URW Dock is a contemporary geometric type family inspired by the square sans typefaces of the 60s, notably the Eurostile, which is still used in countless applications to the present day. Designed to meet today's requirements for a multifunctional font, this reinterpretation includes numerous enhancements and optimizations to ensure a professional use in today's digital age. Including a wide range of styles, an extended character set and a careful composition, it has the potential to give brands, artworks, and interfaces a modern, professional and unique touch. Its high legibility and clear informative and technological appearance are perfectly suitable for infographics, signage and way-finding systems. And especially when embedded in app, gaming and infotainment software it will display its strength. While the upright styles communicate a clear, professional and informative message, the italics express a technological, dynamic and forward-thinking spirit. An extensive language support, several figure sets and a wide range of OpenType Features will make the URW Dock font family a perfectly suitable partner for a wide range of print, web and app projects. For more information please have look at the URW Dock PDF Type Specimen.

Shelflife is a display typeface with some extras under the lid. It features all the Standard Open-Type features you'd expect, like Class Kerning and Ligatures, plus some other useful additions and of course accented characters for most European languages and others. In essence it's an easy-to-read headline font with clean lines and a bit of character. There's an outline version that can be layered with the standard version to give the shadow effect seen in the accompanying graphics, simplicity itself to do. There's boxed headlines for SALE, SPECIAL, DISCOUNT (20 in total) all ready-made, plus some which can be tilted at an angle, and done automatically - just easily typed in; easy-to-do bullet numbers; a choice of square or rounded dots on j,ffi, and so on in Stylistic Alternatives; and shorter alternatives for U and N with accents. Details are included in the zip files. The zip file will contain both the OTF and TTF versions of the font. Install only one version, either the OTF or TTF, but not both - otherwise you will get all sorts of incompatibility issues and problems.

The Core Sans M Family is a part of the Core Sans Series, such as Core Sans N, Core Sans N Rounded, Core Sans N SC, and Core Sans G. This font family has open and square letter shapes, and overall rounded finishes provide a soft and friendly appearance. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans M Family consists of 2 widths (Condensed, Normal), 7 weights (ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy), and Italics for each format. Small Caps versions are also available. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Tabular numbers, Arrows, Box drawings, Geometric shapes, Block elements, Mathematical operators, Miscellaneous symbols and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. The Core Sans M Family provides both OpenType (.OTF) and TrueType (.TTF) versions in the same package. We highly recommend it for use in books, web pages, screen displays, and so on.

Just as most buildings are based on a structure of vertical columns, horizontal floors, square angles and the occasional arch, most Latin typefaces are designed within a largely uniform, static, alphabetic structure that provides a framework for playing with the style of the terminals —serif, sans-serif, slab-serif, flared, Tuscan— without significantly modifying the deep anatomy of the letters. Orgánica Pro, by contrast, proposes a different structure: curvilinear, subtle and sophisticated, beyond the typical «sticks and balls» model. Organic anatomy, in one word; deliberately dynamic and asymmetrical. Over this radically distinct structure, terminals play a characteristic, expressive role that challenges easy classifications: Is this a serif or a sans font? A semi-serif? A semi-sans? For text or display? Modern or ultra-modern? Joke or serious? All answers are valid. Anyway, its six stylistic variants allow for multiple, diverse uses in text setting, headings and logotypes. In spite of —or perhaps thanks to— its innovative, uncommon structure, Orgánica’s personality is sweet to the eyes, wittily elegant and surprisingly legible.

HS Sondos is an Arabic display typeface designed specifically for titles and graphic projects. Drawing inspiration from Modern Kufi calligraphy, the font features a harmonious fusion of sharp and curved lines, resulting in a visually captivating and innovative take on square shapes and geometric structures. The distinctive sharp endings at the bottom of each character add an extra touch of aesthetic appeal. With three available weights -regular, bold, and black- HS Sondos offers versatility and variety. The black weight introduces a novel concept by maintaining the same horizontal dimensions as the regular weight but expanding the vertical dimensions, creating a uniquely bold appearance. Supporting Arabic, Persian, and English languages, HS Sondos opens up a world of possibilities for designers looking to enhance their Arabic typography. Its visually striking and flexible nature makes it an excellent choice for projects that demand attention and creativity. Overall, HS Sondos stands as a testament to the beauty and adaptability of Arabic typography, empowering designers to bring their visions to life with a captivating and versatile typeface.

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

An offering from Barnhart Brothers & Spindler’s Catalog No. 9 from 1907, with the rather prosaic name of "Lining Gothic No. 71", inspired this non-nonsense and surprisingly ageless face. As versatile as it is simple, this typeface is a stylish choice for heads and subheads. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Pepita is a flexible and easy to use connected script. Pepita has plenty to offer: a selection of 72 ornaments and plenty of ligatures and alternate characters: try turning on Contextual Alternates, Swash or Stylistic Alternates in any Opentype savvy program or manually choose the characters from the glyph palette. For best results combine all 3 weights of the font.

Summer Days is a cute handwritten script font with ornaments and swashes, perfect for any design that needs an adorable handmade feel. Use this font family for signatures and logos, notes and quotes, social media posts, and branding and packaging. This set includes: 1 script font in two styles: regular and slant, with ligatues for a smooth handwritten font. 1 ornaments font, with 72 cute handmade drawings (fruits, animals, sweets, plants, etc) in two styles: regular and blackout, for easy layering. 1 swashes font, with lots of swirls and underlines.

Covenante is an antique font that contains futuristic elements that give it an unusual look. Sharp serifs and unusual shapes of ovals, create a solid character and make the font fresh. More language support, ligatures, and alternative characters will increase the font's usability. 450 glyphs, 282 languages of the Latin group, 7 alternative characters, 21 ligatures, a capital set and more than one day spent for kerning-create a great potential for this font. Text, covers, posters, prints, titles, interfaces, web, book covers, packaging, logos, and much more where you can apply this font. If you find an error in the font, kerning, or just want to add something or suggest something, then write to me: bunineugene@gmail.com

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. TessieMoreStuff contains mostly Escher-like tessellations with no clear organizing principle. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes contained in TessieMiscellaneous are Escher-like tessellations. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble flying birds. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Tulda is a very lively lettering font originally drawn for a German calendar. The optional symbols feature over 72 festive renderings for just about any occasion. This font is also available as an OpenType font with over 500 characters. For the OpenType version: standard Opentype features such as ligatures & oldstyle figures are available through the features menu in programs such as InDesign or other applications that support OpenType. Additional ornaments and alternate characters can be inserted through the glyph pallet.

Stadia is designed around a series of modular units: quartercircles, teardrop shapes, squares, circles and variations thereon. The versatility of these basic shapes is such that a teardrop, for example, can represent a looped bowl, as in the lower part of the a, while also representing a curved arc at the top of the same character. The strict grid is broken for the T and the Y, and the placement of accents. The alternative – basing a T, for example, across three units – though rational, is far less aesthetically pleasing. As always with type design, one has to know when the internal structural rules should be bent for a more beautiful result. The horizontal lines appear to travel through the letters, bursting into stars in the counters of lower-case characters such as the o and p. The outline version is weighted to the same width as the gaps between the units.

PunkRocker is a bold condensed sans-serif with three versions and plenty of attitude. PunkRocker is awesome for creating strong tight square text boxes that scream for attention: it’s ideal for movie posters, single covers, as a supertool for fast graphic design. PunkRocker has three versions: Regular which is “clean”, Rough which has the worn-out appearance of a punk-poster or a gig poster that has been outside too long, and Stamp which has rugged outlines and print texture inside characters. Textured versions of PunkRocker have double characters for every standard character: Contextual Alternates will automatically replace any double letter with alternate that has different texture to avoid repetition and keep the appearance more authentic. You can also access these alternates by turning on Stylistic Alternates or via glyph palette. PunkRocker is PUA encoded so you can access extra glyphs in most graphic design softwares.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

OBO Star is a fat, subtly flared display typeface with a not so subtle groove factor. The letters are based on a square and do not have ascenders or descenders. This way the typeface can be used for horizontal and vertical settings, or mixed like crosswords. There are a few exceptions for certain punctuation and special characters that are half the width for better spacing; and the word space’s width can easily be adjusted through OpenType stylistic sets. Talking about spacing, for strictly horizontal typesetting there is the option to turn on kerning for a number of characters to create a more optimal texture across words and phrases. But that’s all just technical talk. The true character of OBO Star is the funky look, amplified by the wide 1x1 format that creates space for unconventional shapes, mostly pronounced in the letters R, K and G.

A high lower-case x-height geometric sans with open counters, Regulator Nova is extremely legible at text sizes and in extended settings while the range of weights also make it suitable for headlines. The stoke terminals are all cut at close to 90 degrees, lending a sharp precision to the characters. Alternate versions of the g, j, r, w, K, R, W, # and ampersand are available in both upright and italic, and can be toggled on and off in the Opentype panel or the Glyphs palette. Clean, elegant and legible, Regulator Nova has a classical proportions based on a circumscribed circle and square, and shares structural similarities to early sans serifs such as Rudolf Koch’s Kabel, while adopting more British forms for the M and R. Regulator Nova is an extension and reworking of Regulator, now with extra weights, reweighed italics, Opentype-savvy alternates and a full European character set.

Hansplatz Grotesk is a sans serif type family of nine weight. Influenced by Akzidens Grotesk, Hansplatz typeface bring a new approach to this utilitarian style of grotesk. With more square proportions rather than geometric style, Hansplatz grotesk aimed to ease typesetting job when arranging a words or paragraph easily. A wide range of weight gives flexibility to every design project, hansplatz fit nicely to grid-system because of proportions. Furthermore Hansplatz Grotesk supplied with smart Opentype scripting to assist typesetter and designer very easily to Hansplatz feature. Hansplatz Grotesk truly a utilitarian, workhorse, neutral, and of course faceless. But, it makes the work done quickly. For display use, Hansplatz Grotesk Black to Semi-Bold is recommended, for paragraph heavy design, use regular and light weight. To spice up, adding Hairline or extra-light weight will make a design execution looks great and catchy but not intimidating.

Looking for a typeface that’s as unique as your personality? Look no further than Sui Generis, the rounded square sans-serif that’s unlike any other. With its technical letterforms and boxy curves, Sui Generis has an industrial character that’s all its own. It’s the kind of typeface that demands attention, without ever feeling pushy or obnoxious. In fact, its understated charm is part of what makes it so special. But don’t let its quirky personality fool you—Sui Generis is as practical as it is unique. With four weights, two widths, italics, and an outline style, it’s incredibly versatile and perfect for any project that requires a touch of character. So if you’re tired of bland, run-of-the-mill typefaces that all look the same, give Sui Generis a try. Its square letterforms and distinctive voice will make your design stand out from the crowd, and leave a lasting impression on anyone who sees it. 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.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Introducing "Kind Breakout" with a bold and modern vintage style and a touch of stamp effect so you can feel a very distinctive vintage feel. If your latest project needs a touch of class, it's time to take Kind Breakout to your font library. This beautiful and elegant typeface features a vintage style, OpenType features like ligatures, stylistic alternatives, stylistice Set, Swash, Discretionary Ligatures and even comes as a web font. Perfect for posters, logos, and stationery, this is a one of a kind elegant font waiting to impress. Kind Breakout has 725 glyphs and all PUA Encoded Characters, Can be accessed in Adobe Illustrator, Adobe Photoshop, Microsoft Word, CorelDraw and other applications that support the opentype feature, Fully accessible without additional design software. This font will be a great asset to your font library, as it has the potential to enhance your next project creation.

These Op-Art-looking little balls and gems appear 3-D without the help of any special graphic filters, which makes them perfect for use with flat colors or one-color print jobs. 72 characters.

This font was inspired from the medieval Dances of Death patterns, as a modest tribute to the famous engraver Hans Holbein's Alphabet of Death. We have tried to keep the spirit of the time -- its sarcastic humor mixed with its objective and frozen realism. The font, consisting in two complete capital alphabets: Initials and caps, and a lot of separate figures added, is especially improved by strong enlargements, 72 pts and more, and has very good results when printed.

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

Introducing Angelica Jealous is a monoline script font with a handwritten style an authentic and fashionable. This font is very special because it has a large selection of additional letters built in with a set of alternate uppercase and lowercase letters and the Angelica Jealous was built to match the handwriting style as closely as possible with the addition of 72 custom ligatures. This font looks very awesome for quotes, branding, logos & branding, weddings, watermark, web, crafting, social media, product design, advertisements, and much more.

It is significant to have a unique font to create impressive, impactful designs because people often forget common things which may cause your work to be forgotten as well. You may have lost your candidate customers even before they know your brand and product. Let us introduce you to Chocoball, a font with firm impressions to protrude your designs. Chocoball is an uppercased display font designed in playful, modern concepts. It has firm, attractive impressions because of the inclined square letter shapes making it more unique than the others. Furthermore, it can show off your desired messages on your designs easily with the use of the uppercases. Besides, this font is able to build up a strong, recognizable brand identity. A playful display font is flexible and suitable for various design types as its advantage because it is applicable for either formal or informal designs producing interesting, consistent results. You can apply Chocoball, which gives you a clipart as a bonus, for big text sizes to be legible. You can enjoy the available features here as well. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Chocoball fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, 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.

Ride my bike Serif is a new version of successful handmade typeface Ride My Bike designed by Coto Mendoza. Inspired by street style and the new culture that moves pedaling around the city. Perfect for use in headlines, brands and fashion photography compose alternative, thanks to its leading characters, terminals, alternate characters and ligatures that you can find in the Pro version. This time with serif. The ‘Ornaments’ font in this family has 121 dingbats, very fun to compliment and accentuate the handmade design. If you do not want to ride so fast, you can find a version without OpenType features - Essential. Come! Get on it and let’s go ride my bike! Photography by Nico Alari.