Inspired by the letterforms of older typewriters, Akemi Aoki designed a playful family of three weights with italics. With every character the same width MVB Fantabular works wherever a monospaced font is needed, but the face is so loose and carefree it hides its fixed pitch construction well, allowing it to be used in other settings too. MVB Fantabular Sans is the sans serif version of MVB Fantabular.

In Hammered all the letters are made up of hammers and an occasional nail. It is caps only, but the characters on the lower-case keys differ from those on the upper-case keys. It has a large set of accented characters. It is not often that one needs a typeface made of hammers and nails, but if one does, there is a font for that. For related, tool-based typefaces, see Screwged, NailsNStaples, and WrenchedLetters.

Sancoale is a new sans serif that is simple and geometric. It is a contemporary design that is distinctive and unique, but not too far outside the box. This makes for a typeface family that is very useful for many applications. The design is simplified without stems or spurs in the default character set. The OpenType alternates do include alternates with stems, and there are six weights with true italics. Please see the informative .pdf brochure to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Sancoale is a great choice for a professional designer that wants to achieve a simple but still unique look.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Founded on a rigid structure of modernist type, Calypso E has a determined tone without an authoritative tang. It is an updated interpretation of a Neo-grotesque model Egyptian with a hint of Humanist lightness in its forms. Seriously big x-height, square basic form and sturdy serifs create firm text regardless of the weight. This makes Calypso E well suited for various media, from sharp plotter images to low-res television screens. Calypso E includes four suitable body copy styles. Book, Regular, Normal and Medium can be applied according to, for example, the size of text and quality of paper. All styles in the family are equipped with an expanded character set, small caps, case sensitive forms, discretionary ligatures and much more to make even the most elaborate typographic detailing possible.

This family is based on an offering in Barnhart Brothers & Spindler’s Type Specimen Catalog No. 9, issued around 1910, originally named "Grant". It makes a handsome addition to the Whiz-Bang Woodtype series, and is available in both a Rustic and Refined version. Named for a town in Texas, which the locals pronounce "Reh-FURRY-o". Both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Bushman a font with capitals and decorative foliage letters. It works pretty simply - just type a word as usual with first capital letter, and it will automatically make the first two letters with growing leaves. The second big part of this set is a supporting font Bushman Sans. It's a modern grotesque font with 7 weight variations. Basically this font is supposed to support a main decorative theme with some smaller text. Thank you and have a nice day

Another member of the JollyGood family, this unicase version is a great way to add some fun to your headlines. It has a very complete character set, with support for western and central european languages. I've also included ligatures, alternate characters and some fun dingbats. It has 7 weights, and a rough version too.

Jasmine Bloom is a semi-allcaps font with lovely and cute shape. This font has two styles, regular style and decorated style with jasmine flower decoration which spread from the bottom of each letter. Jasmine Bloom font is perfect for any design purposes. Mix and match some uppercase and lowercase to get lovely combining.

Kozmetica is new original elegance from the dynamic team of Koziupa and Paul. Soft, warm forms made of pensively fluid strokes make for comfortable and classy delivery with just enough ornamentation to evoke the rich days of art deco. Kozemtica comes with plenty of alternates, focusing in particular on the degree of lowercase ornamentation. The setting can be simple and straightforward, or swashed with hairlines seamlessly emanating and swirling from beginning or ending forms. Designed by Koziupa and digitized by Ale Paul, Kozmetica’s ideal use is in packaging design.

Introducing, Blink Twice, a unique sans with styled lowercase! Blink Twice is a modern and stylish font based sans that have unique looks. This font contains uppercase and lowercase that have different form. You can use the lowercase and uppercase in the same word that will make your text more stand out! And the best of this font is the italic version as the alternates which mean you can combine it all without worrying about the kerning! You can use this font for the magazine, poster, and suitable for headline. This font also support multi language. What you will get: All Caps Font with different uppercase and lowercase Italic version as the alternates (E H I N M e h i n m). Well Kerned.

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

Linotype Clascon is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest. Designed by the British artist Rachel Godfrey, the constructed forms of the capitals are reminiscent of sketches of many famous 16th century artists, Albrecht Dürer and Nicolas Jaugeon among them. This style emphasizes the mathematic construction of the letters, based on the circle, rectangle and triangle, but Clascon’s historical roots lie in Transitional and Modern Face styles. This font is particularly suited to very short texts, headlines and initials.

Gingham is a modern sans serif typeface. The unaltered version of the font is clean and classic. However, the font has multiple different options for alteration. Each letter has up to 8 different versions, which the user can choose from to make connections between letters and words, creating a completely new shape. The font also includes two stylistic sets, nr. 01 gives the overall feel of the text a more modern look and nr. 02 a more traditional one.

We're presenting our new italic seventies retro font, Night Empty! Night Empty - A Italic Seventies Retro that has both retro and soft bold italic. This font has smooth curves and clean lines to make your project more nostalgic feels. This font will make your project looks retro, chic, and presentable. Night Empty - Have 37 beautiful alternates and ligatures which consist of 4 stylistic sets. Comes with alternatives and ligatures, and helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, and much more. Super-versatile, have a scroll through all the previews to see how wide the range of uses that can be with Night Empty, it's so limitless! What you get : Letters, numbers, symbols, and punctuation Has 37 beautiful alternates and ligatures Use in many programs even in Canva Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/ Dharmas Studio

Wirophant are modern font sets featuring an organic, dynamic and energetic style. They can be used for a variety of purposes, such as titles, signatures, logos, correspondence, wedding invitations, letterheads, nameplates, labels, newsletters, posters, badges and much more. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Contains full set: Uppercase Lowercase Ligatures Punctuation number multilingual support. Thank You

Hand Megical are modern font sets featuring an organic, dynamic and energetic style. They can be used for a variety of purposes, such as titles, signatures, logos, correspondence, wedding invitations, letterheads, nameplates, labels, newsletters, posters, badges and much more. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Contains full set: Uppercase Lowercase Ligatures Punctuation number multilingual support. Thank You :)

Street art has become so inspiring that it's been featured on a range of mediums from advertising to album art. Thanks to the emergence of street art in the mainstream media. Dopestar is a heavy font that has a bold grafitti feel whilst being super clear to read, Dopestar is certainly versatile. Dopestar is a great typeface for display and it comes with a full set of characters with loads of variants and all the punctuation you'll need.

Little Cecily was designed on the base of a Russian calligraphy sample book for primary schools “Propisi pryamogo pis’ma” (Moscow, 1914). Such kind of scripts were implemented in school programs at the end of 19th-beginning of 20th century. There was an opinion that the straight writing is easier for learning and better for children from a medical point of view. The letterforms of the typeface are characterized by simplified constructions and upright design which distinguishes it from the list of typical school scripts and convey to it a naive charm and originality. The character set covers standard Western and Cyrillic code pages and it includes alternative letters and contextual forms for connected writing.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. The Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. The W1G versions featuring a Pan-European character set for international communications supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including several based on Cyrillic and Greek alphabets. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.