Bristhony - Modern Calligraphy Script Font Proudly Present The New "Bristhony // Classy Calligraphy Font" Bristhony is modern classy calligraphy font, this font come with beautiful ligature and lovely alternate. Bristhony has a very beautiful stroke and will be very suitable if applied to wedding projects, invitations, fashion, and much more. Feature and what will you get: Uppercase and lowercase Number and punctuation Beautiful ligature Lovely alternate PUA Encoded and multilingual support 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. Thanks & Congratulations on the Design.

Baby Basley is a hand brushed font made with brush and ink. This typeface is ideal for use in bold watercolor designs or handwritten styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise, etc. Contains full set: Uppercase Lowercase Alternative Ligature Punctuation Number Multilingual support. And also Baby Basley Alternates and Underlines, working in sync with Baby Basley Regular to create incredible typographic creations. Get inspired by the preview above. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

The Face2Face (F2F) series was inspired by the techno sound of the mid-1990s, personal computers and new font creation software. For years, Alexander Branczyk and his friends formed a unique type design collective, which churned out a substantial amount of fresh, new fonts, none of which complied with the traditional rules of typography. Many of these typefaces were used to create layouts for the leading German techno magazine of the 1990s, Frontpage. Branczyk and his fellows would even set in type at 6 points, in order to make it nearly unreadable. It was a pleasure for the kids to read and decrypt these messages! The three fonts in the F2F Czykago family, F2F Czykago Light, F2F Czykago Semi Serif, and F2F Czykago Trans, were all inspired by the Apple system font Chicago. The F2F Czykago family, along with 38 other Face2Face fonts, is included in the TakeType 5 collection from Linotype. Branczyk designed 16 of these himself."

Cindie Mono is a multi-width display font. Six different widths – A (condensed) through F (super extended) – mathematically correspond with one-another creating a stackable type family. Each face contains all caps full West, Central and East European language support. All diacritics and marks are done in a hairline to add style and contrast. And Cindie Mono is ideal for posters, headlines and display lettering. The inspiration for Cindie Mono came from the lettering styles on optometrists sight-test posters. Then through several stages of development the overall concept for Cindie became of a half-broken Commodore64 and the computer from the 1985 movie 'Weird Science' hooked up to a dot-matrix printer spitting out reams of mechanical but distorted mono-lettering all the while an old modem you can't seem find keeps beeping and beeping and beeping...

Shell Shock was inspired by stencil typefaces used on military tanks and ammunition boxes. It can be enhanced with a separate set of bombs and warning signs for the typographer in power. Shell Shock Cloak is the ultimate add-on for Shell Shock. This 3-layered 'Cloaking Device' enhances the existing Shell Shock. Put the 3 Cloak layers on top of Shell Shock and suddenly it's camouflaged and you will hardly be able to find it. Use only one extra Cloak layer to give Shell Shock that cool distorted look, like those damaged warsigns on military vehicles. If you only use the Cloak layers you can create background patterns and structures. Try using different color combinations and you'll be surprised by the possibilities of Shell Shock Cloak. It's preferably seen on clothing, skateboards, party flyers, posters or other daring design.

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

Restoration is a two style sans serif font with a rustic vintage aesthetic. It’s angled bars give it a unique appearance and sets it apart from other vintage fonts. You’ll get a textured version and a clean version, so you’ll be ready for any project. This vintage font is great for logos & branding, titles, web design, marketing, advertising & much more!

Sirichana is a monolinear Thai typeface with Light and Bold weights. The modern design is characterized by its traditional proportions but with almost geometric construction. Originally released by Linotype for digital photocomposition, it is now in OpenType format. This makes it possible to dynamically and precisely position the various levels of superscript and subscript vowel signs and tonal marks. In addition to this, the complete Unicode page range for Thai is covered to ensure flawless conversion between other OpenType fonts using Unicode. The accompanying Latin design matches well in scale and texture and supports most Western European languages making it ideal for setting bilingual texts.

Carefree makes it so simple to elevate a logo or headline text, whether you're wanting something bold or delicate. Introducing the Carefree Serif family – a gorgeous condensed serif typeface that includes 16 fonts, regular and italic, from Hairline weight to Bold. This typeface looks best in larger settings as a display text (think big headers, pretty quotes, calls to action, etc.), but can also be really stunning for longer text like quotes. I would probably avoid using this as a body text because of the high contrast. I've also been loving combining the regular and italic and mixing up the weights, especially for beautiful logos.

Jules Verne. Wild, Wild West. Tomorrowland. The Past’s extrapolation of the Future. So it was wrong, it’s still romantic. Steampipe is a font constructed of bits and pieces, reminiscent of the ironwork construction of the Crystal Palace or the inner workings of The Time Machine. Although it works fine as is, it comes alive with some Photoshop Layer Styles. Steampipe has the most extensive kerning of any font I've designed, just so (most) letters fit together as if they were constructed as a unit; use them in a program that supports special kerning.

Originally designed as a supermarket point-of-sale font, Chalky is a chalk on blackboard style of lettering. More condensed than most fonts of this style, chalky can be used in relatively long settings without losing legibility. Great for headlines and subtext.

Smilodon an ancient distressed font made with raptor claws, cat’s teeth, stone and sky? It's a corroded, distressed, punk scrawl with lots of attitude. This is a basic minimal glyph set with uppercase and lowercase forms. This is a headline display font suggested use would be 60 point or larger. Note: The metric and kerning on this font is extremely tight spacing and user should letterspace to desired width within application type controls. This monster cat is pre-historic indeed.

Olivetta—an ironic sans. Its name is inspired by Antique Olive typeface. These two fonts share a few common design features but Olivetta is more in tune with the spontaneous, ironic style of today's typefaces. Olivetta illustrates the power of words as images. The high contrast between thick and thin strokes of the lowercase letterforms gives visual strength to the font. The stroke contrast increases as the weights get heavier. Olivetta comes in 10 weights with matching italics and each style contains more than 400 glyphs which include alternates. The lightest weights work well in subtle headlines while the heaviest ones are perfect for posters, short texts, branding and editorial design. The intermediate weights are ideal for continuous reading.

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

Posterizer Kg Rounded, is basically rounded version of Egyptian, Slab Serif font Posterizer Kg. By adding rounded corners on serifs, the strict form disappears, in that way, the font gets softer form. Posterizer Kg Rounded is useful for sweet themes like cookies, puppies, love, joy, or some other similar things.

Hollyweird is another original, funky work of California designer Jill Bell, a bold display script with intentionally shaky strokes and tightly curled flourishes. The capitals are ideal as initials and the lowercase is best used tightly set. Hollyweird is a good choice for any work requiring a casual chic appearance.

Embryo Open is the companion of the Embryo Typeface. In contrast to its forerunner it is equipped with counters. These superheavy sweet fonts are perfect for logos, posters or flyers and can be used nicely together. Embryo Open has an extended character set to support Central and Eastern European languages.

Nightowl JNL is a headline font encased in rectangles inspired by an Art Deco hand-lettered alphabet found in a 1941 edition of the Speedball® Lettering Pen instruction book. There is only a basic character set plus two different width blank rectangles located on the greater and lesser keys.

German designer Georg Popp designed Linotype American Indian in 2002. This symbol font contains mostly-triangular elements, which were inspired by paintings and other arts practiced by the North American Plains Indians. The symbols in Linotype American Indian, and Popp's other fonts, add a delightful touch to any design, especially when used in repetition. Try setting them large in your next flyer or brochure.

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

JY Raj has had a lengthy gestation. The original one was a sans serif adaptation of a slab serif typeface design by Jure Stojan. Raj looked instantly better as a sans serif. After refining it further one lengthy night in 2001, he showed the drafts to Jack Yan, who completed the character sets and finished the kerning. A characterful sans serif, JY Raj pushes the boundaries of what is possible with various geometric shapes, combining legibility and tradition with sharp, unexpected angles. As with Stojan's earlier JY Koliba, it possesses a delightful balance, thanks to the designer's eye for detail and typographic harmony. The name has little to do with the Asian subcontinent: it translates to paradise in Stojan's mother tongue, Slovenian.

If you're looking for something offbeat and animated with an attitude, well, you've found it! Hot Streak is a retro font inspired by an old pulp paperback called Sin on Wheels, and it gives what started as a simple title a lot of life. Let Hot Streak turn up the heat on your designs! You'll find the Standard Ligatures feature changes up double letter combinations, the Stylistic Alternates feature raises up all of the smallcaps to align at the top of the capitals, and the Contextual Alternates feature turns on an automatic bounce feature that brings eve more life and attitude to an already spunky font.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Display Digits One is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Six is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Four is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Seven is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Nine is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Satiata is fat, single, display font that's full of charm. Tightly spaced, Satiata is designed with condensed proportions which place the font in versatile position – it can be used for posters, titles, outdoor graphics, but equally the same for package, branding or websites. It is recognizable enough to lead every project. Satiata contains extended Latin character map with two stylistic sets and small pack of ligatures.

Display Digits Ten is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Five is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Hello! Do you need a poster for the ASL study? Maybe you want to understand sign language or share your message. Please try it. Here is a set of hand-drawn illustrations of American Sign Language (ASL). The font is in 4 styles: * with sleeves * with sleeves & Latin symbol * clear hand * clear hand & Latin symbol If you have any questions or issues, please contact me: kaer.pro@gmail.com

Display Digits Eight is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Display Digits Two is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Raligur is a harmonious blend of timeless aesthetics and modern versatility, making it a perfect choice for designers seeking a balance between tradition and innovation. Featuring exquisite details and a sense of timeless appeal, Raligur, the newly unveiled serif font, sets the stage for elegant typography that leaves a lasting impression on any audience. Complete with ligatures alternates regular italic icon kerning multilingual support

Display Digits Three is a display number font with eight sets of variations of the same digits. The digits 0 through 9, with period and comma in appropriate variations, are prepared as (1) solid, (2) outline, (3) solid with contour outline, (4) outline with 3-D shadow, (5) 3-D shadow only, (6) outline with drop shadow, (7) positive in circle, (8) negative in circle.

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.