This font was created in honor of my husband for our 12th wedding anniversary. 14 years ago, I met this tall, skinny guy from Indiana in the lobby of a hotel in Hong Kong. We talked. The next day, we had lunch together. And that night we had dinner together. And the next day. And the next. We met just before my 19th birthday, and on my birthday he took me to the top of Victoria Peak, where we looked out over the city of Hong Kong- such a beautiful place to begin a lifetime of love! We spent 4 months together in Hong Kong, falling in love with each other and with the beautiful city we were privileged to call home for that short time. We married the next year. We've lived in Indiana, Texas, China, Kentucky, and Florida over those 12 years of marriage and have welcomed 2 daughters into our lives. I know beyond a shadow of a doubt that he completes my life in a way I didn't know was possible. And I know that I'm blessed beyond words to have a supportive, wonderful, encouraging husband who is also a loving, involved, caring dad to our daughters. This font is for you, Keith!

FF Sizmo™ is available in two flavors. One is an honest, industrial strength, somewhat condensed, sans serif family. The other builds on the first, and is a display design with horizontally connecting baseline strokes. The five weights of basic the FF Sizmo typefaces are ideal for print and digital projects. Character spacing is generous, counters are open and apertures are wide and clear. Banners, navigational links, sub heads, and short blocks of contextual copy are natural on-screen uses for the design. Print projects from branding to way-finding also fall easily into FF Sizmo’s range of applications. The “line” versions of FF Sizmo can be arresting stand-alone typefaces – or distinctive complements to the basic roman and italic designs. In either instance, the line designs make powerful statements in headlines, subheads, posters and cover art. OpenType® fonts automatically insert beginning, middle or ending line element characters into the copy. Drawn by Verena Gerlach, both designs were inspired by the same source, a commercial signage system that enabled quick and easy copy changes. “The idea for the typeface,” explains Gerlach, “is a housing complex index board, on which movable white plastic capital letters were fixed by a thick line to the wooden board. This line is an important part of the font’s appearance.”

Inspired by the shape of melting icecubes (“isbit” is the norwegian word for “ice cube”), this small superelliptical font family is perfect for logos and headlines. An alternate lowercase a and n is available as stylistic alternates - and a straight lowercase j (which also will be automatically substituted when the normal j would collide with the preceding glyph). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Visible is a dynamic typeface family designed by CFCG @andinistas. Visible Script has narrow horizontal spacing between lowercase, while Visible Script 2 has generous and wide horizontal spacing. Mixing both styles you will achieve italic designs loaded with speed and strength to communicate aggressiveness, nervous and sanguine temperament. Visible Caps contains capital letters derived from the font's writing, but drawn aggressively and slanted 15 degrees to the right. This type of visual characteristic is typical of very fast and nervous writing that is performed with emotion without sacrificing harmony. a monolineal and condensed version is the Visible caps 2, allowing for significant horizontal space saving economies. Used Visible Caps 1 and 2, become much more than just an expressive and functional artistic tool. In short, by combining their expressive writing or Visible Caps & Script lettering styles, they make words and phrases appear to be written with a brush and ink-filled calligraphic strokes and with eye-catching qualities, their design is the perfect choice for distinctive headlines and brand identities. for music, movies, video games and more. A special thanks to the Venezuelan artist for his impressive illustrations @franciscomarin_artistaplastico ENJOY more than 1100 glyphs: + Visible Script: 398 glyphs + Visible Script2: 221 glyphs + Visible Caps: 222 glyphs + Visible Caps2: 298 glyphs

Quendel has been expanded to become Quendel Happy Family. Apart from the new Bold weight for easy distinction and emphasis, there are now four other very exciting variants, rendering different writing tools and writing materials. The basic form of Quendel was written with a Japanese bamboo tip and therefore embodies a form letter of natural flow. The new versions show other features that provide the feel of written scripts. While the styles Wood and Crayon include some alternate characters, Q Marking Pen and Q Fingertip, due to their apparently more complex enacted forms, do not need additional alternates without looking stiff or boring. The wood relief of Quendel Wood was created by a freehand wood relief drawn with oiled chalk. Quendel Marking Pen seems to be written with a felt-tip pen soon depleted. At the same time it is also reminiscent of the blooming effect, which we know from photography. The name of Quendel Fingertip suggests what can be seen - someone seems to have written with the finger in a grainy material. One would like to try it himself. The effect of broken lines which can be gained by writing with chalk as reflected in Quendel Crayon. Almost like parched sandy soil, the writing material seems to crumble.

- Elegan / Bergaya / Modern - Introducing a beautiful and classy Crayond modern san serif typeface with lots of alternative styles to choose from, planting it firmly in a modern design. It is a careful collaboration between beauty and function. The beautiful modern Crayond sans serif is available in 3 regular and Italic weights including Light, Regular, and Bold. The style of the font family stems from the classic Didone, but makes steps to simplify and modernize some letterforms and make Didone feel more contemporary. If you want to get that classic Haute Couture look - Crayond Sans is a great choice. It is the perfect choice for fashion logos, headlines, short text, magazines, because its simplicity looks great in big typography, branding, identity, website design, album art, covers, posters, advertisements, etc. This purchase includes: Crayond - San serif typeface containing upper and lowercase characters, numbers 0-9, as well as a series of punctuation marks and symbols as well as an alternative style. If you have trouble finding a certain character, you can access it via the glyph panel. You can see all the characters available in the screenshot above, and you can try the font below. Please let me know if you have any questions, leave a comment!

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. Akira Kobayashi's "Subsumption", obscured by foliage, offers a perspective that signs on Japanese roads can be vague and beautiful. M.A.D.'s "People Signs" is a graphical association of people signage with a variety of well known situation symbols. Cynthia Jacquette's "Honest Arrows" are a series of arrows that attempts to honestly tell you how to get from point A to Point B in a big, confusing city. Mike Kohnke's "Road Kill" and the "Bump & Bruise" highlight how signs make for perfect targets when unloading a round of buckshot, and the licking a contruction barrier often endures. Joachim Muller-Lance's "Traffic Blends" places faces on things! Hey, didn't you give your first car a nickname? Cars are alive, you know - they guzzle and smoke all day. Jean-Benoît Lévy's "Inner-State" was inspired while reading the California driver handbook to pass a driver's test. Kevin Roberson's "Tail Lighting" reminds us to drive carefully and not to forget to signal. Diana Stoen's "Drivers Out There" shows us "driver personality archetypes", including the lil'ol lady that everyone tries to avoid.

Amorra Script is a classic thin font with italics style. Here you will get a beautiful classic font. This font is available in several modern rounds that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, household designs equipment, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greetings card, and all the other beautiful projects. Amorra Script, including various language support. You can use this font for your work easily. Because there are many features in it. Contains complete set upper and lower case letters, punctuation, numbers, and multilingual support. This font also includes several ligaments and alternatives Style Set Style For those of you who have good software OpenType function (Corel Draw / Photoshop / Illustrator / InDesign). If you don't have a program that supports the OpenType feature like Adobe Illustrator and the CorelDraw X version, you can access all alternatives glyphs use Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you & Congratulations on the Design

Surf's up! Take an unforgettable adventure to the sparkling shores of Paradise Point. Ride our 25 majestic weights, from tranquil tall & thin to thunderous wide & heavy. Expand your horizons with the versatile Variable font to select any spot between. One-of-a-kind activities: Drop in a thrilling Inline weight for stylistic flair. Overlay with the matching Heavy for striking color effects. Discover hidden wonders! Stylistic Alternates will take you to the scenic heights of uppercase in a friendly lowercase style. Or immerse your text in interlocking Discretionary Ligatures for an authentic Tiki Type island experience. Enchanting views: Two versions of each letter and number automatically rotate for a natural, hand-drawn appearance. The Light weights have round ends to simulate a single pen stroke, which matches the center of the Inline weights for a perfect pairing. Explore! If you venture into unknown territory, each weight of Paradise Point contains 775 glyphs for stress-free support of over 200 languages. An all-inclusive getaway: Each weight of Paradise Point includes the features above, and can set readable body text as well as create striking logos and headlines. Use it for restaurant menus, surf and skate brands, or any design project where you want to convey lively, friendly, stress-free fun.

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

You are on the page of the old display version of the TT Squares Condensed typeface. In 2020, we released an entirely new, completely redesigned, and significantly expanded version of the typeface called TT Octosquares. In addition to 73 styles, TT Octosquares has 3-axis variable version, stylistic alternates, ligatures, old-style figures and many other useful OpenType features. Before you buy the old display version of the font, we suggest that you pay attention to the new superfamily TT Octosquares and study it in more detail. - We've expanded the TT Squares font family and created a narrow version of the typeface. Just as its older brother, TT Squares Condensed fits perfectly for any engineering, military, and technological theme. The family is ideal for implementation in interior design, packaging design, creation of uniforms with inscriptions, and for logos and headlines. Fonts belonging to the TT Squares font family look manly and have a strong character that instantly tunes in the spectators and makes them perceive the information seriously. If we were to compare fonts to people’s professions, TT Squares Condensed would most definitely be a first-class technical engineer whose talented hands are adorned with calluses and machinery oil spots. TT Squares Condensed is optimized or web and mobile applications.

For these fonts I have reworked the spacing a bit, and completely redesigned the "N" as they were calligraphically very wrong. Kevin King says: "Petrock is based on letterforms found in a small city Church in Exeter - from a display case about bell ringing. A lovely simple labeling hand, I think I've done it justice... Petrock Light is a lighter form of Petrock - makes both of them more usable." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Say hello to new serif font, Enigmatic Pandora! Enigmatic Pandora is a serif font that combines a psychedelic uniqueness with bold boldness in each letter. With its eye-catching psychedelic characteristics, Enigmatic Pandora exudes an aura of mystery and magic that is hard to describe. Enigmatic Pandora offers a great typography experience with bold bold characters. Its bold and striking design makes each letter a centerpiece in the design. Combining stunning psychedelic elements with strong, compelling contours, this font provides a unique and compelling visual dimension. Enigmatic Pandora is suitable for use in design projects that want to express visual uniqueness and tension. This font is ideal for titles, posters, illustrations, album designs, and other creative projects that need an extraordinary and bold look. Here's what you get: Enigmatic Pandora Regular All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!

«Abelina» is a typeface that can be used in display sizes for titles where part of the central premise is to emulate certain features of gestural handwriting.  Concepts like spontaneity, speed and fluidity, associated with the use of certain calligraphic tools – in this case the pointed brush – led to a typographic result based on the pattern-like structure coming from the chancery and italic calligraphic models. «Abelina» - initially designed by Yanina Arabena (Calligrapher, Graphic Designer and Typographer) - is reborn to make way for “Abelina Pro” through the solid work of Guillermo Vizzari working together with Ale Paul from Sudtipos. Throughout its use, “Abelina Pro” maintains the structure of a firm style, integrating a dynamic rhythm in the composition of short texts and offering personality to each of the words it builds. It has over a thousand glyphs, including several alternates, ligatures combination, initials and miscellaneous to reinforce the idea of the author of merging a calligraphic project in the typographic world; allowing new ways to capture this great universe of italic faces. «Abelina» project was initially born as a typographic project developed by Yanina Arabena – tutored by Ale Paul and Ana Sanfelippo – under completion of the Specialization in Typography Design at University of Buenos Aires, Argentina, during the years 2011 and 2012.

Sporting pot-hook serifs and a tiny aperture, the Scotch Modern was an evolution of the Didone and Scotch Roman classifications, becoming the default type genre of the 19th century. Recontextualizing the 10-point type of a scientific report published in 1873, Nick Shinn has produced sleekly refined, micro-detailed vector drawings by eye, without the assistance of scans, of this magnificent classic. A beautiful genre of type, so popular in books, magazines and advertisements during the Victorian era and much of the 20th century, the Scotch Modern was derided by advocates of both the Arts & Crafts movement and 20th century modernists, and was never been properly adapted to hot metal, phototype, or digital media -- until now. Now the full range of typographic expression is possible in this style. The OpenType fonts support Western and CE encodings, Cyrillic (with Bulgarian alternates) and Polytonic Greek. There are many special features, including small caps, unicase, italic swash capitals, ten sets of figures per font, and both slashed and nut (vertical) fractions. Together with Figgins Sans, comprises The ModernSuite of matched fonts.

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Hey there! Introducing Sugar Peachy Retro Soft Display - a font that exudes happiness, uniqueness, and wonder! This groovy display font has a retro 70s style with soft and chewy characteristics that are perfect for display, titling, and even logos or headers. With 5 styles ranging from thin to black, you can use it for short text or large displays. Plus, Sugar Peachy has special features like alternates and ligatures that make it ideal for all kinds of design purposes like branding, product design, websites, posters, stickers, merchandise, and more! Similar Item: Gyoza : https://www.myfonts.com/collections/gyoza-font-ahmad-jamaludin Gunydrops : https://www.myfonts.com/collections/gunydrops-font-ahmad-jamaludin Kelpo : https://www.myfonts.com/collections/kelpo-font-ahmad-jamaludin Swipe: https://www.myfonts.com/collections/swipe-font-ahmad-jamaludin Replay : https://www.myfonts.com/collections/replay-font-ahmad-jamaludin Bright : https://www.myfonts.com/collections/bright-font-ahmad-jamaludin Margin : https://www.myfonts.com/collections/margin-font-ahmad-jamaludin Nighty : https://www.myfonts.com/collections/nighty-font-ahmad-jamaludin What you get? Sugar Peachy Light Sugar Peachy Regular Sugar Peachy Medium Sugar Peachy Bold Sugar Peachy Black Features : Alternates and Ligatures Instructions ( Access special characters, even in circuit design ) Letters, numbers, symbols, and punctuation No special software is required to use this typeface even work in Canva Multilingual Support Give your design projects that fun, playful edge with Sugar Peachy! Thank you, Dharmas Studio

Meet Obitruk, a powerful display font with a superhero style that will take your projects to a new level. Whether you’re working on a movie, a game, or a design with a strong and bold theme, Obitruk is the perfect solution. With its strong, bold appearance, this font exudes confidence and draws attention. Distinctive superhero style adds fun and adventure to your creations, making them stand out from the crowd. Obitruck not only looks amazing but is also packed with features that will enhance your designs. Ligature and alternative characters provide flexibility and creative possibilities, allowing you to customize and add unique touches to your typography. Plus, multilingual support ensures your message is accessible to a global audience. Show the power of Obitruk and bring your projects to life. Get ready to make a bold statement with this dynamic font that embodies strength, thickness, and a fearless spirit. Improve your designs with Obitruk and leave a lasting impression on your audience. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Introducing Filia, a vintage-inspired display font with smooth curves and plenty of OpenType features. Filia is perfect for your next editorial, advertising, branding, book, or invitation project. OpenType Features Filia includes 900+ glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like swashes, initial forms, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), and three ampersand styles. It also includes 120+ standard and discretionary ligatures that add character and interest to your typography. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Please note: there is only one file this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the main .otf file! Mail support : julie@upupcreative.com Find inspiration (and sneak peeks at my next font-in-progress) on Instagram: http://instagram.com/julieatupupcreative Facebook : https://www.facebook.com/upupcreative Pinterest: https://www.pinterest.com/upupcreative My website: http://upupcreative.com PLEASE ENJOY! I can't wait to see what you make with Filia! Feel free to use the #upupcreative and #filiafont tags to show me what you've been up to!

Introducing Rixiline Script, a unique blend of classic and modern font. imperfect style ups and downs, like a dance letters, smooth, clean and simple. Rixiline Script perfect for wedding, event, invitation, escort card, clothes, display, logos, quotes, slider blog, custom address, stamps, packaging, greeting card, etc. Rixiline Script comes with a complete set of standard characters, eastern diacritic symbols, consist 917 glyphs in total, and alternative characters as OpenType features to play with. The alternative characters were divided into several OpenType features such as Ligature and Stylistic Sets. You can create an attractive message by using the alternate characters in your design. The ZIP file are include the following: Webfont Features Rixiline Script : Basic Latin A-Z and a-z Numbers & Punctutation Symbols Stylistic Set Lots of Swashes, Ligatures & Alternates Script 917 Glyphs PUA Encode (Specially Coded Fonts) Support Latin Pro Character If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. If you have any question, don't hesitate to contact me by email. Thank You

Vintage, country, distressed or just plain worn out. The Texas general store on the side of the highway that has been there since 1954 and they're still selling old fashion bottled soda. A renovation/excavation at a downtown urban construction site reveals the old ad on exterior brick. Barn Owl provides the headline in your project with the ultimate in aged retro visualization. It is a basic minimal font set which includes only uppercase letterforms. It is a headline font best used above 36 points in size. The first of our “Trifonictype” (Tin Sign is the 2nd) there are three components to the font, Barn Owl Outline, Barn Owl Fill and Barn Owl Shadow. These can be used in different combinations for different effects, copy and paste type then indicate a different font each time. Paste in the front or back in application to see effects in combination. Fill and Shadow could be used with irregular letter spacing for various effects. Outline could be used with just Shadow for a another effect. Use your photo manipulation program to overlay and change the transparency of your headline. There are a few extended glyphs and barn(ding)bats in the lowercase letter strokes indicated in a poster sample, these are found only in the Barn Owl Outline. Download PDF manual for complete showing.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

If you want your designs to be prominent, you will need a unique, prominent, yet professional, legible font. However, it may be hard and take some time to find the right one due to a lot of options available causing difficulty to figure out the suitable one you desire. With Mirey, you can easily create a unique identity for your design. Mirey is a display serif font in thick weights with small lines on the letters’ edges to look formal and classic. In addition, it expresses unique, artistic touches from its combinations with display font characters. This display font has thick lines and strong contrasts, so that it is perfect to attract attention and to show strong impressions. Due to its high legibility level, this font is applicable for a variety of text sizes. In addition, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Mirey fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, printed products, 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 time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

This font has a charming mix of the organic forms of the Art Nouveau style and the geometric forms of the Art Deco style - and it makes it work! Nick Curtis says: "A general-purpose Art Nouveau font that has been kicking around for a while under various names. As usual, redrawn for consistency and economy of line. Named, for no good reason, after the river that flows near Thomas Jefferson’s home, Monticello." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A new font in the style of a dot matrix/needle-printer. I have used some slightly smaller dots when designing the diacritics - this makes them easier to separate from the main letters. I have also used variable letter widths (and kerning), as opposed to the technology's original monospaced design - this to make the text more readable. Matrise Text Pro features a more "oldstyle" look with spurs and notches, while Matrise Pro has a more modern/streamlined design. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

The talented Ronna Penner has created many beautiful script fonts, and Black Jack’s quality was very good so only a few spacing issues had to be addressed. I've added some kerning pairs, and then added all the glyphs needed for the CheapProFonts language coverage. This font was an absolute joy to rework, and with its extended character set I hope it now finds many more users! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese. There is no yen currency symbol is this font.

Font is the most significant design element which can be difficult to find the excellent one for a certain design. For that reason, we offer you a solution by combining two fonts into one. With Thunder Garage, finding a perfect font combination is never this easy. Thunder Garage is a duo font combination between brush and sans serif fonts which you use together in one design. Each font is beautifully created to support one another perfectly. Using a duo font gives interesting contrast and visual variations to your designs. The brush font is made similar to a handwriting style with brush details to show you personal, informal impressions. You are free to use this duo font as either one lovely set or as separated parts based on your needs. In addition, enjoy the other features available in this font. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Thunder Garage fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, 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 time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing Slight, an elegant, full-featured script font with tons of alternate characters and OpenType features. Hand-lettered with a heavy right slant, Slight is particularly well-suited for invitations, branding, and editorial design. Slight comes with more than 1000 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, initial and final forms, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), ligatures, standard numbers, and six ampersand styles. Perhaps the most fun thing about Slight is that it includes multiple versions of all ascending and descending letters, making it lots of fun to play with in your layouts and compositions. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you need help with this, ask me!) Files included: Slight-Regular.otf Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- PLEASE ENJOY! I can't wait to see what you make with Slight! Feel free to use the #upupcreative and #slightscriptfont tags to show me what you've been up to!

RRollie is a typeface family inspired on the proportions of the Roman capital in the Augusto's age, some of them can be seen in inscriptions of Pompeii; in this particular case, it has taken an inscription from a tomb of the year 15 AD. The subtlety of the serif is hardly insinuates, helping to strut the terminals of the stems. Ascenders and descenders are very short. The thickness variation is presented quite delicate, highlighting the light-dark passage and even the agile counterblocks of the typeface. These fonts can be used in many kind of graphic works by its strong personality, visual impact and readability. This font family include OpenType features: Standard and discretionary ligatures, small caps, case sensitive from, old style figures, tabular, diacritics for western languages and many others. Roberto Rollie (1935-2003) was an outstanding professional of Graphic Design, Photography and Visual Artist. He was involved in the creation of the career of Visual Communication Design at the Faculty of Fine Arts (National University of La Plata, Argentina), in the late '60s; he was a pioneer and great teacher too, who loved the Roman Capitals for its subtle and balanced design, especially for high readability and clever design. Those who, like me, knew him as a person and teacher, we are deeply grateful for having received their warmth and enthusiasm for graphic design.

A completely square typeface. And wide. It is all futuristic and fast. I have redesigned the uppercase D (which was identical to the O), V and Y - and also a couple of the lowercase letters: a narrower r, a more identifiable t and f and weight corrections to the v, x and z. This font only had a very basic ASCII character set, so I have created a large amount of glyphs, and expanded it with the usual multilingual support. The future is now. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "Western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Continuo is a fascinating, all-uppercase display typeface wherein the contour of each letterform is described with a single, continuous line. The challenges presented by that simple idea are similar to constructing letterforms with neon tubing. For example, when the strokes of a letterform need to be heavier than the width of the neon tube, two tubes are employed to create the outer contours, effectively leaving an unfilled void inside the stroke. Also, since neon tubes cannot be broken apart as they trace the contours, they must follow a path that, for reasons of economy and to avoid optical massing (or bright spots in neon), the tubes are not crossed. So too, the construction of Continuo follows. The newly updated Continuo now has alternate forms of letters A-Z available in the lowercase a-z and by extension those alternates are also present in the lowercase diacritics. The new Latin Plus glyph repertoire of Continuo contains almost 900 glyphs, supporting 224 languages, including Vietnamese and multiple African languages. A handy set of arrows and additional international currency symbols were added as well. The name is derived from the musical term “Basso Continuo” meaning an almost constant bass line, an integral part of most musical melodies. As an in-line display type, Continuo is ideal for headlines and most oversized applications and its unique appearance commands attention from viewers.

Being inspired by early Czech type design, Maiola is clearly a contemporary typeface, that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscence, more frankly so in the Italic. Nevertheless, through its personality, it attempts to create a welcoming tension on the page, without shouting too loudly at the reader. It handles its expressive tendencies with care and in doing so increases its usability, with legibility being of great importance. Subtle irregularities of the letterforms enhance furthermore the dynamic spirit and liveliness of the typeface. With the advent of Opentype, allowing for bigger character-sets and better language support, as a natural consequence, Maiola Multiscript covers Latin A, Cyrillic and Greek. Although basically independent from each other, they are, however, designed in the same spirit as the Latin, and harmonize well in multilingual text settings. The update to this beautiful font family includes the addition of over 240 glyphs featuring new ornaments, stylistic alternates, ligatures, superior letters, fractions and more. Furthermore, several glyphs were significantly improved and the kerning was fine tuned for better performance. Originally released in 2005, Maiola was an immediate success. It won the renowned TDC competition in 2004 where it was also recognized as a “judge’s choice”, was part of the touring exhibition e-a-t, and was selected in the Creative Review design competition in 2005.

Cubio™ Mono is a new monospaced geometric sans serif inspired by the hexagonal silhouette of isometric cubes. We applied this angular form through all aspects of Cubio™ type design from the overall look of letters and icons down to the small details such as the end of each letter stem and hexagonal dotted lines. This font family comes in 3 weights/styles: 300 (Regular), 500 (Medium), and 700 (Bold). With over 1,500 glyphs, Cubio™ Mono not only supports most Latin-based languages, but also features an extensive set of UX/UI icons, and patterns. Cubio™ Mono is a versatile typeface for both digital and traditional designs. Perfect for packaging design, logo design, print design, store signages, UX/UI web & apps designs. Cubio™ Mono packed with features such as case-sensitive marks, punctuations and math symbols. It also comes with an extensive set of box/compartment drawing glyphs to help you create a unique modern design without even using the line tools. We designed the Cubio™ Mono font system with your convenience in mind. It comes with two sets of hexagonal dotted line and icon positions (Mid Cap Height and Mid X-Height ), so you don’t have to use the baseline shift command to set them to the perfect spots. To find out more about Cubio™ Mono Opentype features and type specimen, please visit www.r9typedesign.com