Cherry is a bold and smooth display family with connecting script “Brush” and supporting thin marker caps “Sans”. In addition there is “Extras” which is a set of strokes and ornaments designed to go with the fonts. Cherry Print is the same set with rugged outlines and eroded print texture. Cherry Brush has clear and smooth letter shapes with lot’s of character. It’s great for Logo, Poster, Headlines, Packaging or any Display use. Cherry Brush is equipped with plenty of contextual alternates and ligatures that keep the connections smooth. This feature is set in Standard Ligatures and it’s on by default. Cherry Brush is designed so that you can also use it to writ ALL CAPS. For more flashy initials try Swash feature. Cherry Brush is PUA encoded so you can access extra characters in most graphic design softwares. Cherry Sans is an all caps thin marker font with two size of letters (uppercase & lowercase). Cherry Sans is clean and legible. It’s designed to work with Cherry Brush but works just fine on its own too.

One of the most widely used typefaces in the world is actually a legacy of 18th century aesthetics, representing the spirit of late Baroque design, architecture, fashion and society. It has been created and printed for millions of readers around the world for more than two and a half centuries. It influenced many modern typographers. It shaped culture, education, entertainment and science, but also the development of typography itself. As a calligrapher and technical innovator, Baskerville invented new design, papermaking and printing methods, and his typography is very natural and legible to this day. Graphic design today calls for clean and minimalistic solutions, where the use of historical typefaces can achieve a vivid contrast with contemporary elements on the page or screen. Baskerville is undoubtedly the best choice for any kind of publishing house. In keeping with the original inventor’s spirit of excellence, we hereby offer its most advanced digital version. This is not a precise remake of rare Baskerville prints or a restoration of the original punches cut by John Handy, but rather our ideal essence of transitional typography. The old masters were limited by the technology of the time, but today we can dare to have very fine lines, unlimited ligatures, size variations and sophisticated OpenType functions. Drawing, programming, proofing and testing took us many years of development and brought thousands of new letters and dozens of language options. We are convinced that your readers will enjoy this font mainly for reading extensive works, but also for creating corporate identity, orientation systems and cultural posters. Baskerville is perfectly modern in its antiquity, striking in its modesty and timeless in its transiency.

Extraordinary impact and visual conspicuousness. Poipoi is a super 3D sans family for posters, logos and all display. The basic idea is not a brand new. The Stacking type system has been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each color. Poipoi uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layer. Poipoi "Standard" style is the base of this font family. You can add effects by stacking Highlight and shadow layers. Stacked layers in different color make the text in 3D. Instruction 1. Type your text as you like. 2. Set font-name "Poipoi" and font-style "Standard" 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer twice (One for Highlight, one for Shadow). 4'. The layer order should be Highlight, Standard, and Shadow from top to bottom. 5. Set font-style and color of "Highlight" and "Shadow" layers. 6. Adjust tracking if you need. (Please use same tracking value for all 3 layers.) For further detail, https://www.dropbox.com/s/xymis7dh5hwxn9q/Poipoi.pdf Poipoi Standard, Highlighted, and shadowed style can be used solely. Rounded terminals add soft, cute, and casual impressions to your design. Spec: Over 400 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Introducing SAFARI SQUAD, the bold and stylish font perfect for making a statement. With its solid and italicized design, this font is perfect for creating impactful and attention-grabbing headlines and logos. The unique selling point of SAFARI SQUAD is the quirky stylized animal print alternates for the uppercase and lowercase letters, which add a touch of personality and originality to your designs. These alternates give you the flexibility to switch up your design and make it stand out even more. For those who can’t access the alternates, SAFARI SQUAD SUB is the same font but using the alternates as the default, making it accessible for everyone. SAFARI SQUAD SUB also offers the same solid and italicized design, perfect for creating impactful and memorable designs that will leave a lasting impression. SAFARI SQUAD and SAFARI SQUAD SUB are perfect for a wide range of uses, from social media posts and website design to marketing materials and publishing projects. These versatile fonts are sure to make your content stand out, whether you’re creating a bold and striking headline or a unique and eye-catching logo. Make your designs stand out with SAFARI SQUAD and SAFARI SQUAD SUB, the bold and unique fonts that’s sure to elevate your design game. SAFARI SQUAD comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢ ÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚ ÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣ ıíìîïīįĵḱǩłḿṁńñňóòôöõōőøœṕṗŕřṙśŝšşșťṫț úùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ SAFARI SQUAD SUB comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥✿•· ÷×+−±≈=≠≥≤[]<>:;'”,.\|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³¡¿₱¢€£¥¶§† ÁÀÂÄȦÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢ ÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚ ÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäȧãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣ ıíìîïīįĵḱǩłḿṁńñňóòôöõōőøœṕṗŕřṙśŝšşșťṫț úùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Will Carter, well known in connection with his private press in Cambridge, has combined the skills of a calligrapher with a practical knowledge of printing. His mastery of pen-drawn letterforms was put to practical use in the design of Klang. Klang is a slightly inclined and calligraphically shaped sans serif with short ascenders and descenders. The Klang font is useful for informal applications, such as invitations, greetings cards and posters, but can also be used in advertising.

Scansky is a carefully crafted contemporary modern sans serif typeface. It comes with 28 fonts, regular and condensed sub-families, and matching italics. Scansky was designed to give a distinct, corporative look to your artwork, suited for signage, web, and corporate print material. It is equipped with an extended character set to support Central, Eastern and Western European languages. And the good news is that the SemiBold weights are free of charge so you can try it. :)

Hantlay is a handwritten brush font. This another collection of script is perfect for your next personal branding project, excellent for your business. Hantlay have a smooth edges, so this font gives an authentic handcrafted feel style. Hantlay is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

Grafinc is fat, black and robust. It is a geometric-based display typeface that comes in two cuts: ExtraBlack and Rounded. Grafinc can be used for all types of media – print, web, broadcasting or games. Despite its robust appearance and display character, Grafinc is very friendly typeface. It appears to be very legible in smaller sizes, too. The cuts include some very fine ligatures, making its appearance very rhythmic and smooth. Available in OpenType and western languages.

Stone Dense is a playful display font. Stone Dense has a large number of ligatures, 160 ligatures. So that makes this display font more playful and unique. And Stone Dense has a bold body, with unequal widths for the characters. Stone Dense can suitable for your projects that require fonts with bold and strong characteristics. Such as branding, logos, titles, headlines, printing, magazines, quotes, posters, fashion, t-shirts, apparel and others. Stone Dense is also support multi language.

Bullterrier is a bold type of font that has a unique character than other bold fonts, Bullterrier has a strong but soft character, with an elegant and fresh theme, Bullterrier is provide your something different unique bold font . Its weight excels in logos, posters, social media, magazine titles, clothing, large print formats – and anywhere you want to see it. Inspired by the design styles that are currently popular, let’s make your imagination come true with Bullterrier.

Montana is an elegantly playful handwritten font family with separate fonts for icons and illustrations included. This font is based on tight, condensed Grotesk typefaces, combining geometry and legibility with the originality of handwritten strokes. The result is a fresh font family perfect for headlines, typographic posters, t-shirts, food packaging and other print works. Its optimized legibility, simple structure and low contrast was made to perform excellently with e-books and mobile apps in mind.

Pantai Bali is a new organic siganture font. This another collection of script is perfect for your next branding project, excellent for your business. Pantai Bali have a natural edges, so this font gives an authentic handcrafted feel style. Pantai Bali is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

Introducing our foundry with the new Sans Serif typeface, Kommon™Grotesk, a super family with 96 styles. Different width from Extended to Compressed, variety of weights from Thin to Super, made Kommon™Grotesk suitable for multiple usage. The typeface was crafted till clean and simple. It has high legibility with modern and clear look to be use as text or display font. Kommon™Grotesk is effective displaying on many medias, both print and on screen.

If you’re looking for a gorgeous font to attract your audiences or customers then we’ve got the font for you! Introducing Billionary - A Serif Font This handmade font typeface with modern style looks very interesting for loads of different projects and promotions. It is perfect to be used on your website, for your social media branding, Pinterest banners, printed products, and more! Features: Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Rensor is an three weight modern geometric typeface, designed to be an easy go-to for branding, web, and print design projects. Each form is pared down to its essentials, so it's extremely versatile and can blend in or stand out as much as you choose. With it, you can create logos, labels, use in advertising, branding, packaging, magazines and book covers, posters, banners, headings, descriptions and much more. This font is easy to use has OpenType features.

Hello, this time we would like to introduce a new product. namely "Chaviera pro ", a Sans-serif display font that has a classic, feminine, and elegant style wrapped with a beautiful Alternate stylist. The Chaviera font is perfect for various projects like logos & branding, invitations, stationery, wedding designs, social media posts, advertisements, printed quotes, product packaging, product designs, labels, photography, watermarks, special events or anything else. Feature Uppercase Lowercase Numeral Functional Ligature Stylistic Multilingual INCLUDE WITH 6 VARIATION WEIGHT

Mahegrena is a monoline script font. This another collection of script is perfect for your next personal branding project, excellent for "Logotype". Mahegrena have a smooth edges, so this font gives an authentic handcrafted feel style. Mahegrena is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc Thank You!

A new modern classic. Kana Sans is a versatile sans serif font family that’s ideal for building a contemporary yet timeless brand look. Inspired by iconic typography, Kana Sans is designed to be balanced, modern and easily adaptable to web, print, and signage applications. From fashion to corporate industry, this font gives the designer full flexibility to express his/her vision. With Six different weights and matching italics, Kana Sans is a powerful communication tool for today.

'Appetizer' is a casual marker font, this font is suitable for a variety of purposes, it is great for logos, craft, prints, text headers, web banners, writing quotes as well as for video editing, animation and other visual presentations. This font is equipped with ligatures and is supported by multi languages, making it worthy of your bringing to any part of the world. Fall in love with its incredibly versatile style and use it to create spectacular designs!

Olap Metric is a modern, one-of-a kind font that will make your designs stand out against the competition. With 9styles and Multi-languages support, this stylistic display type has what you need for all sorts of projects! The family has been developed as a modern playing system allowing the mixing of infinite combinations. Perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, digital and more.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Meat and Seafood”, our offer also includes Dairy, Bread and Confectionery, Vegetables and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

Team Tribox Design created the font to improve the old font print of Doctrina Christiana. Each letter is designed for better readability even in small sizes, particularly for books, and is designed for poets, writers, and anyone who needs a font used in publishing. The font is personally designed and is intended for use by publishers and those seeking publication. Regine Ylaya: Art Director, Research Inu Catapusan: Font/Typeface Designer, Creative Director, Copywriter Faye Penetrante: Copy Editor

Manekin is Beauty Bold Script Font with a Beauty vintage style.This font is also equipped with 40+ stylistic Alternates and ligatures and also multi-language support which further adds to the creativity in using this font. This font is perfect for your creative projects such as Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Apparel , Web design, Magazine, Book, etc. FEATURES: - Uppercase - Lowercase - Punctuation and Marks - Symbols - 40+ stylistic Alternates & Ligatures Thanks, Have a wonderful Day, Say Studio

Gladies is a New Modern Serif Typeface. This another collection of Serif is perfect for your next branding project, excellent for your business. Gladies have a smooth edges, so this font gives an authentic handcrafted feel style. Gladies is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc

Step into the world of visual grandeur with Wornas, a commanding serif display font that marries bold weight with artistic finesse. The letters are adorned with intricate artistic objects and inline details, transforming each character into a canvas of creativity. These unique style add a visual interest compared to other display fonts. The inline details in this font are a stroke of design genius. Wornas fits in headlines, logos, branding materials, print media, and many more.

In 1994, Edward Benguiat designed ITC Edwardian Script, an emotional, lyrical, even passionate calligraphic typeface. Its appearance was influenced by the look of writing with a steel pointed pen, an instrument which can be pushed as well as pulled, and which produces stroke contrast when pressure upon it is varied. The delicate, sophisticated letterforms of ITC Edwardian Script font were drawn and redrawn until the connective elements of the letters were perfected to create the look of true handwriting.

In 1966 and 1967 a series of weird events spooked Point Pleasant, a small town in West Virginia. Townspeople described a creature that looked like a man, with red eyes and moth-like wings, which appeared at several locations around town. The Mothman myth was born. Mothman font is spooky as well. It is a very scratched and distorted typeface, completely hand drawn, using ink and various sharp utensils. Mothman font will surely leave a lasting impression!

A vintage rubber stamp alphabet and star printing set had a package header with Art Deco-inspired lettering describing the product. Sold by a company called Elvin [circa late 50's-early 1960s], these Japanese-made sets were one of many distributed by independent toy importers and made in various configurations including [at times] tiny animal stamps. The type design on this particular item was the model for Retro Packaging JNL, available in both regular and oblique versions.

Laceria is a New Modern Serif Typeface. This another collection of Serif is perfect for your next branding project, excellent for your business. Laceria have a smooth edges, so this font gives an authentic handcrafted feel style. Laceria is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc