Reyhan is a low contrast typeface that looks legible and clean in small sizes. On large sizes, it wraps the space around. Finely drawn negative spaces, neat and minimal shapes define Reyhan. Simple and clean lines give the typeface a solid and finished look. Reyhan is pure and powerful with well designed proportions. Different alternatives such as square dots, alternate /a /l /y /R /1 /6 /9, coverage of 94 Latin languages, various Opentype features, and 18 styles expand the usage area of ​​Reyhan, making it a versatile workhorse. With high-quality spacing, Reyhan looks good on all sizes, making it not only a valuable tool for graphic designers but also a total typeface solution for every person who communicates with type. Reyhan is a typeface designed to adapt requirements of modern and traditional communication. For more information please visit www.plantype.co

I always admired the beauty of Gothic letters, but lamented their low readability. The revivals of Gothic faces are beautiful, but they revive everything, including the traits that prevent readability. Blackletters are fine in ads and titles, but can’t be used in long texts (like books on Middle Ages, Medieval romances etc) where they would be the perfect historical choice. And I wanted to change this scenario. With Giureska, instead of taking one particular face to revive, I chose the best traits from many Gothic faces, i.e. the forms that were pleasant to look and easy to read. For the ‘small caps’, I studied uncial scripts and made a similar selection, adapting everything to make a unified font. With three weights, true italics and the uncials, Giureska can endure a variety of projects, bringing the appeal of Middle Ages much beyond the cover.

Montarsi is a typeface designed by Jeremy Dooley, inspired by Arabic calligraphy and contemporary design trends. The letters are fluid and graceful, inspired by the curves and swirls of Arabic script. Montarsi is a bold, contemporary calligraphic face with broad strokes and high contrast. It has a variety of styles and weights to give you an extensive range of design options. This font family, which includes eight weights, is ideal for producing brief texts for editorial, fashion, branding, magazine, television, window displays, and other media applications. Small caps, old-style figures, and width variations are also included. It's ideal for writing brief sentences because of the increased x-height. Montarsi is a classic spirit reinvented in a modern language, influenced by the delicate curves of letters and the way ink glides across paper. We especially thank Lucas Azevedo and ikern.

I come from a family of educators- my mom, husband, stepmom, brother-in-law, and sister are all currently teaching and I have taught in the past. This font was created after speaking to several elementary school teachers who were struggling to find just the right font to use on worksheets and projects in their classroom. They liked many features of other fonts, but needed small things altered in order to make a "perfect fit" for their class. Hand-drawn by me, this font hopefully addresses several of those issues. As penmanship styles vary across the globe, I am sure this font will not work in every classroom. But hopefully this style will work for many teachers to give their early readers a highly legible, neat, accurate font. It is best used with kerning turned on to allow for accurate letter spacing.

M Ling Wai is a humanistic script based on a real handwritten style. It has a feminine, urban and lively character filled with literate finesse. M Ling Wai was written with a thin ball pen by a young woman in a unique, personal, running writing style, such that it is real, natural and feminine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text and subheading with little conglutination. All strokes are highly irregular, inconsistent, irregularly oriented and tightly coupled or connected. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal favor. It is one of the first proportional width font in a full scale. It is best suited for casual lively text, illustrations, set upright (non-slanted), non-condensed.

Mezalia is a one of a kind typeface. Its shapes were strongly influenced by bastarda scripts of high medieval times. Unlike most fonts sharing similar origin, Mezalia is not just another blackletter but a fully functional text typeface, blending medieval poise and character with modern sensibilities. Stroke widths, imitating a broad nibbed pen of a scribe, fluctuate constantly giving paragraphs a characteristic vibrating texture. Despite it's strong character Mezalia is very legible and will be an excellent choice for a book or an elegant magazine. Mezalia has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in seven weights, from thin to black. Each weight contains a set of old-style figures, lining figures, small caps and ligatures. A separate style containing drop-cap initials is also available.

This family was inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books. Although it is an early Fraktur pattern, it is easy to see the characteristic differences with the Schwabacher style (look at 1538 Schwabacher), like in the small d, o or y... and the capitals (look at the H, K, T...). Frequently, Schwabacher and Fraktur were used together in the same book : Fraktur style for the main and Schwabacher for marginalia and comments. This font contains standard ligatures and German historical ligatures (German double s, long s, ts...) and diacritics (special ummlaut "e superscript" and "∞" instead of dieresis with letters a, o and u,) naturally, we have added numerous letters lacking in the original to permit a contemporary use of the font.

Rationality Grateful is an elegant handwritten font that exudes sophistication and charm. Its clean and modern design is perfect for a wide range of design projects, from wedding invitations to branding materials. This font features delicate and flowing strokes, which add a touch of femininity and grace to any design. The letters are carefully crafted to ensure readability and legibility, even in small sizes. With its elegant curves and swooping lines, Rationality Grateful is ideal for use in headings, titles, and other large text blocks. It’s also great for adding a personal touch to handwritten notes, quotes, and social media posts. Overall, Rationality Grateful is a versatile and timeless font that will elevate any design project and leave a lasting impression on your audience. If you have any questions please don’t hesitate to contact me Thank you best regards, Fikryal Studio

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which gives the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims through the rounded serifs and irregular vertical stems appreciation for quirkiness and human imperfection. The letterforms are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. Baldufa Paneuropean covers Eastern and Western Latin, Greek and Cyrillic Extended.

The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America. The design began after a long documenting period. Throughout the various stages of the work,  there were several  tests and checks  conducted of the formal solutions implemented which, based on the results, would gradually be changed until we finally reached, in this way, its definite design. The original project for the font features three steps, namely: regular, light and bold, yet by making progress in the development, it was possible for us to perceive that by enlarging the black and thin variances, the family with 5 different weights could offer very good results in mass media, such as newspapers, magazines and television. In order to expand its possibilities of utilization, the set was completed with italics and small capitals.

Introducing Midnight Tales - Vintage Font Midnight Tales is vintage, elegant font with tons of alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Midnight Tales is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral,punctuation & Symbol Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

OHG is pleased to announce the release of Tynne 2.0, now with two new out-line, drop-shade fonts which work independently as attractive display faces in their own right or one layer of a two layer, chromatic typeface. In addition, kerning and letter spacing have been adjusted and improved to ensure all characters will line up correctly when layered. Tynne, Is a strong, wedge-serif, condensed display font. Deep �ink traps�, subtly varied forms and open counters bring to its even colour and pleasingly regular rhythm a bit of syncopation and sparkle making it ideal for packaging, elegant yet informal headlines and posters. OpenType features include over 70 standard and discretionary ligatures and digraphs, three sets of figures, alternate characters, small caps and swashes. We are proud to acknowledge the assistance and contributions of fellow type designer, James Arboghast.

Kompot typeface with 2 styles Kompot Sans is swirly, vintage typeface with 2 styles to enchant your next project. They are loaded alternate glyphs and multilingual support. Very versatile fonts that works great in large and small sizes. Basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets are supported! Kompot Sans is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase numeral, punctuation & Symbol Regular Outline Alternate glyphs Multilingual support Basic and Advanced Cyrillic support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out.

Introducing, Astire Klarish is a new retro serif with all clean and soft lines, tight curves, a combination of regular and italic versions adding to the appeal and trendy elegant look! This serif typeface that looks amazing in both large and small settings is perfect for your design needs yet still clean and elegant to apply to a variety of other formal forms such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging. , fashion, make up, stationery, novel, label or any kind of advertising purposes. WHAT YOU GET : Astire Klarish Regular (Open type) Astire Klarish Italic (Open type) Astire Klarish Bold (Open type) Astire Klarish Bold Italic (Open type) This type of family has become the work of true love, making it as easy and fun as possible. I really hope you enjoy it! Thank you.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

A touch of modernism for all kinds of projects Like the rest of the family (Rival Sans and Rival Serif), Rival slab has round shapes with bevelled endings on certain letters such as G, Q or Z. These are the characteristics that make Rival Slab a contemporary cast iron for all kinds of projects. It provides advanced typographical support with features such as case sensitive forms, small caps, ligatures, alternate characters, fractions, slashed zero, circled, pro kerning…It comes also with a complete range of figure set options It comes in 16 weights with corresponding italics and it’s suited for multiple purposes including editorial use, web font, apps, digital ads, ebook, and also for advertising, long text, packaging and branding. As a modern sans serif font family, Rival Sans has true italics to give more style in long texts.