Have you ever imagine to make layered Victorian logo as fast as you blink your eyes? or even make your document and website with victorian classical vibes? Abracadabra! Introducing you opentype font... King Edward and Queen Victoria fonts in one solid package. Very victorian, ornamental, decorative and classical. A solid combination that can bring your design, logo, document, website, etc. back to 1800 decade. Multilingual fonts-family and playful one with 200 alternate characters. Personal & commercial license is included! HOW TO GET ACCESS TO ALTERNATES? Make sure you run an APP or Software that allow you to access Glyph panel. All characters are available through Glyph panel, even more each of the alternate letter has it’s own unicode (PUA) so you can copy/paste from Apple Font Book or Windows Character Map. Total amount of glyphs 1814. OPENTYPE FEATURES - First lowercase (after a capital) and last letter swap automatically. You just need turn on Contextual Alternates. The Victorian graphic Dingbats collection joined together into standard font format (OTF and TTF). Easy to use and great for your decorative document, layout, sign, logo, etc.

Extra Crunchy is my handwriting when I am eating cookies while drawing! No, it's true! I did eat a whole box of cookies while drawing this font! :) The letters are a bit jumpy, and have no steady x-height, however, your text may look a bit off, but it is clear and legible. Fits perfect for a children's book, a postcard/poster design or something else that needs that extra crunch :)

TT Backwards useful links: Specimen | Graphic presentation | Customization options About TT Backwards: TT Backwards is an experimental font project inspired by the USSR typography and fonts of the late 70s and early 80s. Shop signs, posters, and book design—this is where we drew the inspiration for our project. TT Backwards consists of two complementary font subfamilies, a Script and a Grotesque, each of them includes 5 typefaces in 5 different weights (Thin, Light, Regular, Bold, Black). TT Backwards Script is a noncontrast almost monolinear solid script inspired by shop signs, poster and book design of the USSR. TT Backwards Script features a large number of Latin and Cyrillic ligatures (more than 70 items), which allows to make the script versatile and sophisticated to the max. And thanks to the implementation of a huge number of context alternates, all lowercase letters are joined softly and without breaks, and they meet the uppercase letters beautifully and correctly. TT Backwards Script supports the following OpenType features: liga, case, ordn, frac, sups, sinf, numr, dnom, tnum, onum, pnum. TT Backwards Sans is a narrow grotesque, which takes us back to the book design of late 70s and early 80s with its ductile characters. It is created considering its use in the small text size. TT Backwards Sans has a number of pronounced peculiarities: high x-height, exaggerated extenders, and big visual compensators and ink traps. Apart from the basic visual solution, TT Backwards Sans contains two experimental stylistic sets, which markedly change the overall visual perception of the text. SS01 alters high-frequency symbols of the Cyrillic alphabet, and SS02 significantly changes the high-frequency symbols of the Latin alphabet. FOLLOW US: Instagram | Facebook | Website TT Backwards OpenType features: case, ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, zero, salt, ss01, ss02. TT Backwards language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

My kids have a tin box filled with crayon and pencil leftovers: bits and pieces that have fallen or broken off, but are still good enough to use. For me it is a treasure trove, as I often find a nice bit of crayon to use for a new font. In this case, I created Leftover Crayon. Leftover Crayon is a fat, crumbling and seriously eroded crayon font. Completely hand made, completely legible and full of character. Use it for your bedtime stories, product packaging and invitations. Comes filled to the brim with diacritics.

Spekulatus is a made up name, and that was what I needed for a font like this. I am not sure which category it fits in: grunge, square, handmade, rough or maybe even graffiti? Well, let's just say that it fits in all 5 - or perhaps even more? All letters are handdrawn, and messed up a bit with a thin fine white liner, leaving a gentle grungy and worn effect. I've added 5 different versions of each letter, which is quite nice - not having the same letters repeating all the time!

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Random" because we don't follow any one principle to write the names, some overlap some don't, some letters are big and some are small. All the letters, harakat, decorative letters and symbols may differ from one name to another.(in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). Decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Straight" because of the straight like design. Everything is clear, symmetric and straight. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). We went for the traditional "soukoun" instead of the Quranic "soukoun" & the decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Subhanahu Wa Ta'ala" because we have added "Subhanahu Wa Ta'ala" to each and every name. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is rectangular shaped, and the "fatha" is big and covers almost the entire name, in most of the names. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Ta, Kaf & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Handwriting" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is very easy to read, no letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Saad & Ta". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

Introducing Altia Hand Lettering Tool Kit, Yes it is a Tool Kit. The reason why we named it as a Tool Kit is because you will get tons of item in one product! This product will contain 7 fonts. This product will provide anything you need to create a lovely quotes and logo. Just mix and match the fonts and then you can get a beautiful lettering that you can use in any media you want! Very suitable for wedding invitation, greeting cards, merchandise, apparel, poster / print design, etc. All the fonts is also support multilingual.

Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more reductionist appearance. Strict attention was given to the cohesiveness and balance between letterforms as well as the careful refinement of all curves. Stylistically, Vanitas’ alluring, sophisticated sensibility is directly inspired by high fashion. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Vanitas’ sharp characteristic through each style. Features include: Precision kerning Standard Ligatures set including ‘f’ ligatures (fb, ff, fh, fi, fj, fk, fl ffb, ffh, ffi, ffj, ffk, ffl, ffy, ae, oe, AE, OE) Discretionary Ligatures set including (st, ct, No) Alternate characters (H, A, AE, Q, $, h circumflex, ¶ and numero sign) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Tabular Lining, Proportional Lining, Tabular Oldstyle and Proportional Oldstyle Figures Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Revista is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. The font harmoniously blends different styles into a single big family, which consists of a Didone uppercase and small caps family—including 4 variants ranging from a monolinear Thin to Black with matching italics—and an Inline Black variant that works as a decorative alternative to the Didone fonts. Revista Stencil, one of its versions, comes with the same number of variants. Revista also comes with a Script Family that includes 5 weights, ranging from Thin (monolinear) to Black, contrasting in a tidily untidy way with many ligatures and alternates. You can choose between using stylistic alternates—if you want to give your designs a different untidy look, in the style of the modern calligraphy—or switching between different options if you are looking for a hand-written style. We highly recommend using the default contextual alternates and discretionary ligatures in order to take more advantage of this great font family. Revista includes 2 sets of dingbats, varying from zodiac signs symbols to technology symbols, and complementary ornaments in 3 different weights: Thin (monolinear), Regular and Black. All these features make Revista an ideal typeface for users to design to their liking! Photo by Fervent-adepte-de-la-mode

Megatype Script is a handmade script that comes with a extrude effect. This font Inspired by Retro style and combination with Hand Lettering style. I hope this can make inspire you from your work. You don't need extra effort to create an extrude effect for this font. That's because we include the extrude with this font. This means you can saves your time by only adding the extrude font on the back layer. Megatype Script is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Poster, T-Shirt/Apparel, Magazine, Quotes, Signs, Instagram Design, Advertising Design, and any Type Design needs. Megatype Script also has a standard Multilingual Support. Megatype Script features OpenType stylistic alternates, ligatures and International support for most Western Languages is 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. Megatype Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you have any question, don't hesitate to contact me by email : megatype04@gmail.com Thanks so much for looking and Enjoy it!

The Oslo Stitch is a technique used in Nålebinding, a kind of fabric creation predating knitting and crochet. I have no particular interest in Nålebinding (nor in knitting), but I needed a name with ‘stitch’ in it and this is what I found! Oslo Stitch font is a nice, handmade, all caps font, which you can use for your book covers, posters and anything else that needs a bit of stitching up.

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.

Vagebond is a monoline family in three widths, Condensed (C), Normal (N), and Extended (XT). With Vagebond I was inspired by a very old television I once saw on a junkyard. I wanted to create a typeface with round edges that would fit within the 4 x 3 proportion of the screen. It had to be monoline, because that gives it a very simplistic and minimalistic look. Having created the XT width I felt it needed the both complementing widths to make it complete. The Condensed version, for me, is the funky rounded version of the DIN. I love DIN, but it sometimes feels just a bit to ‘normed’ for me. Vagebond C brings in a bit more personality. Although Vagebond looks kinda ‘oldstyle’, it works very well in futuristic designs. It feels best in combination with a super futuristic 3d object.

URW Geometric® is a sans serif typeface inspired by the German geometric typefaces of the 1920s but designed for modern usability. The character shapes have optimized proportions and an improved balance, the x-height is increased, ascenders and descenders are decreased. Special glyphs, which are often designed afterwards for the original geometric typefaces from the 1920s, are perfectly integrated in the URW Geometric® . These design characteristics increase the usability and legibility tremendously. With its 10 weights ranging from Thin to Black, plus 10 additional oblique styles, it has a great versatility in mind. The extreme light styles shine bright in large sizes, the middle weights are perfect for body copy and the bolder variants for the use of emphasis information or bring a strong impact to headlines and information. The optically balanced styles are designed to work in perfect harmony together. URW Geometric® is functional, strong, simple and harmonized in form, and at a glance appears as a modern variant of its predecessors. Apart from the basic characters the design has an extra focus on the special glyphs. These are designed for todays needs. For example: the email glyph looks modern and unique, including a perfectly balanced spacing. The numero sign, in modern use called “hashtag”, is space saving and optically balanced for body text. Additionally, various extra and alternate glyphs are designed to provide a friendly usability. Including a wide Latin language support and character sets, URW Geometric® is perfectly designed for today’s requirements. Please have a look at the URW Geometric® Type Specimen (PDF) for further information.

Goneon is a vibrant and eye-catching display font designed to bring the electrifying energy of neon lights to your designs. With its big, bold uppercase letterforms and mesmerizing neon style, this typeface captures the essence of a lively and dynamic atmosphere.. Each letter is meticulously crafted to emanate a radiant and electrifying glow, just like the vibrant neon signs that illuminate city streets at night. This neon style adds a touch of excitement and energy, instantly drawing the viewer's attention. Inspired by the pulsating rhythm of city nightlife, Goneon exudes a sense of modernity and vibrancy. The font captures the essence of an urban atmosphere, casting a dazzling neon glow that creates a lively and captivating visual impact. Each letter radiates with an unmistakable charm, bringing your designs to life with its electrifying vibes. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Goneon perfect for headlines, banners, posters, and any design that requires a bold statement. The neon style adds an extra layer of excitement, making your text shine with a dynamic and eye-catching appeal. Whether you're working on advertising campaigns, event promotions, digital artwork, or any creative project that calls for a lively aesthetic, this font will instantly infuse your designs with an electrifying energy. It particularly shines in applications related to nightlife, entertainment, music, and urban-themed designs. 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 Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. Franzi Variable is designed alongside the italic and the weight axes. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Neonline is a captivating display font that combines rounded letterforms with a subtle neon-inspired style. With its elegant uppercase characters and unique design, this typeface adds a touch of sophistication and modernity to your projects. The defining feature of Neonline lies in its rounded shapes, which exude a sense of softness and approachability. Each letter is meticulously crafted with smooth curves, creating a harmonious and pleasing aesthetic. The rounded forms give the font a friendly and inviting appearance, while the subtle neon style adds a hint of excitement and vibrancy. Neonline infuses a sense of allure and intrigue into each character. The font captures the essence of neon signs, casting a subtle glow that evokes a contemporary atmosphere. The neon style adds a touch of modernity and visual interest without overwhelming the design. The uppercase letterforms of Neonline are refined and sophisticated, commanding attention with their rounded shapes. The moderate boldness of the letters strikes a balance between impact and legibility. Enjoy the various features available in this font. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Neonline perfect for headlines, branding materials, titles, and designs that call for a touch of elegance with a hint of neon inspiration. Whether you're creating posters, logos, packaging, or anything in between, this font will elevate your projects with its unique charm. It particularly shines in applications related to fashion, beauty, technology, and modern lifestyle themes. 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.

Introducing "Wasleyton," a vintage ephemera font that weaves the elegance of a bygone era into your modern design projects. Drawing inspiration from the timeless charm of elegant signage, gold leaf craftsmanship, and the artistry of old label products, Wasleyton is more than just a font—it's a journey into the aesthetics of the past. Unleash the power of nostalgia as Wasleyton offers a plethora of alternate characters, ensuring your designs are not just eye-catching but also uniquely authentic. The versatility of this font makes it a perfect choice for a range of applications, from authentic logos and elegant headings to the artistry of sign painting and captivating posters. Infuse your projects with a touch of vintage sophistication as Wasleyton lends its charm to letterheads, branding materials, magazines, album covers, and book covers. Watch as your designs come alive in movies, apparel, flyers, and label designs, each one telling a story of craftsmanship and timeless style. Combine Wasleyton with other fonts, be it a script for a touch of fluid elegance, a serif for classic appeal, or a sans serif for a modern twist. Add a few effects, and suddenly, your project transforms into a masterpiece—classic yet contemporary, elegant yet bold. Elevate your design game with Wasleyton's ability to transport your audience to a different era. Whether you're working on product packaging that demands attention or creating an atmosphere on a movie poster, Wasleyton brings that touch of vintage authenticity that turns your project from ordinary to extraordinary. In summary, Wasleyton isn't just a font; it's a time machine to the aesthetics of yesteryears. Perfect for logos, signage, posters, branding, magazines, album covers, and much more, Wasleyton is your key to infusing a timeless vintage charm into the modern design landscape. Add it to your toolkit, and let your creativity unfold in a tapestry of nostalgia and elegance.

Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability. Chef Script combines warmth and good humor running in countless design applications such as labels and base plates, covers, posters, movie titles, seals and any printed design that needs an unusual typographic tool. In that sense, Chef Script is influenced by Speedball lettering manual (1957), Ross F. George. The illustrative nature of "ChefScript-complete" does not look anything like the traditional type design hierarchies. Therefore offers 7 hierarchical resource groups to design comfortable contexts flavored with illustration and typography: • ChefScript-Basic: Letters with horizontal and vertical thrifty proportions mimic an uninterrupted calligraphy brush made with flat tip. Thus its letters have ascenders and descenders strokes perpendicular to its base line and equal to the height of the lowercase. • ChefScript-Swashes: Letters expressive and unique flourishes to design highlighted words or phrases. • ChefScript-Caps: Uppercase with lowercase height give the impression of interrupted uppercase italics writing within what is written with uninterrupted lowercase letters producing strong contrast within a paragraph fragment. • ChefScript-Containers: Container drawings designed to exchange with infinite possibilities each order so that its inferior serve to store information written or drawn. • ChefScript-Dingbats: Pictograms that communicate: kitchen, chef, restaurant, food, etc. • ChefScript-Numbers: Bulky and useful numbers to highlight prices or figures containing points or dollar signs. • Chef Script-Words: Predesigned words with uninterrupted letters diagonally leveled highlighting various thoughts in writing.

Gumley - a font which has a fresh natural look and feel inspired by nature, at the same time it has a gummy feel which would fit very well on packaging design. With a little inspiration every product can look awesome with this font, starting from kids magazines to logos and package design.

Adoquin is a clean and friendly semi serif family. It comes in seven weights with small caps, wich makes it a versatile typeface. The design is based on geometric sans serif typefaces and the calligraphic features of old school models, making Adoquin a functional and warm font family. Its informal but elegant look makes it the perfect display type fitted for logotypes, book design, packaging or magazines. Its wide range of weights and discreet alternates makes it very enjoyable to read, so its also perfectly fitted for longer texts. Adoquin has an extended character set for Central and Eastern European languages, and shows all its potential wit OpenType-savvy applications. Every font includes small caps, ligatures, old style figures, fractions, numerators and denominators and alternative characters without some calligraphic features suited for smaller or longer texts (in this case, the alternative charecters are less ornamented).

Love Script came about as a way to finally answer the requests by individuals to take my brush pen/marker lettering styles and turn them into a typeface. Literally, everything lined up perfectly and there was a renewed impetus to push this genre, this style of lettering I have adapted over the years into what will become a series of brush pen/marker typefaces. The first I chose to complete was a high-contrast variant… I seem to be attracted to high contrast, high energy letters (think Lust, Lust Slim and Lust Script). As I was finalizing everything, I kept saying ‘I love this script’, which ultimately led the christening of the typeface as Love Script. For more fun, visit the Love Script Minisite Designer’s note: for this font to truly sing, be sure you have Contextual Alternates on in your OpenType settings. Hope you love it as much as I do.

Augmento™ is a large contemporary font family from R9 Type+Design. We designed this typeface right smack on the sweet spot between formal and casual. The rounded rectangular structure gives Augmento the corporate, trustworthy look while the quirky stems add the fun, playful feel. This unique, versatile type family is excellent for a variety of applications such as posters, packaging, editorials, and web design. The completed Augmento™ family consists of 3 widths, 6 weights, 36 styles, and over 550 glyphs each, and packs with OpenType features such as stylistic alternates, case-sensitive punctuations, and date vs fraction recognitions. It also comes with 3 sets of figures (Proportional lining, Proportional Oldstyle and Tabular lining), and supports most Latin-based languages. With all these features in your toolbox, you can make your design sing as loud (or soft) as you’d like. To find out more about Augmento™ Opentype features and type specimen, please visit www.r9typedesign.com

The Distillery Set is a collection of 5 fonts: Display, Strong, Script, Caps, and Icons. The fonts' influences are in lettering from different eras and styles. They reflect forms from the Arts & Crafts movement, the Roman majuscules, artistic printing, traditional tattoo lettering, sing painting and showcards from the early XX century and some typography trends started from 1970s America and being used today like chalkboard art or handmade labels in packaging. This is collection of fonts that strongly hints of the spontaneous ways of pencil on paper, the dynamic rebellion and simultaneous imperfection and elegance of DIY. This set contains a wide range of characters, including alternates, ligatures, variations on ascenders and descenders, initials and terminals, icons and ornaments, providing endless application possibilities. The different fonts can be used individually, but of course it is their combination in use that creates the magic. The Distillery Set was designed by young talent Carolina Marando. Alejandro Paul produced and expanded the digital work.

ITC Typados is the joint effort of Roselyne and Michel Besnard and is composed of characters in two different senses of the word. First, it is of course made of letters and symbols, clean and legible with generous widths and x-heights. There is a hint of Art Nouveau style in the tapering, brush-like strokes. But the figures of ITC Typados are also made of characters in the theatrical sense: little tear-drop heads on tapering bodies that bend themselves into the shapes of an alphabet while maintaining a life of their own. The typeface is based on a recurring character in Michel's sculpture and painting, Ado. Ado is the first character who sings and repeats itself in all my creations," says Michel. "This adventure brings new forms for my painting and my sculpture: coiffed heads, bodies in the form of a cone, arms in the form of spread wings, etc." "Type" plus a number of "Ados" equals ITC Typados."

Balcon is condensed sans family designed to be your first web font choice. Contains 5 weights: Light, Regular, Bold, ExtraBold and Black, it fits perfect into any project, from editorial editions to packages, labels, posters. If you're looking for a bit decorative version of this family, feel free to check Balcon Round sans family.

Always busy is. my easy-to-read and simple kids comic font. You can tell that it is handmade, because I really didn't do much about the inkblobs and the lines that are a bit off here and there. I added 4 different versions of each lowercase letter, and they automatically cycle as you type!

She's Mine is a fun and girly handwritten font. Its skinny and smooth style makes this font incredibly versatile, fitting a wide variety of creative ideas such as: kids, school projects, crafting and DIY projects. So what’s included: She's Mine (OTF) Basic Latin A-Z, a-z, numbers, symbols, and punctuations International Characters. Thank you

I’m a bit of a sucker for neon lights, especially in big cities. My favourite city is Tokyo, with its brightly coloured billboards and its back alleys full of neon-lit eateries. At first sight, Neon Goo is a slightly warped font, with some funny looking glyphs and a generous spacing. When you start using it, you’ll find out that the glyphs do complement each other! Neon Goo comes with all diacritics and a set of alternates for the lower case letters.

On a distant planet, there was a typeface that stood out from the rest. Hachimitsu, the kaiju-inspired top-heavy display font, was born from the depths of the Showa era. Its towering presence and unique design draw inspiration from the iconic signs of old Japan. Hachimitsu’s futuristic style brings a retro 1960s science fiction vibe to any message, transporting it to another dimension. Its bold, thick strokes make a statement, demanding attention from all who encounter it. Its angular and sleek curves are reminiscent of alien spacecraft, flying through the vast expanse of the universe. With Hachimitsu, your message will be infused with a distinct and fascinating voice. Whether you’re creating a poster for a sci-fi convention or designing a book cover for a thrilling space adventure, Hachimitsu’s Japanese-inspired design is sure to captivate your audience. Unleash the power of Hachimitsu and take your design to new frontiers. Let its otherworldly charm bring your vision to life and transport your audience on a journey through the stars. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Awwam refers to the region of Awwam which is now thought by most scholars to be Ma'rib or the famous temple of Awwam otherwise known as Mahram Bilqis. The Awwam temple—Arabic Haram Bilqis or Mahram Bilqis—is a Sabaean temple near Ma'rib in today's Yemen. It was built by Mukarrib ‘Yada'il Dharih I’ between the 7th and 5th century B.C. Also, one of the most frequent titles of the God ‘Almaqah’ was the Lord of Awwam. Almaqah was the main God of the ancient Yemeni kingdom of Saba' and also the kingdoms of D’mt and Aksum in Eritrea and Northern Ethiopia. Different members of the ruling dynasties of Saba' regarded themselves as Almaqah’s children. Awwam is a wide and headline Arabic display typeface. The main trait of this typeface is the wide, curved, and streamlined design of its wide kashida, letters, and ligatures. This feature renders it as one of the modern stylish typefaces used for headlines, titles, headers, banners, and captions. Among the distinguished letters of Awwam typeface are the “Alef”, “Qaaf”, “Waaw”, “Yaa”, “Gheen”, and others. Moreover, Awwam typeface has a character set which supports Arabic, Persian, Urdu, and simple Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This typefac comes in two styles (i.e., Awwam, and Awwam-Pro) with a single weight (i.e., regular) and nearly 650 distinctive glyphs for each style. Due to its ultra-wide design, Awwam typeface is mostly appropriate for headings and titles in Arabic, Persian, and Urdu. It can be graphically and visually exploited in books, novels, magazines, newsletters, pamphlets, posters, and interfaces of other objects such as clothes and equipment. Moreover, it can be pleasingly used for signs, books’ covers, advertisement light boards, and titles of flyers, and books of children and adults. In brief, Awwam typeface is one of the new wide Arabic typefaces which can be utilized efficiently in diverse graphic, typographic, and artistic works for different languages and cultures.

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.

Plakato, a stencil love affair Plakato is a family of display fonts, consisting of various eye-catching styles, each of them very bold. Plakato is an identity toolkit, a heavyweight building block in case you need a strong personality, a small stencil font family to cut out your best ideas and grab all the attention. But just as with many other creations, its outcome is as divers as its multiple origins. Plakato comes in 16 eye-catching styles. The default stencil style comes in Regular & Italic. They both have 2 variations: one version, named Plakato Stencil, automatically creates borders around the text, putting any text into a graphic stencil in this way. Another version, the extruded three-dimensional version, guarantees even more attention for your message. Next to this there is also the Inline version, which is an optical play with a lot of lines. Plakato Inline has a supportive background layer, a separate font in case you want to add a background in a different colour. Then there is Plakato Paper, a manually teared version of Plakato offering a more physical look. This small family of eye-catching display fonts also contains a Neon font, an independent design in Plakato style, which can actually be used for making neon signs due to its construction. Plakato Neon comes with its own Dingbat font for that extra flush-flush. Plakato has also been redrawn on a C64, and with all its accompanying limitations been ported back and turned into a font: Plakato Game. Also this font comes with its own Dingbat font, full of emoji’s and icons for oldskool pleasure. Last but not least there is Plakato Build, constructed out of blocks. As if that wasn’t enough, there are various dynamic versions in the Plakato Play package, which offer a whole new range of possibilities for typographic expression, with new animation and interaction opportunities.