Wonderfully Script is highly legible Script typeface, get touch of a bold, classic and fun Vintage Script font, With glyphs and opentype features with stylistic alternates. Can be used for various purposes. such as posters, t-shirt, signage, logos, news, badges etc. 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. Wonderfully 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.

Farmfresh Script is highly legible Script typeface, get touch of a bold, classic and fun Vintage Script font, With glyphs and opentype features with stylistic alternates. Can be used for various purposes. such as posters, t-shirt, signage, logos, news, badges etc. 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. Farmfresh 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.

“Byblos” is the name of a town in Lebanon and the name of a famous hotel in St. Tropez. Some time ago I discovered their original logo in an old french magazine, just 5 by 3 centimeters small without any text, address, telephone number not even a picture. They did not need that, that’s how famous the hotel and its old logo was. Well they abandoned their identity when the place was sold to a big chain – I think. But the logotype, just those five letters inspired me to this new font. It evokes times past and has a little Bauhaus in it – as well as a really modern touch, all depends on the way you use it. Your strange typedesigner Gert Wiescher

Hello Bosnia is a modern serif family signature font that is packaged in a modern and classy style, complete with your OpenType feature access to access a large selection of alternative fonts and bindings, the choice of fonts you like from large and small font variations to luxurious and elegant looks. This font is perfect for branding projects, Logo design, Apparel Branding, packaging, magazine titles, advertisements, T-shirts, postcards and more. Hello Bosnia is encoded with PUA Unicode, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/app. Designer: khaidir

Rostyle Script - is a pretty and lovely font, fresh, interesting, cute with little heart at the end of the letter. Great for greeting cards, branding materials, business cards, quotes, posters and more! Rostyle Script- includes many alternative characters. Coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people who have opentype-capable software: Alternatives can be accessed by turning on the "Alternative Style" and "Ligature" buttons on the Photoshop Character panel, or through any software with the glyph panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

Glitter, flashing cameras and fame – now you know how to deal with this stuff! Freshness and brightness is what defines the Blushes fontfamily, which is created for beauty and fashion industries. Blushes is a vibrant part of you that emphasizes your character. Glamorous makeup and trendy clothes are now harmoniously enhanced with our fonts which follow every trend of both industries. Blushes can do it all: create edgy prints on T-shirts, use it for beauty products packaging design and fashion magazines layouts as well as advertising brochures. Blushes works perfectly in the contemporary digital environment. For instance, it is great for an edgy designer clothes on-line store’s website layout, as well as for a beauty products manufacturer’s app

If you want to design a classic yet strong touch, try these typography combinations. Tilaa Sans Logo Fonts The Tilaa Sans Logo Fonts were designed by combining Ligatures and Alternates for modern and interactive imaginations. You can enjoy the joy of design through these Opentype Features. Tilaa Serif Display Fonts Tilaa Serif is a beautiful typeface with extensive coverage ranging from editorial design to web design. Manually adjusted italic inclination and 124 Ligatures are innovative solutions for classic and defiant styles. And it is excellent for creating modern and luxurious logos and titles by incorporating rebellious ligatures while maintaining classic skeletons. And, they each contain exquisitely designed Ligatures, and in the case of Tilaa Sans, the best typography solution for 3D effects.

Introducing Kaylani – a Vintage Script Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: - uppercase & lowercase - numbers and punctuation - multilingual support - ligature - alternative - swashes - PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature. Happy Designing!

Fallefi Script is highly legible script typeface, with a touch of a bold, classic and fun vintage styling. It includes OpenType features and stylistic alternates. It can be used for various purposes, such as posters, t-shirt, signage, logos, news, badges etc. 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. Fallefi 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.

Ekeras V2 Inline is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Ekeras is a futuristic, techno-looking and dynamic typeface with an appearance of machined-like parts with sharp and rounded edges. The large Pro font character set supports most Central European and many Eastern European languages.

Fantabulous Script is highly legible Script typeface, get touch of a bold, classic and fun Vintage Script font, With glyphs and opentype features with stylistic alternates. Can be used for various purposes. such as posters, t-shirt, signage, logos, news, badges etc. 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. Fantabulous 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.

About Loving is highly legible Script typeface, get touch of a bold, classic and fun Vintage Script font, With glyphs and opentype features with stylistic alternates. Can be used for various purposes. such as posters, t-shirt, signage, logos, news, badges etc. 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. About Loving 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.

BIRTGOCHE is a serif font with long, thin hooks, it's beautiful because it's quite formal and manly. Attractive fonts to support elegant art designs. A fairly standard serif font because there are not many changes from the basics of the previous serif fonts, only the modifications to the hooks are not too significant and some letters have their body part below the baseline. For media, it will also be very suitable for the headline of a magazine or poster because this font has a strong character supported by this font, which is an all caps font. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Cheers!

The better your font, the better the result of your design will be. That’s a fact. Renneal is an uppercase font that comes in duo (serif and display) version. The unique strokes/curves at the particular part of the character give the serif style artistic vibes. On the other hand, the display version expresses more simple and clean looks than the serif. Overall, Renneal designed to be easy to read and works best in header/title text. Features: Alternates Swashes Multilingual Supports Numerals and Punctuations It is suitable for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing our premium fonts! Happy Designing!

Twenty One is highly legible Script typeface, get touch of a bold, classic and fun Vintage Script font, With glyphs and opentype features with stylistic alternates. Can be used for various purposes. such as posters, t-shirt, signage, logos, news, badges etc. 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. Twenty One 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.

Introducing Niraloka – a Serif Vintage Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: uppercase & lowercase numbers and punctuation multilingual support ligature alternative swashes PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature.

The Adinkra name, by legend, comes from the King who was conquered by the Ashante people of Ghana. The king, Adinkra, wore wonderful patterned fabrics. Adinkra means “goodbye,” and the symbols were reserved for funeral garments. Today the symbols are part of the Ghana popular culture and around the world. You will find the symbols on everything from housing, clothing, to tattoos. These 100 symbols are accompanied by the Ghana name, a loose translation and what the symbol has come to represent. The meanings and symbols are by no means the complete list and some people do not use the exact same translations and meaning as you will find here. These are for casual use and not historical or anthropologically completely accurate.

Donchenko Serif is a leisurely, elegant, minimalist serif typeface that combines references to medieval half-uncials with Art Nouveau motifs. Its styles are well readable and at the same time have individual features, which makes this typeface stand out from the rest. Donchenko Serif is a "universal soldier". It's great for any challenge. It is also good for typing books or articles, designing corporate identity and promotional materials, or creating display cases. A wide range of Latin, Greek, Cyrillic and special characters provides extensive language support for all European languages. Font Donchenko Serif Regular was developed by designer Oleksandr Donchenko in Lviv (Ukraine) in the first half of 2022. His daughter - Sofia Donchenko - took part in the development some letters. Donchenko Serif - Good font for good people!

Jacky Black, Handwritten ink style letters font that have a simple and natural shape, but still look elegant and exclusive. Jacky Black, It is suitable for use in your creative ideas, who want unique and natural-looking writing to support your beautiful design. This is a listing of all 229 glyphs contained in the font, including OpenType variants that may only be accessible via OpenType-aware applications. Each basic character (“A”) is followed by Unicode variants of the same character (Á, Ä…), then OpenType variants (small caps, alternates, ligatures…). This way you can see all the variations on a single character in one place. Thanks for your support, please kindly send us a message for any question about our product. Hope you like it.

Illuminated Initials font family has Regular and Colored styles and inspired by medieval initials. It's all you need to precisely imitate dark-ages style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/fbt3wpu2j3t0ymv/IlluminatedInitials-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Medieval Knots font family has Regular and Colored styles. It inspired by Celtic knots initials and lines. It's all you need to precisely imitate medieval style text. Use this font as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in regular black letter font. You’ll get Drop Caps & Numbers set. --- *You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ * *Please note that the Canva & Corel doesn't support color fonts!* *Please download this test file with only A letter ( https://www.dropbox.com/s/w6n0zmga231xng1/MedievalKnots-Test.otf?dl=0 ) to check your app & system.* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

The font family Univers? is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry's art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts - quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Piegnot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas'sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989. Adrian Frutiger continues to do design work with Linotype right up to the present day. In 1997, Frutiger and the design staff at Linotype completed a large joint project of completely re-designing and updating the Univers family. The result: Univers Next - available with 59 weights and 4 Linotype Univers Typewriter weights. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. Univers has the uncanny ability to combine well with fonts of many different styles and origins: Old style fonts such as: Janson Text, Meridien, Sabon, Wilke. Modern-stressed fonts such as: Linotype Centennial, Walbaum. Slab serif fonts such as Egyptienne F, Serifa. Script and brush fonts such as: Brush Script, Mistral, Ruling Script. Blackletter fonts such as: Duc De Berry, Grace, San Marco. Even fun fonts such as F2F OCRAlexczyk, Linotype Red Babe, Linotype Seven."

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Thermal is an exploration of balance and contrast. Combining the elegance of classical typography with the sharpness of contemporary design. It was conceived to be a variable font with two axes: weight & optical size, providing a wide range of options for texts & display applications. The regular and italic text weights breathe a warm atmosphere, their design inspiration is a relaxed interpretation of the work of 16th-century French type designer Robert Granjon, evoking a comforting rhythm and a sense of familiarity that makes reading enjoyable. On the other end of Thermal's design spectrum lie the extreme weights – thin and heavy –, specifically designed for larger sizes. These weights borrow stylistic cues from several distinct influences: the characteristic woodtype from the 19th century, the sharp lettering styles from the 70s, and the bold work of Oscar Ogg. One of Thermal's disctint features is its italic's 20° inclination, an significant inclination by all standards, this design choice finds its roots in the "Ascendonica Cursive" of 1571, but is a contemporary interpretation that generates a captivating contrast with the regular version. Thermal studies the past and analyzes the present to create a unique blend, bringing a dictint dichotomic identity.

Mousse Script is based on Glenmoy, a 1932 Stephenson Blake typeface. Glenmoy a prime example of what display typography was in pre-WWII American ad art. It graced the pages of magazines, sold numerous products and services, then simply died out when the typographic trends shifted towards the more personalized, stylized and handwritten types of calligraphy. The current trend in typography is a revivalism that brings all of the distinctive display typography of the 20th century, without chronological discrimination, back in the name of ‘retro’. Who are we to deny the masses what they want? Mousse Script doesn’t just bring Glenmoy back from the ashes of the 20th century. It expands upon the limited metal character set nearly twice over and takes advantage of the latest type technologies. This makes Mousse Script a striking typeface, both functionally and visually. A simple, attractive display font on the surface, Mousse Script is unique in its bold upright calligraphy, something rarely found these days. The OpenType version of Mousse Script combines both the regular and alternate character sets into a single, cross-platform package that takes advantage of the extended typographic features of the OpenType format.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

Milton Glaser commented about this type family: “The typeface is called Houdini after the famous American magician. I wanted to produce a letterform that would gradually disappear as one line after another was removed.” The various versions of Houdini presented by P22 include those originally offered as phototypesetting fonts, plus a solid and an outline version—a variation of which was used for Sesame Place children’s park in 1980. These Houdini variations can all be layered on top of each other for a range of chromatic effects. Each of the Houdini fonts contains over 375 characters for full European language coverage. The family is taken to its logical conclusion with the bonus font “P22 Glaser Houdini Vanished.” This font shares the same spacing and kerning as all of the Houdini font but lacks all visible outlines. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

Isabel Condensed and Isabel were made out of necessity to create a new font for children and teenagers, that could be enough friendly and versatile for text in words or even easy-to-read long texts. The purpose of Isabel is to combine all the nice and friendly features of the simple letters that the teachers teach to the pupils at primary school, as they starting to learn to read, together with the normal editorial fonts we read every day. In this way it generates a very joyful serif font, or even friendly font, with some conservative aspects. In other words, Isabel is a font that, despite of being a “classic features” typography, is proud to show its innocent and ingenuous elements, this gives to the font a new point of view. The family is composed of 3 parts: the regular version, the italic version and the unicase version. Each one of them has 5 weights. The italic version has 825 characters; the regular and unicase have 739 and are composed for 220 latin languages, plus cyrilic.

Linotype Mega is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The fun schrift of German designer Till F. Teenck is available in three weights whose names are word plays in themselves. Mega in (which we hope the font will be) contains relatively light, somewhat irregularly-drawn characters which look as though they were printed by hand and the characters are set rather far apart from each other. This weight is good for short and middle length texts in point sizes of 10 and larger. Mega normal is anything but. The characters are the outline forms of Mega in and their larger width reduces the distance between them. This weight is generally a headline font. Mega out is a very heavy weight and is the filled-in version of Mega normal. The characters flow into each other and look almost like silhouettes. The reduced legibility makes this font suitable exclusively for headlines in larger point sizes.

Abdo Rajab is the second version of the font FS Rajab which was designed by the type designer Abdulsamiea Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Regular, light and bold) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke in 2002, and are part of the Take Type 5 collection from Linotype GmbH."

Home Style is a revival of a very old font previously thought to have been designed by Joseph Gillé in or around the year 1820, however recent evidence from France suggests that an artist by the name of Silvestre from the same time period may be the true designer of this font. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. Originally designed in France, this very decorative font was only available in uppercase including numbers. Today this font has been re-mastered and updated with the addition of a newly designed lowercase set of letters. Home Style with its diagonal or cast shadow lines breaks away from the original design which has squared off shadows. If you're looking for the original version of this font please refer to the FontMesa version named Maison Luxe. New in 2016 for Home Style is an uppercase German Double S (versal eszett), opentype features including case sensitive forms and old style numerals.

Bandung Pro from Majestype was made to capture the natural movement of a brush script infused with the elegance of copperplate hand. With 6 months in the making, we want to make sure that the character set connects each other as natural and seamless as handwriting would be. We give you vast amounts of glyph options(700+) added with lots of swashes and flourishes to give you an authentic look of hand-made brush letters. Aceserif Pro is an all-caps serif font inspired by traditional serif and art deco design. Equipped with 220 Glyphs and has the current OpenType features. We made the uppercase letters slightly larger than the lowercase letters to give a good impression when used in designs that don’t require a lot of words, such as headlines or headers. You can try it like this, “HeadlineS” - Capital letters are at the beginning and end of a word. Bandung Pro & Aceserif Pro is suitable for a wine label, photography, invitation, ID card, tattoo, poster, logo, title, tees, branding, etc.

Lavinia is the new hand lettered script font, full of fun calligraphy with 962 characters and a host of specials features that will allow you to add more personality and originality to your work. Lavinia is a seamlessly connecting alphabet. Using OpenType contextual, stylistics alternatives, swatches each lowercase has the minimum ten versions and each capital letter two variants. Also, Lavinia comes with a custom set of standard and discretionary ligatures, lots of goodies ornaments and flourishes, catchwords, tails, words with stylistics alternates, special double letters ligatures. This lovely font has an extended character set to support Central and Eastern as well as Western European languages. Mix and match them for a custom look! You can quickly change the appearance of your design. It’s like getting a lot of fonts for one! Lavinia is perfect for logos, advertising, announcement, invites, thank you’s and correspondence, for packaging, and to create all yours fun and moderns designs you want. There are plenty of options to allow you to create something unique and special. Test it, you will not regret! Have fun with it!

"Seen" is the name of the gods in Kingdom of Hadhramaut 3,000 years ago Kingdom of Hadhramaut - Wikipedia "Seen" Font Family Will Add a Splash Of Historical Musnad writing To Your Designs Coming in 4 Styles: Regular,Medium,Bold and Black, "Seen" Font Family is a serif typeface designed by Sultan Maqtari. Each style of the font is incredible in its own way, with attractive curves, spacing, and ligatures. Ideal for bold headlines, short sentences, unique logos, and general graphics, this typeface will effortlessly add a hint of Musnad writing and a splash of Amazing past to any design. "سين" اسم آلهة في مملكة حضرموت قبل ٣٠٠٠ عام ستضيف مجموعة خطوط "سين" لمسة من كتابات المسند التاريخية إلى تصاميمك. تأتي عائلة الخطوط "سين" بأربعة أنماط: عادي،متوسط،عريض واسود ، وهي عبارة عن خط مزخرف صممه سلطان المقطري. كل نمط من الخط لا يصدق بطريقته الخاصة ، مع منحنيات جذابة ، ومسافات ، ووصلة ربط. مثالي للعناوين العريضة والجمل القصيرة والشعارات الفريدة والرسومات العامة ، سيضيف هذا الخط دون عناء لمسة من كتابة المسند ونفحة من الماضي المذهل إلى أي تصميم.

Foverdis is a versatile and powerful ornate script face. Foverdis features flowing hand lettering with tall and graceful ascenders. The face offers a wide array of weights, from the powerful Black weight to the graceful Thin to unique Hairline. Foverdis can get the job done for many unique design tasks. Its wide range of weights at a great price, and OpenType alternates make it a very valuable font for your design toolbox. Foverdis OpenType features include a set of non-connecting alternates, 20 ligatures, and two types of ending letterforms. OpenType features include ornaments, a full set of swashes, swash endings, ending contextual alternates, discretionary ligatures, ligatures and twelve different stylistic sets filled with alternates. In total, there are over 150 alternate letterforms and ornaments. Please see the sample .pdf to see these features in action. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Foverdis is great for a professional designer that wants to maximize design capabilities.