Dahliana is a humanist serif type family that has the heritage of classic Old Style and Transitional type while having the crisp lines and functionality of contemporary fonts. Its defining features include a high-contrast combined with diagonal stress, along with pinched stems and horizontals. There are 18 fonts altogether over 9 weights in roman and italic, you can also avail of one variable fonts which allow you to fine tune the weight to your exact liking.

Chank created Zsazsa Galore as a fresh alternative to Mister Frisky, another jerky, hypercaffeinated interpretation of the traditional roman alphabet. The difference this time is that the new font has no descenders. Every letter comes to rest hard on the baseline. It sits there firmly rooted with branches wiggling around in the air. It was released as the Chank Font of the Month in October 1999 and it was named after Zsa Zsa Gabor because she is beautiful.

Jason Uncial, a unicase font, was created by Dutch designer Coen Hofmann. Uncial hand writing began to spread in Europe at the time of the late Roman Empire (200 A.D.). It influenced both the Carolingian Minuscule as well as our present lower case letter forms. Uncial fonts are still very much in use. It is used for headlines, display, titles, certificates, and not surprisingly, very much in Ireland or for anything with a Gaelic/Irish or Celtic touch.

Badr is a traditional-style Arabic text typeface with two weights: Badr Light and Badr Bold, and include Latin glyphs (Cochin Roman and Bold), allowing a single font to set text in both most Western European and Arabic languages. The two Badr fonts incorporate the Basic Latin and the Arabic character sets, which support Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Galdana font family is a Roman serifs typeface, whose most relevant characteristic is the slanted angle of its true italic, at seventeen degrees. Its design was inspired by one of the most prominent American calligraphers of the last century, the book designer Oscar Ogg. Galdana contains 18 styles: starting from thin to ending in a fat typeface. This family is completed with multilingual support and a set of OpenType features such as stylistic alternates, swashes, and ligatures.

Coliseum Pro is a five-weight compressed spur serif font family. ITF’s original Coliseum family, released in 1992, was designed by Julie Hopwood and Pat Hickson. Steve Jackaman completely redesigned, redrew, and improved the Coliseum family over a two-year period, and two additional lighter weights have emerged: Light and Book. Coliseum Pro is inspired by Roman display typefaces, and is powerful and eye-catching at any size. Two sister typefaces, Clydesdale and Torpedo, were born from Coliseum’s redesign.

In 1938, Frederic W. Goudy designed California Oldstyle, his most distinguished type, for the University of California Press. In 1958, Lanston Monotype issued it as Californian. Carol Twombly digitized the roman 30 years later for the University of California; David Berlow revised it for Font Bureau with italic and small caps; Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, Berlow designed the black and the text and display series; FB 1994–99

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Frederic Goudy designed National Old Style Roman in 1916. It is loosely based on a logo he lettered for the National Biscuit Company in 1901. Steve Matteson expanded on Goudy’s original by designing a bold, semibold and matching italics. While much of Goudy’s work is strongly influenced by Venetian types of the 15th and 16th centuries - this design has a truly American quality about it. The design is useful for text or headlines that captures a sense of Americana.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast fonts, is a sort of typographic journey, from the eighteen century typefaces to the nineteen century slab serif typefaces, gathering information from the scotch roman fonts on it's journey. Prumo is a type family with classic proportions, that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Carte Blanche literally means 'Blank Ticket'. Yeah, yeah, it is also a very 007-ish catchphrase, but I wanted to give this elegant font a 'stylish' name and Carte Blanche popped up. All glyphs were hand drawn on a rather expensive piece of heavy-weight paper and were put into the font in between changing nappies, bouts of the flu and the subsequent wiping of snotty noses. Carte Blanche speaks most Roman-based languages - albeit nasally…

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Clydesdale is a five-weight compressed sans serif font family. It was designed by Steve Jackaman over a several-year period, and was released in 2017. Clydesdale, much like its sister typefaces Coliseum and Torpedo, was inspired by authoritative Roman display typefaces. The font family excels in displays, but is a great performer in all text sizes. It is perfect for users who enjoy the impressiveness of Coliseum Pro and Torpedo, and need a complementary sans serif typeface.

The pLatinum family was created in 1998. Ink, scanner, Fontographer and as a result Regular and Italic styles of pLatinum typeface. Kyrillitsa'99 International type design competition Award winning typeface. The design style is “Irregular Serif”. The glyphs of pLatinum roman are reminiscent of the Russian types of early eighteenth century—especially in the smaller point sizes. An Italic, surprisingly close to the handwriting copybooks of mid-eighteenth century, is a later addition to the design.

Sarabande is a painstaking reproduction of Jean Jannon's famous "Garamond" of 1621 -- also known as "Caracteres de l'universite." Whereas the original was intended for setting French and Latin text only, Sarabande has all standard international characters and diacritics, along with a Euro symbol. (There are however no characters for higher mathematics or logic, and the number of other unhistorical characters has also been kept to a practical minimum.) Sarabande comes with two styles: a roman and a true italic.

Amici means 'friends' and the Amici family was conceived as a big friendly Roman typeface for headings, posters, signs and anywhere else that an approachable easy-reading typeface is needed. It's the sort of thing you used to see in Magazine mastheads before everything went boringly sans serif. Three faces are offered within the family, Regular - solid and clear, Bold - with that bit more body and presence and italic - bringing in script elements to its design.

Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols. It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size. The complete package includes the roman version in VariableFont format.

Inspired by classic calligraphy, Armstead is an elegant and sophisticated handwritten font with a classic charm. All lowercase have 8 - 9 variants, total of 203 alternates, 7 ligatures, 20 swash of which 10 are final, and there are old roman numerals from 0 to 12. This font is perfect for your wedding invitation, greeting card, certificate, branding, magazine, book cover and much more and the alternates will help you to make your design unique. Thank you!

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It's a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Mexican Pattern is my vision of classic Mexican style with colorful and ornate pattern. Mexican patterns appeared as a result of the fusion of two cultures. Aztec and Mayan heritage mingled with Spanish traditions in bright colors. You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Prumo is a new type system, based on a unique skeleton that flows, like a pendulum, from high contrast to low contrast. It’s a sort of typographic journey, from the 18th century typefaces to the 19th century slab serif typefaces, gathering information from the Scotch Roman fonts on its journey. Prumo is a type family with classic proportions that takes advantage of the recent type production technology while looking carefully at the most important historical references.

Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it. Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full Fodecumbers is a strong FontFamily and Sans sophisticated look. Inspired by dynamic squares can be felt through controlled letterforms and a modern twist. Balance of hard lines and smooth curves. Each font in the family can be standalone, dynamic, and authoritative on its own, or mix it with italics for the tagline in a logo. it's really worth it Fodecumbers includes all thirteen uppercase fonts: Four weights, two outlines, seven italics. FEATURES Four weights / Italics / Lines / Numbers & Punctuation / Extensive Language Support USE Fodecumbers works well in every branding, logo, magazine, film. The different weights give you the full range to explore a whole host of applications, while the fonts outlined give a real modern feel to any project. Any specific license questions or questions, feel free to contact zamjump@gmail.com zamjump

The Sketchnote typeface was born of necessity: designer Mike Rhode needed a series of hand-drawn fonts to illustrate and produce his book, “The Sketchnote Handbook.” Because of its origin, this typeface was designed to be practical and convey the human character and quirks of his normal handwriting and hand-drawn lettering. The family is comprised of five fonts: Sketchnote Text in Regular, Bold, and Italic, the somewhat compressed and bold Sketchnote Square for headlines, and the playful Sketchnote Dingbats. Sketchnote Text is a casual script with a slightly bouncy baseline. In order to mimic the differences present in natural handwriting, OpenType features are built-in that automatically switch between multiple versions of each letter or number. In total, over 240 alternates in each of the text fonts are employed, making for a more authentic appearance. The warm texture of Sketchnote is the result of actual ink-spread on paper captured in the scans of written letterforms and was intentionally left intact during the digitization process to preserve that feeling. Rhode created Sketchnote Square as a display type to complement Sketchnote Text. Drawn instead of written, the letters often have neat little happenstance voids within the strokes. Sketchnote Dingbats features a selection of icons, rules, and arrows to provide some functional and fun tidbits, handy for bringing additional life to any design.

Elliptical The squareness of curves. That was the elliptical – in more than one sense – notion being explored in the making of FS Hackney. The squareness of curves and vertical terminals to create a gentle, soft sans serif, with a little bit of magic. A momentary thought – “It doesn’t have to be like this” – provided the spur to explore the verticals and skeletons of letterforms beyond conventional type design limits. A 12-month gestation period gave rise to a font with a larger-than-usual character set, including non-lining figures, small caps and superior and inferior numbers. It’s a collection that speaks confidently for itself. Assertive It was the Hackney carriage – the black London cab – that gave this font its name, not the north London neighbourhood. Solid, dependable, effective and built to last, FS Hackney was honed to perform in all conditions. Cool, compelling lines and a satisfying overall simplicity lend FS Hackney its assertive air. Assured, versatile and effective; just like a black cab (but without the grumbling). Machined Over a string of meetings, Jason Smith and FS Hackney designer Nick Job worked out how to infuse Nick’s sketched letterforms with Fontsmith’s familiar geniality. “Nick is very meticulous and produces very clean design work,” says Jason. “Hackney is ideal for branding as it’s very clear and its quirks are sensible ones, not odd ones, that don’t distract from the message.”

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

Feilla is a cute valentine’s handwritten font featuring lovely ornaments. This font is perfect for romantic-themed designs, especially when combined with pink or bright colors. It is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Tabina is a sweet, romantic and timeless handwritten font. It looks stunning on wedding invitations,thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch.It features a varying baseline, smoothlines, gorgeous glyphs and stunning alternates.

Atakana Scipt is a New Handwriting Font script that make with love. This font is suitable for any branding of your design needs, wedding invitation, romantic project, studio brand, logo, invitations, social media posts, clothing, invitation, poster, cafe/resto sign and others.

"Valentine Style" is a display font decorated with heart-shaped letters and is very easy to use. This font is equipped with uppercase, lowercase, ligatures, numerals, punctuations and multilingual support. Very suitable for valentines, weddings, stickers, romantic moments, spring, winter and others.

"Couple Valentine" is a very unique and beautiful display font. This font has a heart shape on each letter. It is suitable for romantic moments, Valentine's Day, weddings, and more. This font is equipped with uppercase, lowercase, numerals, punctuations, and multilingual support.

Mellviana is a quirky display font featuring lovely ornaments. This font is perfect for romantic themed designs, especially when combined with pink or bright colors. It is PUA encoded which means you can access all of the glyphs and swashes with ease!

Aneliya is a romantic and sweet handwritten font. It will add a luxury spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Juan Bruce’s Noort is not a type family for wayfinding or mapmaking alone, but for clarifying information and engaging readers along their own journey. The information designer’s role is to bring clarity and style to overwhelming amounts of information, which fortunately is Noort’s purpose as well. Hierarchies submit to its will and layering colour only adds more presence to its active posture. Noort’s design uses the proven editorial text features of a large x-height, ample spacing, and low contrast to check all the boxes for paragraph text use. But it’s the long serifs, wide characters, and overall typographic presence that make it resilient and ease the task of reading in small point sizes. These details mean Noort is able to demonstrate importance not only with its five pitch-perfect weights, but with its brindled colour within a layout. Noort’s roman and italic styles play off each other by transplanting their design features. The roman style’s serifs are transferred in substance but expectedly increased in speed in the italic styles. And the italic’s inktraps and separated strokes are echoed amidst the roman’s upright structure. Where digitisation could have removed the influence of the hand, Noort retains the analogue nature of its creation. This antiphonal seeding of details creates a cohesive family that is as fascinating as it is functional. Noort’s axis and serifs have a slightly varying ductus — the directional flow that aids reading and character clarity. Its latent obviousness in text sizes immediately becomes its signature style when bumped up to subhead sizes. And since Noort’s counters are so wide and welcoming, its heavier weights can expand more within themselves than along their exterior edges. Noort’s ten total fonts cover the Latin A Extended glyph set to bring its unbordered, globetrotting sensibilities to your projects. OpenType features include ligatures, fractions, and several figure styles, along with mature-rather-than-overbearing swashes. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noort family can set digital and printed works with ease, capitalising on the dual needs of clear information and fascinating textual artistry.