Natthalie Signature is a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Natthalie Signature come with 300 glyphs+. The alternative characters were divided into several Open Type features such as Stylistic Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Natthalie Signature Features : Uppercase & Lowercase International Languange & Symbols Support Punctuation & Number PUA Unicode Range Standard Ligatures Discretionary Ligatures Stylistic Alternates Stylistic Set 01 Character Natthalie Signature.OTF For use in office word, you all can read the following article. http://www.magpiepaperworks.com/blog/using-opentype-fonts-in-microsoft-word/ To Access Alternate Characters Click The Link Below: If you have any question, don't hesitate to contact me by email pointlab23@gmail.com. Thanks and happy designing :-)

This font is based on the Latin-based font for Linear B syllable writing. It contains all the characters. To see some full characters, you can use Turkish characters by selecting the font from the add character section of the word program. Linear B was a syllabic script that was used for writing in Mycenaean Greek, the earliest attested form of Greek. The script predates the Greek alphabet by several centuries. The oldest Mycenaean writing dates to about 1400 BC. It is descended from the older Linear A, an undeciphered earlier script used for writing the Minoan language, as is the later Cypriot syllabary, which also recorded Greek. Linear B, found mainly in the palace archives at Knossos, Cydonia, Pylos, Thebes and Mycenae, disappeared with the fall of Mycenaean civilization during the Late Bronze Age collapse. The succeeding period, known as the Greek Dark Ages, provides no evidence of the use of writing. Linear B, deciphered by English architect and self-taught linguist Michael Ventris based on the research of American classicist Alice Kober[5] is the only Bronze Age Aegean script to have thus far been deciphered.

This is a decorative and steganographic Braille font based on Lorraine Cross pattern. As the Lorraine cross splits space into six areas, it may be used to represent Braille glyphs. Provided Glyphs * Lowercase letters (a..z): a White cross and Black square dots * Uppercasecase letters (A..Z): a Black cross and White square dots * Special characters (e.g. !#$%*+<>{}()[]...) * Decorative glyphs (provided in black and white as well) Glyph code intervals - Codes 48..57: Bullets (0..9 digits) - Codes 130..150: 'White Stars' - Codes 192..233: 'Black Stars', Black border glyphs and other black patterns. - Codes 214..233: Border/Decorative glyphs (Black) - Codes 235..255: Border/Decorative glyphs (White) - Codes for Cross w/o dots: Black (192), White (235) - Codes for Cross and 6 dots: Black (191), White (234) - Code for 'Half-width space' (166) Posters 1. Logo: illustrates usage of border glyphs 2. Meta: Two big Lorraine Braille glyphs drawn with pattern glyphs 3. Stars: illustrates usage of 'Star' and pattern glyphs 4. Bullets: illustrates usage of bullet glyphs (0..9) 5. Human rights - Article 1 NB: - Encoding is: Windows Latin ("ANSI") - Published in two versions: Commercial and Free for personal use

Soprani is a unique typeface inspired by a plaque found in New Zealand dating from the 1920s. The design was contemporized and brought 100 years into the future. The serifs are dramatically flared at the end of the stems, while in the middle, they contract. This leads to a unique shimmering effect that draws the eye and catches your user's attention. This typeface meets the demand for unique serif types that are both eye-catching and delicate. It’s a display face that's ideal for very contemporary work. This typeface has plenty of alternates and has a full complement of OpenType features. The 1920s inspire the design, with a bit of art nouveau and arts and crafts, yet the typeface is designed to meet contemporary design requirements. It has a unique elegance and the letterforms are condensed more than most. Soprani is suggested for table books, menus, and various promotional materials, newspapers, television, motion pictures and other media. There is a wide range of widths and weights available, from the thin, which is delicate and graceful, to a bold and robust black. Production assistance by Lucas Azevedo and ikern.

Warhol is a font family designed by Carlos Fabian Camargo. Its 3 fonts work in groups or independent. His carefree soul lies in the sensibility, creativity and abstract motivations listening to the album: The Velvet Underground & Nico released in 1967. Preparations for his typographic design were illustrated by imagining extravagant, fascinating and hard-to-resist ideas, That is why his brushstrokes of the alphabet were born of irregularity, with naive character and expressive drawing, notable with the discordance and instability of drawing by Andy Warhol, infiltrated with pop folk art and artisan harmony. Warhol is a font family offers uppercase, lowercase and numbers that work at the beginning, middle or end of words, achieving calligraphic expressiveness. In that order of ideas Warhol font family offers the following vantages: • Warhol Script (694 glyphs): handwritten letters drawn with a thin-thickness tool, simulating interesting imperfections in their contours and connections. * Warhol Script Bold (694 glyphs): Thick letters that appear to be drawn with a brush of inflated and irregular thickness • Warhol Extras (140 glyphs): Words with letters written with pen, highlighting meaningful criteria that function as perfect companions between words designed in Warhol Script and Bold.

Introducing Evalfey— a script that captivates at first glance. With its refined and polished demeanor, Evalfey invites you into a world of elegance, yet its simplicity makes it incredibly accessible. The elevated x-height, distinctive flag-like terminals, and the fluidity of its sweeping strokes imbue the font with a harmonious and flowing quality, elevating your designs to new heights. Ideal for wedding invitations and more, Evalfey Script exudes a romantic allure with its brushed look and pronounced 'nuptial' ambiance. Whether it's for save-the-date cards, thank-you notes, or any cherished wedding memorabilia, Evalfey is the epitome of sophistication and grace. Stand out from the ordinary with Evalfey— a font that marries simplicity with regality, making it the quintessential choice for weddings that aspire to be remembered. The lofty x-height, elegant terminals, and rhythmic strokes render Evalfey a crown jewel in typographic design. Elevate your special moments with Evalfey, a harmonious blend of elegance and simplicity, making it your go-to font for wedding invitations, announcement cards, and any keepsake that calls for a touch of the extraordinary. Production assistance from Lucas Azevedo.

Darkness Awakening is a chilling display font designed to send shivers down your spine. This uppercase font features eerie details that give it an air of horror and mystery, making it the perfect choice for spine-tingling design projects. Each letter in Darkness Awakening is meticulously crafted with the appearance of brush strokes, evoking a sense of handcrafted artistry. The brush details add a touch of unpredictability and chaos, giving the font a haunted and unsettling vibe. While the font is uppercase, it is not bold, allowing the horror theme and brush details to take center stage. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Darkness Awakening fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed projects. 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.

Garbata was designed in 2020 by Francesco Canovaro, looking for an approach to sans serif design that ignored the over-exploited grotesque and modernist models. It takes its skeleton from old style typefaces like Windsor or Cooper, keeping the quirky sloped shapes of some letters and adding to the historical smooth shapes a flat brush calligraphic sensibility. The result of these different historical influences is a humble yet distinctive sans serif typeface, developed in a wide range of weights, with finely-tuned differences between the medium, text-oriented cuts (with wider tracking and more regular design) and the more extreme, display-oriented weights. This play on subtlety allows Garbata to be surprising in all uses: humble and readable when set in body text, it shows all its elegant, whimsical qualities in logo design and display use. Equipped with all advanced OpenType features you expect from a production typeface, Garbata comes with an extended character set covering over two hundred languages with latin and Cyrillic glyphs. Designed with an Italian sensibility mixing craftsmanship and artistry, Garbata is ready to help you make your designs timeless, elegant and unusual.

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed). The idea of a shaded font is of an outline font whose letters have each been extruded through a die and then viewed from the lower right to reveal the third dimension. That third dimension has also been referred to as a shadow. Vincent Figgins' 1815-release of a shaded serif typeface was the first known of many shaded faces, as the other foundries rushed to bring out their own versions. Thorowgood Sans Shaded may be gainfully used today as a eye-catching headline font, just as it was so popularly used in the early nineteenth century. To assist with the usual all-cap letter-spacing problem, the following pre-kerned pairs are included: AT, AV, AW and AY. Be sure to download the Type Specimen showing the full character set, as well as a sample text. Live large - use it boldly.

Densit is a display mega black typeface, containing 6 styles. It aims for a ultimate density with a maximum weight on a minimum place. Glyphs therefore balances on a slim border of touch. The typeface is designed for expressive and short texts at big sizes and is suitable for photography or other visual materials underlaying. The 3 basic styles parodies ordinary type styles. They only differents from each other lays in the lenght of straight thin lines. The stencil style without these lines is intended especially for spray stencils, the sans style is imitating linear sans types and the serif style having stronger contrast and indicated serifs. The typeface contains a large set of special ligatures for playing with aesthetic qualities of text and obtain maximum space saving. Densit contains 34 special forms for members and frequently used short words in various languages. Very short terminals offer compact setting of multi-lines captions. Densit can be used for music posters, eye-catching headlines of art articles and everything in which is possible graphic impression from legibility prefered. • 6 styles (2 alternatives, 3 kinds) • 12 OT features • 1313 glyphs • sophisticated system of ligatures • support of latin languages

Ramadan Letter is a striking display font that draws its inspiration from the intricate beauty of Arabic calligraphy. Ramadan Letter is more than just a font; it's a symbol of heritage and visual artistry. It's the perfect choice for projects that require a touch of cultural sophistication and a bold presence. The characters in Ramadan Letter are meticulously designed with a substantial weight that exudes a sense of boldness and presence. The elegant line ornaments add intricate details, enhancing the font's beauty and cultural significance. The low contrast between letters ensures legibility and a harmonious visual flow. In addition, you can also enjoy the features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Ramadan Letter fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. 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

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. NEW: the new Futura W1G versions features a Pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

The sans serif linear antiqua Maxima which was created in the beginning of the sixties by Prof. Gert Wunderlich for Typoart Dresden, was newly actualized in 2007 after more than 45 years. Many hands and heads were involved in the successful re-design of Maxima Now over a period of two years to assist the designers of the Elsner+Flake Design Studios in Hamburg, and the typeface family is now available. The re-design happened in close cooperation with Wunderlich who has given support to numerous projects in Elsner+Flake’s studio in Hamburg. A great deal of care was given to the necessary preliminary tasks such as the viewing of the original designs and print tests, the analysis of the digital Typoart data which had been in the possession of Elsner+Flake since 1985 and 1989, and a design conceptualization based on detail correlations, as well as the extension of the character complement. It had been Elsner+Flake’s goal to include as many of the existing Maxima cuts into the re-design program as possible. The result is an extended font family with 25 weights in EuropaPlus layout.

Bruney is a Classy and Unique font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more classy and unique, here we prepared some ligatures: KA KI KU KE KO LA LI LU LE LO RA RI RU RE RO EB EH EP ER EK HB HP HK HR TB TD TE TF TP TR TT UB UD UF UK UM UN UP UR VA WA AB AD AR AV AW CK OO OC CA CY EA EB ED ES GB GH GK GB GR HB HP HR HK KB KD KS EY FY LS ME MU MB MD MF MH MK MP MR NN SO RS SB SD SE SF SP SY SR ST SS LL UN CS Bruney is also included full set of: uppercase letters multilingual symbols numerals punctuation Wish you enjoy our font. :)

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

Introducing the Emynam Crew: A Funky Retro Display Typeface Dear Design Enthusiasts, Are you ready to groove to the rhythm of creativity and nostalgia? Say hello to the Emynam Crew, the font that's bringing back the funky retro vibes of yesteryears with a modern twist. With its unique blend of style, flair, and a whopping 705 glyphs, this typeface is a must-have for anyone looking to make a statement. Key Features: Retro Vibes: Emynam Crew captures the essence of the 70s and 80s with its bold, funky letterforms. It's like a blast from the past, perfect for adding a touch of nostalgia to your designs. Ligatures and Alternatives: Dive into the world of creativity with multiple ligatures and alternative characters. Mix and match to create stunning, one-of-a-kind typographic compositions. PUA Multilingual Support: Emynam Crew is not just about style; it's about substance too. With PUA multilingual support, you can use this font to communicate in various languages, making it a versatile choice for global projects. Endless Possibilities: With 705 glyphs at your disposal, the possibilities are endless. Whether you're designing posters, album covers, branding materials, or anything else, Emynam Crew gives you the freedom to express your unique vision. Stylish Display: Make a bold statement with Emynam Crew as your headline or display font. Its eye-catching style ensures that your message won't go unnoticed. Perfect for Retro Revival: Whether you're working on a retro-themed project or just want to infuse a touch of nostalgia into your designs, Emynam Crew is your go-to choice. Easy to Use: Emynam Crew is designed with user-friendliness in mind. It's compatible with popular design software and is easy to install and use. Unleash your inner artist and let Emynam Crew transport your designs to a bygone era. Embrace the funk, the retro, and the style with this one-of-a-kind typeface. Don't miss out on this opportunity to own the Emynam Crew – a font that's all about style, character, and endless possibilities. Get ready to turn back the clock and add a touch of funky nostalgia to your next project. Order your Emynam Crew Typeface today and start designing with retro flair!

Introducing Jillican, the sans-serif typeface that is all about precision and practicality. With its clean lines and geometric design, Jillican is the perfect choice for any project where clarity and efficiency are key. But don’t let its no-frills appearance fool you. Jillican’s simplicity is precisely what makes it so special. This typeface is angled only where necessary, free of any unnecessary adornments or distractions. The result is a typeface that is both modern and timeless, suitable for a wide range of applications. Jillican is available in six weights and italics, giving you plenty of flexibility to use it in any situation. And for those who want to take things up a notch, Jillican offers some exciting variations. Jillican War is a bold stencil style that makes a statement, while Jillican Warpaint adds a touch of artistic flair with its dripping paint effect. For a more dimensional look, there’s Jillican War 3D, a shaded stencil style that brings your text to life. Overall, Jillican is the perfect choice for anyone looking for a typeface that is both practical and distinctive. With its classic British inspiration and computer plotter-drawn aesthetic, Jillican is sure to turn heads and make an impact in any design project. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Czech designer Oldrich Menhart (1897-1962) devoted his life to making letters. He was a calligrapher, lettering artist, and typeface designer with over twenty faces to his credit. The Monotype typeface, Menhart, was the second of his designs. Menhart began work on the design in the early 1930s and turned over his final artwork to the Monotype Drawing Office in 1934. The first size cut was 14 Didot (Didot points are the traditional European system of type measure, and are roughly equivalent to the point system commonly used by today's digital fonts). The 14D font was followed by 18D and 24D, indicating that the design was considered most suitable for display work. However, a 10D size was later cut from the same master drawings at the request of a Monotype customer. Menhart's design was light and open, with an even color and a slight squareness" to its round shapes. Because the Czech alphabet has 15 accented letters, Menhart included these diacritics as an integral part of his design, not as an afterthought. As a result, accented copy set in Menhart has a cohesive quality rarely seen in other typefaces. Monotype's new digital release of Menhart is the first revival since the hot metal fonts were cut. Menhart Display is based on the original Monotype drawings, while a slightly heavier, re-spaced version has been created for text sizes. Both versions offer the full capabilities of the OpenType format, such as the automatic insertion of old style figures, ligatures and small caps. In addition to English, the extended character set supports most Central European and many Eastern European languages. One of Menhart's lifelong goals was to share the richness of his Czech culture by drawing typefaces that uniquely served Czechoslovakia literature. In his words: "I believe that a Czech style of type comes above all from the spirit in which it was designed, which gives it its 'signature,' and not so much from decorative composition, and even less from the geographic location of its creation." The typeface Menhart is a tribute to his values. Now, Menhart Pro and Menhart Display Pro capture the unique personality of this timeless design while greatly extending its range of use. "

Milibus, the refined and expertly crafted scientific sans-serif typeface, is a design marvel that stands out from the crowd with its unparalleled mechanistic aesthetic. Drawing inspiration from utilitarian alphabets like DIN and plotter fonts from the 1980s, Milibus is a testament to the fusion of technical and artistic excellence. Crafted with an eye for detail, Milibus boasts robotic angles that lend it a distinctive character that is both modern and vintage. The angle cut stroke endings are typical of industrial typefaces such as Expressway, making Milibus the go-to choice for designs that require a bold and commanding presence. In addition to its exquisite visual appeal, Milibus is also highly functional. Available in three weights and italics, it is a versatile typeface that can be used for a wide range of design projects. From scientific papers to technical manuals, Milibus is the perfect choice for those who demand precision and clarity in their typography. In short, Milibus is an exceptional scientific sans-serif typeface that is a testament to the beauty of mechanistic design. With its technical look, robotic angles, and angle cut stroke endings, Milibus is a design marvel that will elevate your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

Are you ready to unleash your wild side? Look no further than Duality, the tough and eccentric display typeface that will add a truly unique and unforgettable flair to your message. These fonts are not for the faint of heart—their wild slab-serifs and insane ball-terminals will make your text stand out in a sea of bland and boring fonts. Choose from three different styles to make your message truly pop. The regular style is perfect for making a bold statement, while the gritty Sand style adds an extra layer of texture and edge. And if you really want to make a statement, go for the letterpress Steel style—its rugged, industrial look will make your text look like it was stamped onto the page with raw, unbridled power. Whether you’re designing a poster, a logo, or anything in between, Duality is the perfect choice for anyone who wants to inject some wild, untamed energy into their typography. So go ahead, embrace the madness, and let Duality take your design to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Ahoy, me hearties! Are ye lookin’ for a font that’ll make yer message stand out from the rest? Look no further than Draculon, the font that’ll have yer audience shiverin’ in their boots! This historical-themed typeface draws inspiration from the letterforms of William Orcutt’s Humanistic font from 1904, which itself was based on an Italian manuscript from 1485. But don’t be fooled by its classical roots – Draculon is no ordinary font! With its sharp, menacing curves and jagged edges, it’ll give yer text a distinct voice and personality that’s sure to catch the eye of anyone who lays eyes on it. So whether you’re an immortal bloodsucker, or a swashbuckling pirate of the high seas, Draculon is the font for you. Let it convey yer message with the power and authority that only a truly unique font can provide! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of Chromakey, a futuristic headline typeface that takes inspiration from classic video game box art. Our unique font is the perfect blend of sci-fi jagged lines and old-school Art Deco, giving you a distinct aesthetic style to deliver your message in an angular fashion. At first glance, Chromakey may seem like an unusual choice for your design needs, but that’s exactly what makes it so special. It stands out in a sea of bland typography, catching the eye of anyone who passes by. It’s bold, it’s edgy, and it demands attention. Whether you’re promoting a new product, creating an eye-catching poster, or designing a logo, Chromakey is the perfect choice. With its space-age design, it’s perfect for anything related to technology, science fiction, or the future. Don’t settle for boring fonts that blend in with the crowd. Choose Chromakey and make a statement with your designs. Try it out today and see how this unique typeface can take your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.