Dimitrina was created with a simple premise: Can there exist a typeface which features a minimum of sharp angles? And a readable typeface, as well? With these strict rules in mind, the development started. At first the typeface looked more like a script, and some characters ( M G or R, to name a few) still hold traces of a handwritten style which spices the overall taste of Dimitrina. Since the first draft every character was redrawn, and edited several times, for the purpose of making the typeface readable, and distinct at the same time. Estimate for yourself if our goals are achieved, while you observe the three weights which are available exclusively in MyFonts. All of them feature a full set of characters plus cyrillic support. You can also try the regular weight which is offered free.

Plenty of swashes, ligatures, beginning and ending shapes, Wishes is a wit option for invitations, cards, stationery, fashion and apparel, among a wide range of uses. The curves of the cursive style are neither too solemn or pompous, its grace and playfulness are more 1950s than 1750s. This family offers the designer an additional decorative toolkit full of frames, ribbons, hearts, flowers and ornaments, plus a collection of caps and small caps. Wishes Script Pro includes the complete set of Script characters plus Ornaments and Caps. The family offers optically optimized Display and Text styles for each of the weights: Light, Regular and Bold. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide Use Wishes to express your greetings!

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Baylena is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. Baylena Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a decent number of stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertisements. destination. . . Baylena has alternative characters, including multiple language support. With OpenType features with alternative styles and elegant ligatures. If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing.

Quidic is an unusual display typeface. The upper-case letters are strongly vertical, condensed, and bold. Used by themselves, they make headlines and titles that stand out. The lower case letters do not have serifs similar to those on the upper-case letters, but rather have the serif shapes one expects from an italic style. The lower-case is also quite short compared to the upper-case letters. The italic styles of the family are unusual because the lower-case letters keep their shapes and the upper-case letters and numbers change. The family has three styles that differ more by width rather than by weight. Although some Bauhaus fonts have several letter shapes that are similar, there is no other typeface quite like Quidic. The family can be used for many things, but not for text. For a "normalized" version of this typeface, see Qwatick.

Unlike its predecessor, Andes Neue contains a larger character set of 759 glyphs which support 219 Latin-based languages from 212 countries. The font comes in 4 variants that provide a wide stylistic range. Andes Neue is the most similar to the original Andes design. The Alt1 character set bears some similarity to the old Andes's (yet cleaner); Alt2 uses the alternates in the font as default glyphs; and Alt3 is a mixture of the other three variants that offers a balanced set of characters. Andes Neue also includes new accents and glyphs for a wider language support, and a set of small caps (in each variant). All of these features give the font a strong personality that helps make text look more appealing. Andes Neue varied weights work well with both short and mid-length text sections, providing a wide range of choices for any design project.

Originally designed in 2012 by Ryoichi Tsunekawa, All Round Gothic is a font family inspired by classic sans serif fonts such as Avant Garde Gothic and Futura. All Round Gothic is a structured geometric sans, but also creates a sweet and cute atmosphere by removing unnecessary stems. With their bowls shaped by not-perfectly-geometric circles, All Round Gothic makes an organic impression in some degree. As a result, All Round Gothic became a new font family that covers between 1920s Bauhaus and contemporary design trends comprehensively and one of the most suitable family for any purpose such as text, headline, logo, poster, and animations thanks to clean and legible but soft and friendly letterforms. All Round Gothic includes 5 weights and obliques corresponding to each weight. Why don't you try this family if you got a little bored with classic sans serifs. This font is used in Minions movie.

Bonding Font that has a distinctive character that is very thick and elegant to use Bonding is a relaxed and flowing Handwritten Font. Incredibly versatile, this font fits a wide pool of designs, elevating them to the highest levels. Add this font to your favorite creative ideas and notice how it makes them come alive! Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) • Ligature Multilingual Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu There it is! I really hope you enjoy it

I originally wanted to call this font Instant Pudding. When I was a kid, we sometimes had instant pudding (the ‘add cold milk and rest in the fridge’ kind) for dessert. My brother and I loved the stuff, especially when some of the pudding powder had not dissolved and had turned into brightly coloured speckles! But this font, alas, did not ‘feel’ like instant pudding, so I hunted the internet for other, more obscure, puddings. I found Spoonbread. Apparently it is a pudding-like Southern American dish, made from cornmeal. I have never tasted it, nor do I particularly like corn (most of it is GMO anyway), but the font and the name became friends. And who am I to tear this beautiful relationship asunder? Spoonbread - use it for your packaging, your books, your posters and your games. And when you make Spoonbread, use organic cornmeal!

Debugger is a futuristic, sicentific, digital family of next-generation monospaced fonts for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Debugger has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Octagonal and diagonal letterform is good for sci-fi, digital projects. Common elements for each letterform makes harmony and a sense of unity. Debugger supports almost all Latin languages. Try this all-new experiment.

In response to many requests for Morpheus, an idea came to us. Why not make a font that looked a bit like Morpheus, but which had more attractive, more consistent character forms, was rendered cleanly and properly spaced and kerned? We took a look at Morpheus and decided to redo the concept from the ground up, replacing some of the amateurish characters, adding a bit of a Celtic look and feel, developing a set of alternate characters and making sure that the design elements were consistent from letter to letter. The result is Orpheus, a font which has the general look and feel of Morpheus, but is a much more complete and fully realized design. In addition, Orpheus is a fully developed font set, with not only regular and bold versions, but with a special customized italic style and a really neat looking heavy weight rough-outlined variant.

While DIN Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit. It has been used successfully in magazines, corporate applications and packaging in fields such as music, fashion, technology, visual arts. The ‘Pro’ series has been enhanced with more weights, multilingual support and opentype features in all different styles. Specifically, this superfamily supports simultaneously Latin, Greek and Cyrillic, while each one of its 15 weights contains 1197 glyphs and 20 opentype features. Additionally, every font in this superfamily has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations. This is a set of very useful daily symbols for packaging, branding and advertising. Symbols for public areas, environment, transportation, computers, fabric care and urban life.

Here is a decorative condensed antique design that is sure to fit a variety of contemporary situations. The Bruce Type Foundry (later acquired by V. B. Munson) developed this wonderfully shaded Tuscan in the 1880s - or possibly earlier. It was known back then as Style No. 1050 and carried a pronounced three-dimensional look with a thin hairline at the bottom and right of each stroke. It is best to use Frisco Antique in large display sizes because it is easy to lose these delicate hairlines. A lowercase and several alternate characters have been provided for your convenience. Frisco Antique Display is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

This family was created inspired from two French (one so common and a very rare large one) "toy print" boxes, named Le petit imprimeur, with rubber stamp characters from the 1920's. The big difference from our 1920 My Toy print is that this font is complete, with upper and lower cases, accented, complete punctuation and some symbols. The doubly of each usual character in each style (A-Z/a-z and numerals) allow to give a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps, with bad kernings and alignement. The font is containing West (including Celtic), Central, East European, Turkish and Cyrillic characters. The bold style may be used as a reinforcement, mixed with normal style without disadvantage, allowing finally four choices for each usual letter... The original size is 6mm (about 17 pts).

Siren Script takes its cue from BB&S's Stationers Semiscript (metal, 1899) and its countless imitations/inspirations from throughout the 20th century, particularly a variety of uncredited film faces from the 1960s. What makes this kind of script stand out in the genre is its mixing of flourished majuscules with mostly subdued, traditional minuscules. The result is a balance between formal and informal lettering, as if the letterer is applying his or her learned art without going into full-throttle calligraphy. The message is clearly and gracefully delivered, and the artistic endeavor is fully appreciated without causing coronaries. The Siren Script family comes in four full fonts, and a fifth one that contains alternates, ending letters, and some ligatures. Siren Script Pro combines all five fonts into a single one of over 880 characters, which includes programming for push-button stylistic alternates, class-based kerning, and other glyph palette conveniences.

Introducing Huntsville Monoline Signature, a brand new font with monoline style and signature feels, also made from hanwriting skill to make it more useable and stylish. This font also suitable for Branding Design, Logotype, Wedding Invitation, Headline, Posters, Business Card and etc. Yes this font comes with more than 200+ alternates and ligatures to complete your design and make more attractive than other font. Support for 66 languages Afrikaans, Albanian, ,Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Manx, Morisyen, North, Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, ,German, Taita, Teso, Uzbek (Latin), Volapük, VunjoZulu, Thanks! Happy Desigining :) Umar

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

In many aspects, built in a traditional way. Still, some modern details have been implemented which classic designs sometimes lack. The prime goal was to make a strong text font for books and longer texts in general. This fact does not exclude the possibilites for use elsewhere. Throughout history existing designs have often been the source of inspiration for newer ones. Delicato is no exception and looking closely, similarities can be found in the lowercase of Jeremy Tankard’s Enigma and the stems of Petr van Blokland’s Proforma. The goal is to respect these sources and turn the the typeface into something new with a unique and personal touch. Most text faces carry a basic set of weights like Regular, Italic, Bold and Small Caps. MRF wanted to expand that a little bit further and added a Medium, Alternates and a set of Ornaments to make the family complete and versatile.

Heimat Display is the high contrast sans serif typeface family within the Heimat Collection, also containing Heimat Didone, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Display is a typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Display’s character set provides different alphabets, the regular one plus alternate designs that comes across as less suspenseful. Heimat Display [873 glyphs] comes in 72 styles and contains extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

The Vtg Stencil fonts from astype are based on real world stencils from several countries. The US No. 4 design was derived from a typical antique US-American stencil-plate. This revolving stencil-plate was invented by Eugene L. Tarbox and patented in 1868. It was a mass factored product and a very common tool in the United States until the success of the interlocking stencils. In case of US No. 4 an original early stencil plate from New York Stencil Works was used. The Regular font style is a clean font design featuring an extended Latin glyph set including some typical stencil ornaments and tabular figures. The Paint font style is made from true stenciled letters and features all the letters of the stencil-plate only. If you like the later interlocking design have a look to my Vtg Stencil US No.2 font. More info: pdf specimen

Chonky is a bold script font based on English calligraphy but with touches of the vitality that the commercial lettering of 1950s had, and it is mostly inspired in the work of the master Doyald Young and his lessons. Its rounded terminals, friendly look and heavy weight make Chonky a perfect option for advertising, packaging and visual identities. In the Regular font, the ascenders, descenders and capitals are the shorter they could be; while in Poster, they are larger, in order to achieve more graceful forms. Both options include stylistic sets and ligatures to embellish the words. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures and Contextual Alternates features always active. For further information about features and alternates, see the User Guide Chonky has extensive Western, Central and Eastern European language support. Enjoy!

Heimat Didone is the high contrast serif typeface family within the Heimat Collection, also containing Heimat Display, Heimat Sans, Heimat Mono and Heimat Stencil. Heimat Didone is a neo-classical typeface family designed for contemporary typography, especially for use in headlines and on posters, but also for reading purposes. It combines an idiosyncratic appearance with the feeling of a grid-based letter construction of the late 20s. Since the design might be too extreme for some applications, Heimat Didone’s character set provides two alphabets, the regular one plus an alternate design that comes across as less suspenseful. Heimat Didone [872 glyphs] comes in 72 styles and contains 6 optical weights, extra sets of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior, fractions, extensive language support and many more OpenType features.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. Anyway you slice it, these five Ingredients can be layered to generate a Hero Sandwich with the carbs and protein you need to deliver a knuckle sandwich to the bulking agents of your deadliest foes! See these families related to Hero Sandwich Ingredients: Hero Sandwich Combos Hero Sandwich Pro

Mighty Party is a display serif font in thick weights to express friendly, modern nuances. It has a high contrast in curvy final wipe details on some of the letters. Its heights and proportions are not the same, but its simple forms are legible in both small and big text sizes. You can also enjoy the lovely features available in this font. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Mighty Party fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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 experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

Features: Chella Lyfe Print: Uppercase letters, numbers, & extended punctuation We Offer Non-English support for the international designer as well Same stroke thickness with each font, so you don't need to make any time-consuming adjustments to get it looking right! This is such a fun new display font, perfect for creating quotes, logos, or just adding a hand-written touch to any project! While other fonts usually take some size adjusting to look just right, The ChellaLyfe variations in stroke thickness for upper and lower case fonts, so you can so it can display creativity and life in every stroke! Each font also has alternates for each letter, so when you type uppercase or lowercase for each font, the letters will change slightly. For example, tying in all caps with the Script font will connect each letter, whereas typing all lowercase will disconnect each letter.

Vinetters has letters on the alternating leaves of a vine. It is monospaced and uses the OpenType contextual alternatives (calt) feature to alternate leaves as the vine snakes its way across the page, putting leaves with the base down between leaves with the base up. The family has two styles, one with transparent leaves and the other with solid leaves, and these two styles can be used in layers to add color. The family has a large set of accented characters but omits some symbols that are used primarily in technical text. Spaces between words can be left blank or filled with connecting vine using the brackets, trademark-infinity, doubledagger-summation, radical-approximatelyequal, or fi-fl characters. The characters on the leaves are derived from the typeface IngrianaCasual. Topics for which using Vinetters may be appropriate include trees, plants, leaves, nature, changing seasons, and outdoor life.

he Blanger Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern twist, designed with great detail to bring out an elegant style. You will get: The Blanger files The Blanger Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to the many luxurious letter connections. I also offer a decent number of stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertisements. destination. . . If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Design.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Freco is a celebration of the short but very productive life of Dutch designer and illustrator Fré Cohen (1903-1943). This font is mostly an assembled compilation of letters Fré created for a variety of print designs over the years, showcasing her consistent talent for the architectural moderne, art deco, and Wendingen styles of her era. Freco is a prime example of how seemingly minute details can visually be most relevant and consequential in typography. Fré Cohen's subtle variations on the familiar art deco forms and contrast have made her typographical work so stunning it continues to be taught and celebrated as some of the finest 20th century Dutch design. Freco comes in an expanded character set that includes support for Central and Eastern European languages, as well as Turkish, Baltic, Celtic, Maltese and Esperanto. It also includes complementary alternate forms and letter combinations for added flexibility in usage.

Start good day for new font! present to you, Bright! Bright is a stylish font It has both modern and retro look - clear, modern and fun. Helps to create layout design in 60s or 70s design projects. This font have more than 50 unique alternate and ligature that to give your logo,business card and another project to a unique vintage look. It has Italic version too so what a perfect vintage font! What's you get? Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Bright font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Come and say hello over on Instagram! https://www.instagram.com/dharmas.studio/

Funky Yard - SVG Groovy Font + Extras. Presenting this latest hand drawn font. Funky Yard is a groovy display font with 2 styles, namely: Solid and Brush. There is an additional hand-drawn in the font file to further vary your design. Great for merchandise design, posters, branding, covers etc. *Note: To access extras, just type: underscore + underscore + numeral (1-15). Standard ligatures activated. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual & Ligatures. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks :)

Introducing Terrapin! I named this after listening to a song called "Terrapin on a Tightrope." Considering the fact that a terrapin is a kind of turtle, it makes that song title seem pretty harrowing! This font has heavy roots in one of my favorite lettering styles. It's rough, scrappy, and likes to do its own thing. It has a full uppercase and lowercase set, numbers, punctuation, and lots of extended Latin characters for language support. It also includes alternate versions of 17 lowercase letters. Where Terrapin really shines is in the ligatures. I've written separate two- and three-letter combined forms for some of the most common letter combinations, and a few uncommon ones to boot. There are almost 100 ligatures in here, all PUA-encoded so everyone can access them (and also coded so if your software does automatic ligature replacement, they'll pop right in).

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Indigo Antiqua 2 is an old-style humanist serif typeface primarily based on personal studies of a typeface by Francesco Griffo (1450–1518) Italian punchcutter. But it is not a revival of the so called original Bembo (1496) or any other typeface. My Inspirations are of various kinds, but some outstanding old typeface masters like Guillaume le Bé, Miklós Kis, Peter de Walpergen and Christoffel van Dijck are important. Indigo Antiqua 2 is most commonly used for body text were legibility / readability matters – and is a reliable multi-purpose typeface. It has been applied for thousands of book titles and between the book covers made reading comfortable. By using Indigo Antiqua 2 with OpenType features You can reach additional ligatures, various figure sets, small caps, stylistic options and a lot of other typographical choices. Multi-Lingual support: Central European languages and many others. | See www.fontanova.se

Hello World, Introducing, Julietta Alexart is a beauty script font suitable for your design project needs, such as; wedding themes, social media posts, quotes, overlays on images, tagline logos, posters, print needs, website banners, and more. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual support Some swashes and ligature So Easy to Use Access Swashes by keyboard key bracket left ' [ ' to feature beginning swash 1 key brace left ' { ' to feature beginning swash 2 key parent left ' ( ' to feature beginning swash 3 key plus ' + ' to feature middle swash 1 key equal ' = ' to feature middle swash 2 key bracket right ' ] ' to feature ending swash 1 key brace right ' } ' to feature ending swash 2 key paren right ' ) ' to feature ending swash 3 For Example type (you=me) Thank you a million times for downloading and using this font for your projects. Enjoy this font and happy creating!