Here's something for all Halloween projects! Halloween Fleurons are hand-designed ornaments for your spooky enjoyment. Trick or Treat?

This font is ideal for cartoons, greeting cards and children's books, as it has a happy 'feel' to it.

Rejoicingly is a sweet marker handwritten font. It comes with unique lower and uppercase plus numbers, punctuation & multilingual letters.

Alfina is a chancery typeface that shows a modern temperament, but is inspired by the eponymous town of Torre Alfina, one of the most beautiful medieval villages of Italy, situated on the edge of the plateau Alfina, a few miles from of Orvieto. The place where is the castle is steeped in history. Its roots date back to the Lombard kingdom (seventh century); later it was under the rule of Monaldeschi (1200-1700) and more recently (1880) the property of the rich French banker Count Edoardo Cahen of Antwerp, who was responsible for the present aspect of the Castle. Alfina has soft lines, very slender upper cases and thin overlapping strokes; The stylistic alternates are particularly important, and the type is enriched by many, different OpenType features.

Design style ready to use in headlines, tags and quotes refering to technology, sci-fi, modern economy and more recent themes. The name of this font is connected to its simplicity and combination of its soft and sharp style in lines - just like tree branches and leaves. Also inspired by block form of runes - related to nature in its full floral character. However kept in clear and precisely designed form of technical font.

Sánchez Niu is a redesign of Sánchez—one of the first font families by Latinotype designed in 2011. In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! This new version includes improvements that make it work well with longer text. Such improvements have not had a major effect on the look of the font, though. We have adjusted the original proportions and added a number of new characters as well as OpenType features such as small caps, oldstyle figures, tabular numbers and stylistic alternates. Sánchez Niu contains a set of 720 characters that support 219 languages. The font is well-suited for long text, headlines and logotypes, and it has been optimised for web usage. Sánchez Niu comes with two free fonts—Regular and Regular Italic! Corrections, digital editing and review by César Araya, Rodrigo Fuenzalida and Alfonso García.

An authentic style of feminine handwriting with a pencil Who still writes by hand? And who still writes nicely? What constitutes beautiful handwriting anyway? In Marleen Script nearly 100 stylistic alternates for individual letters and more than 400 ligatures are included. With these options it is finally possible to convincingly simulate the effect of true handwriting with a typeface. So, the form of the single character seldom repeats itself since it is mostly replaced with a ligature; and, with each combination of characters the result is a slightly different form of the individual character. Type set in Marleen Script appears remarkably similar to a text actually handwritten with a pencil. The characters of Marleen Script have intentionally been digitalized as a bit loose and irregular. Stylistic alternates are available for many of the letters, some even with various alternates to choose from, in order to produce a font with a very lively appearance. This typeface also fills a completely different kind of gap: finally, a ”typically female“ font. Spirited capital letters, the tendency toward loops and the obvious inclination toward the left are all common characteristics of ”female scripts.“ The original for Marleen Script was created by Marleen Baumann from Augsburg in the spring of 2010 using a sharp pencil on rough handmade paper. In spite of irregularities, this font is aesthetical. Although most people rarely put forward an effort with their handwriting, in Marleen Script one can see the desire for an attractive form.

Banco was the first typeface work of French designer Roger Excoffon and was released in 1952. The strong forms look as though they were rolled out of sheet metal and feature upright, tapering strokes. The slight slant, the varying heights of stroke ends, and the relationships between line and curve give Banco font its sense of liveliness and dynamism. Excoffon did not design a matching lower case alphabet for his capitals, but this was accomplished later by Phill Grimshaw, who also designed the light weight. He deliberately 'underdesigned' the lower case forms, producing a more reserved alphabet based on the design ideas of the original.

Qindars is a display font with a unique and fun theme, created by paying close attention to the uniqueness of each letter character, as well as the level of precision so that when used in words or sentences, it can produce a truly beautiful combination of letters, all of which we carefully designed for ourselves. Show you what makes us unique, and notice how beautiful, harmonious, and smooth each graphic treat is. This typeface is ideal for usage in a variety of unusual graphic projects, including games, book titles, outdoor activities, posters, banners, quotes, branding, and other unique projects. So, what are you waiting for? Get this font now!

Octopuss is an energetic titling typeface designed in 1970 by Colin Brignall for Letraset dry transfer sheets. Brignall expanded the basic alphabet with an outline variation with a shadow, which makes the typeface look three dimensional, almost like it is floating. Octopuss font displays the unmistakable signs of the typefaces of the 1970s, as do Countdown and Harlow, also designed by Brignall. The circular strokes of the capitals that drop well under the base line are striking and unique. Because of the small white spaces of its lower case letters, the rounded, robust Octopuss is meant exclusively as a headline font and should be set in large point sizes.

Melango is a captivating and artistic brush signature font that exudes a sense of flair and personality. With its handcrafted and expressive strokes, Melango captures the essence of a genuine signature, as if written with a brush. Each letter carries a unique and fluid charm, adding an element of authenticity to any design. The brush-like texture and varying thicknesses create a natural and dynamic appearance, making Melango an ideal choice for logos, branding, and creative projects seeking a touch of artistic elegance. Whether used for invitations, greeting cards, or social media graphics, Melango effortlessly infuses designs with a sense of warmth and creativity, making it a standout brush signature font.

Introducing, Louislemon Display - a unique display script with a reverse slant style. The unusual look of the script makes this typeface one of a kind. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Escoffier Capitaux is named for culinary legend Auguste Escoffier (1846-35) and inspired by lettering used in vintage French advertising – including the work of commercial illustrator/fashion designer Ernst Dryden (1887-1938) WITH a hearty serving of 1960s ligatures influenced by the work of Herb Lubalin (1918-81) as well as a twist of Claude Garamond (1480ish-1561) AND featuring many alternate characters and extravagant extras, Escoffier Capitaux is enough to fill out your menu, add zest to your cook book, greeting card, resume or just the right amount of sauce to your blog. DINNER IS SERVED No substitutions, please. Minimum service per person. Warning: May taste gamey.

Rosabella is a script typeface with plenty of decorative details — flourishes, swashes, twists and other elements, which impart to the face a gorgeous festive look. An unusually large number of alternates and ligatures make it possible to imitate live calligraphic writing. Lower case letters are divided into several stylistic sets from relatively modest variants to the most decorative contextually-dependent swash shapes. Besides that there are two sets of upper case letters — the second one contains larger and more complex shapes. Letters from the different stylistic sets can be used in a wide variety of combinations with the different levels of embellishments. Rosabella was designated for display material, greetings and advertising.

Setisa, a delightful monoline script font, enchants with its inherent cuteness and graceful simplicity. Each stroke is meticulously crafted, forming a seamless dance of letters that exude a charming, handwritten aesthetic. The monoline design lends a uniform and contemporary feel, while the script nature adds a touch of whimsy. Setisa effortlessly blends a sense of playfulness with a clean, modern edge, making it perfect for a myriad of creative endeavors. Whether used in branding, invitations, or any design project seeking a sweet and approachable tone, Setisa stands as a testament to the beauty found in simplicity, making every word written a joyful expression of charm and elegance.

Introducing, Broadley, a pair of hand drawn bold serif and script with a touch of vintage look and feel. This type of font perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates / swashes and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Yugoslavia is an elegant human-looking calligraphic font, made with pen and inspired by classic concatenated typefaces that were born in the nineteenth century and are still in force today. The font includes an additional full set of lowercase swashes for use at the end of words, plus a set of 8 reversible ornaments for captions and decoration of phrases and titles, and 3 strokes of different styles for highlighting and embellishing words. This font is ideal for designing greeting cards or weddings, invitations, diplomas, etc. Where you can print a classic style, luxurious or elegant and that in turn transmits, to the design, tradition and history.

Introducing, The Vindale - a vintage script with reverse contrast and a touch of nostalgic look. The unusual reverse contrast make this typeface one of a kind. This type of font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

Fallery Script is a calligraphy script font that comes with exquisite character changes, a kind of classic decorative copper script with a modern twist, designed with high detail for an elegant style. Fallery Script is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because of its many fancy letter relationships. I also offer a decent number of stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertising purposes.

Introducing, The Mogaster - a bold monoline script with a touch of vintage look and feel. You will get 3 styles of font. This type of font perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates / swashes and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Whiteblack is a slab serif with a soft touch, designed for contemporary typography and comes up with 6 weights for positive and negative settings plus handslanted obliques. In dark backgrounds, especially for signage and on screen, negative settings glow and appear heavier than positive settings. To avoid the „glow-effect“ the typeface contains special weights for an optimal balance between white and black. A large x-height and open apertures not only creates space for smaller sizes, but also lends Whiteblack a solid balanced and generous character for print and screen. Many OpenType features including 324 ligatures, contextuel alternates, and stylistic set built into all cuts. The font contains 1.076 glyphs with a wide range of flexibility for Latin language support for every typographical needs. Whiteblack brings elegance and a certain warmth wherever a contemporary slab serif typeface is needed, special for signage, brands, magazines and corporate design.

Maver is a 7 - style font family designed by Ani Dimitrova. Maver containing Regular, Italic, Round, Round Italic, Modify and Modify Italic weights. All weights contain standard ligatures, proportional figures, tabular figures, old-style figure, numerals, and arrows, matching currency symbols and fraction. The fonts are carefully hinted and its wide proportions make them a perfect choice for screen usage. This style palette offers a flexible range for display typography. The Maver type family is ideally suited for magazines, branding, posters, as well as web and screen design and more.

Confitería is the Spanish word for a shop where sweets and chocolates are made and sold, which sometimes has a tea room. And now Confitería is also a font that brings to mind lettering piped on delicate cakes ... sweet but never sickly. This font captures something of that simple and innocent beauty of traditional confiterías, where good manners will never go out of fashion, menus are elegant and time comes to a standstill to make way for life’s little pleasures. A confitería is a perfect place to share sweet tidbits with a friend or date, eavesdrop on the conversation at the next table, read a book, or just people-watch from the window. I celebrated my last birthday at one. There is one iconic confitería in Buenos Aires that I love more than the rest because, some 60 years ago, it put up its marvellous sign and never took it down. Walking by it is sure to bring a smile to your face. It’s big. Very big. And the lettering in its name is written in a timelessly beautiful vertical script – the most attractive I have ever seen. I joined forces with Sol Matas – who worked with me to update the Montserrat font –to design this geometrical connected font with pleasant, even strokes. It is elegant and saccharine-free. And to top it off, it comes in several flavors. Welcome! What can we get you?

Sprout is a low-contrast sans serif, slightly condensed for economy of space, and complete with 6 weights in Roman and Italic. It has open apertures and a generous x-height for clarity of reading. It also comes with a weight balanced italic, which can be used for differentiation or as a standalone typeface in itself. The defining feature of the family is the taut curve, where the inner counter pushes out toward the outer contour, creating a feeling of tension in the curve. In the italic this shape language is pushed further, with a playful looped g and cursive form of the f. Sprout also comes with Old Style figures. Its range of weights makes for a versatile family suitable for branding, on-screen publishing and long-form reading.

With Gemsea Fonts, you open the door to a world of limitless creativity. A display theme that celebrates the power of the ocean, bringing a strong, bold, and fun touch to any of your projects. Gemsea is the perfect solution for projects that require a unique theme. From epic films to stunning games and unforgettable streaming events, this font offers durability and appeal in various languages. Stunning Features: Five different family styles: Regular, Blur, Engrave, Outline, and 3D. This gives you the flexibility to create a variety of nuances in your designs. It supports multilingual so that you can connect with a global audience without restrictions. Gemsea creates not just projects, but unforgettable works of art. Get the Gemsea Font now and bring the magic of the ocean into your designs!

Founded on a rigid structure of modernist type, Calypso E has a determined tone without an authoritative tang. It is an updated interpretation of a Neo-grotesque model Egyptian with a hint of Humanist lightness in its forms. Seriously big x-height, square basic form and sturdy serifs create firm text regardless of the weight. This makes Calypso E well suited for various media, from sharp plotter images to low-res television screens. Calypso E includes four suitable body copy styles. Book, Regular, Normal and Medium can be applied according to, for example, the size of text and quality of paper. All styles in the family are equipped with an expanded character set, small caps, case sensitive forms, discretionary ligatures and much more to make even the most elaborate typographic detailing possible.

An original script font designed by Victor Kharyk and licensed by ParaType in 2006. Based on Ukrainian Skoropis (fast handwriting) of 16-17th centuries. The font was named after Ukrainian Getman Bogdan Khmelnitsky, because the main sources and inspirations for the project were taken from collection of handwriting Universals (decrees) of that time -- the middle of 17th century. The shape of letters imitates flat nib quill handwriting with stress, bringing them informal liveliness. The Bogdan font character set contains Cyrillic, Old Slavonic , Glagolitic, Latin and Greek alphabets in two variants: Rejestrowy (Regular) and Siczowy (Alternate). The font is for use in display typography, but can work quite well for short text setting. Bogdan type is well suited for historical and cultural texts associated with Europe of 15-17th centuries

The purpose of Brutman was to create a typeface that reimagined the incise style for the 21st century. Its roots emerge from the humanistic style, adopting the structures of the roman capitals for the upright version and some features of the chancery style for the italics. On the other side, its contours are forged by the frankness of the brutalist style, which can be seen in the asymmetrical flared terminations, the sharp shoulders and the diagonal cuts that emulate the stress of the broad nib pen. The result is a typeface that combines a sleek character with a historical flair. It conveys a feeling of modernity and sophistication when it comes to shine in big sizes, but on the functional size has sharp shapes that make it perform very well on small ones.

Arpona Sans is a contemporary sans serif family inspired by the work of Edward Johnston and Eric Gill for London Underground. As well as its serif companion Arpona it is a symbiosis of different design concepts. Arpona Sans combines the esthetics of a geometric Sans with the usefulness of the humanist concept and the calm of the modernist proportions. Arpona Sans is a good choice for editorial design, branding, app design and web design – a workhorse well readable even in running text on screen. The family has nine weights, ranging from Thin to Black plus corresponding italics. Each style includes 590 glyphs supporting all western-, eastern- and central-european languages including four sets of figures and various currency symbols. If you want to go into details visit the microsite: https://www.floodfonts.com/arponasans

The Segoe™ TV font family was originally developed for MSNTV. Segoe TV italic was designed with attributes for improved legibility on TV screens. Segoe TV italic includes the Latin-1 character set.

Redemption is inspired by religious doomsday flyers that have been photocopied so many times that they take on a very stressed and jaded look. A look that usually reflects their content quite well!

Every year, more and more text is read directly on a computer screen in office applications, or from freshly printed sheets from a copier or laser printer. Clear, legible text faces are more imperative to office communication than ever before. Yet every worker desires a small bit of personality in the corporate world. Most office environments are only equipped with a few basic fonts that are truly optimized for use in text, with laser printers, and on screen. The Linotype Office Alliance fonts guarantee data clarity. All of the font weights within the individual family have the same character measurements; individual letters or words may have their styles changed without line wrap being affected! All numbers, mathematical signs, and currency symbols are tabular; they share the same set character width, ensuring that nothing stands in the way of clear graph, chart, and table design. In addition to being extremely open and legible, the characters in this collection's fonts also share the same capital letter height and the same x-height. The production and reading of financial reports is duly streamlined with the Linotype Office Alliance fonts. The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype's Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text. The other three families in the Office Alliance system include Metro Office, Times Europa Office and Trump Mediaeval Office.Some weights of the Neuzeit Office are availabla as soft rounded versions. "

Introducing our foundry with the new Sans Serif typeface, Kommon™Grotesk, a super family with 96 styles. Different width from Extended to Compressed, variety of weights from Thin to Super, made Kommon™Grotesk suitable for multiple usage. The typeface was crafted till clean and simple. It has high legibility with modern and clear look to be use as text or display font. Kommon™Grotesk is effective displaying on many medias, both print and on screen.

Moire™ Regular is a block-style sans serif font designed by Jim Ford in the spirit of typefaces popular during the 1950's. The Moire Regular font is slightly more streamlined for a more contemporary voice than its predecessors. Moire Regular is useful for all modern display settings in signs, publications, reports and presentations. The Moire Regular font will also reproduce well in on-screen uses from User Interfaces to web graphics. Character set: Latin 1.

Arbour Soft is the cheeky version of it's big brother, Arbour. The soft version creates a smooth finish that flows perfectly across screens and print. Arbour Soft comes in 7 weights, from a delicate extra-light to a soft, strong black, with matching soft italics for each upright. The soft black weights are perfect for your new brand or article headlines, and the light weights are great for calling out text. The mid weights are perfect for longer texts.

Vogres is a Display Sans font. Wavy stress stem stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Vogres font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with script or serif. Make a stunning work with Vogres font. Cheers, Maulana Creative

These four typefaces, Berlinette NB, Lyonette NB, Marseillette NB and Parisette NB, were designed from the same basic shape, a geometric form that avoids strict horizontals and uses more offbeat triangular shapes. Parisette is a fanciful type that is both bouncy and biting. The frivolity and quirk of the narrow width is offset by the razor-sharp, hatchet horizontals, which require protective gloves when type setting. This is a good typeface for enigmatic signs at postmodern student demonstrations.

Vector is inspired by the 1979 Atari Asteroids video game UI screen font, yet it has been completely reworked to achieve a more balanced and refined visual aesthetic, loosely adhering to the original source. Letterform widths, angles, metrics and kerning are thorougly tweaked throughout in an effort to recreate a modern classic anew and extend it's functionality. Stylistically, Vector accurately reflects it's name, exuding a uniform sense of flatness and rectangular geometry defined by it's retro-modernist origins.