Patricia Rustine is a romantic and sweet calligraphy typeface with characters that dance along the baseline. It will add a luxury spark to any design project that you wish to create!

Melatti allows you to create stunning and easy hand-lettering in an instant. Ideal for the logo, quotes, wedding, product label/packaging, fashion, letter, advertising, invitation, poster, merchandise, greeting cards, etc.

The 1934 sheet music for "I'll String Along with You" from the Dick Powell-Ginger Rogers musical "20 Million Sweethearts" yielded the charming Deco monoline design for Words and Music JNL.

Charly Dreams is a sweet, colorful and friendly display font. Add it to your most creative ideas and notice how it makes them stand out! The only limit is your imagination!

Say Ciao to Bellissimo Brushed! A trendy, hand-brushed font, designed with branding in mind. Bellissimo Brushed looks gorgeous on logos, websites, invitations, greeting cards, magazines, business cards, packaging and more!

The history of Able’s connection with the Harry Potter phenomenon is really up in the air. It’s a catch-22 in this business - you either promote your own work and negotiate expensive exclusive licenses, or you work with a promoter and sell your designs to anyone and everyone. It could have been an in-house designer at Rowling’s publisher, Scholastic, or a freelancer who proposed Able for the headings and such. The responsible party licensed it from T26, and JK Rowling’s storytelling made it a star. (I suppose it’s ironic that there’s a whole lot of unwritten history in the typography business.) Able’s rise to fame really is a classic love story between reading and type design. If the books weren’t so popular, Able might still be waiting for some Mexican fast food chain to pick it up for packaging design. The movie deal certainly made the font all the more recognizable, what with its merchandising campaign. Popularity can also cripple a great decorative face. It’s always being recognized as “The Harry Potter Font.” It might just have to wait a few decades for the Potter phenomenon to subside to be freed from the “Chamber of Pigeonholed Fonts.” In the meantime, I’m sure that a lot of fledgling graphic design apprentices are reading their new Potter books, being charmed by the idea of type design when they’re not turning the pages too fast to notice.

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Quercus is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Black Scream is a spine-chilling serif display font designed to send shivers down your spine. Set in uppercase, each letter is meticulously crafted with a haunting ink dripping effect, adding an eerie and nightmarish vibe to your horror-themed designs. The letters of this font exude an unsettling aura, as if they were dipped in darkness and let ink slowly bleed down the page. The ink dripping effect adds a touch of realism and dread to the font, as if it were forged from the depths of a chilling nightmare. On the other side, the serif details of Black Scream add a sense of elegance to the font, contrasting with its nightmarish appearance. The fine lines and precise curves create a mesmerizing yet unsettling effect, making it a unique and captivating choice for horror-themed designs. 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 Black Scream fits in headlines, logos, horror movie posters, haunted house flyers, Halloween party invitations, any spine-tingling project, branding materials, print media, editorial layouts, website headers, and many more. 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.

“Quercus” is characterised by open, yet a little bit condensed drawing with sufficient spacing so that the neighbouring letters never touch. It has eight interpolated weights with respective italics. Their fine gradation allows to find an exact valeur for any kind of design, especially on the web. Quercus serif styles took inspiration from classicistic typefaces with vertical shadows, ball terminals and thin serifs. The italics have the same width proportion as upright styles. This “modern” attitude is applied to both families and calls for use on the same page, e g in dictionaries and cultural programmes. Serif styles marked by “10” are dedicated to textual point sizes and long reading. The sans-serif principle is rather minimalistic, with subtle shadows and thinned joints between curved shapes and stems. Quercus family comprises of the usual functionality such as Small Caps, Cyrillics, diacritics, ligatures, scientific and aesthetic variants, swashes, and other bells & whistles. It excels in informational and magazine design, corporate identity and branding, but it’s very well suited for book covers, catalogues and posters as well. When choosing a name for this typeface I've been staring out from my studio window, thinking helplessly without any idea in sight. Suddenly I realised that all I can see is a spectacular alley of oaks (Quercus in Latin) surrounding my house. These oaks were planted by the builders of local ponds under the leadership of Jakub Krčín in the fifteenth century.

Rough Love, it’s fair to say, came before Love Script. The brushed letter specimens that would ultimately serve as the template for the much ‘cleaner’ Love Script have now been turned into a typeface. As I packed these up, I just kept coming back to them and staring at the texture and movement caught on the page. On a lark, I decided it would be fun to let people see an almost a before and after scenario of how one led to the other and decided to produce a typeface from these specimens… Rough Love. For the most part, in typical fashion for me when I brush out a typeface idea, I try to brush the entire character set along with each of the planned variants for swashes, titling, and other alternates—the reason for that is simple -- each letter looks and acts a bit differently when the same movements are imposed on them. With Rough Love, I tried to adhere to that and made very few modifications to the originals, and only had to ‘borrow’ in a few occasions when I happened to forget to brush a variant.

Antafeda is our another retro script typeface. Use this typeface and you will make a retro design with ease! Combined your design with dozens of stylistic alternates and elegant swashes which is included in this typeface, this retro typeface is really perfect for logo design, t-shirt, vintage and retro badge, vintage quotes, branding, packaging, etc. Antafeda features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +320 Glyph Up to 80 Stylistic Alternates with Swashes and Ligatures! OpenType Features To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as Pop Char (for Windows and Mac). Thankyou for purchasing our product, hope you like and have fun with our product. If you have any queries, questions or issues, please don't hesitate to contact us directly. If you satisfied with our product, please give 5 stars rating. Happy Designing...

Neonrec is an innovative display font that merges futuristic aesthetics with the mesmerizing allure of neon lights. With its bold uppercase letterforms and a luminous neon backlight, this typeface commands attention, creating a visually stunning and forward-thinking experience. The special characteristic of this font lies in the sleek and cutting-edge design, embodying the essence of a futuristic world. Each letter is meticulously crafted with precision and sharp lines, exuding a sense of technological advancement and modernity. The neon backlight adds a striking visual element that elevates the font to new heights. Inspired by the captivating glow of neon lights, Neonrec infuses a sense of energy and innovation into each character. The luminous backlight creates a radiant glow that casts a captivating hue, reminiscent of the neon signs that adorn the streets of a futuristic metropolis. This futuristic neon effect adds depth and dimension to the font, creating an eye-catching visual impact. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Neonrec is perfect for attention-grabbing headlines, logos, and sleek branding applications that require a touch of futuristic sophistication. It is thrives in designs that embrace a forward-thinking and cutting-edge style. Whether you're creating posters, digital interfaces, sci-fi themed artwork, or anything in between, this font will add a captivating futuristic element that sets your project apart. It shines particularly bright in applications related to technology, gaming, science, and futuristic-themed 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.

Picture it: a bustling city street in the 1920s, when the world was changing and women were fighting for their place in it. Billboards line the road, but one catches your eye—it’s Skygirls, a typeface that takes you back to a time when advertising was an art form. This typeface is no ordinary script. It’s a tightly wound, joined design that exudes elegance and urgency. Its steep angle draws the eye up, making your message impossible to miss. Skygirls is inspired by classic metal scripts like Herald, Signal, Hauser, Penflow, Veltro, Kurier, and Bison, so it’s no wonder it feels so timeless. With Skygirls, you’re not just writing a message—you’re making a statement. It’s the perfect typeface to convey the frantic, fast-paced style of the roaring twenties. Your words will flow seamlessly together, creating a sense of movement and momentum. And when you set it on an upward slope, it’s like your message is soaring to new heights. If you want to make an impression that lasts, Skygirls is the typeface for you. It’s a perfect fit for any project that requires a touch of vintage charm, and it will leave your audience with a lasting sense of style. So why settle for the ordinary when you can have something truly extraordinary? Choose Skygirls and let your message take flight. 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.

Goneon is a vibrant and eye-catching display font designed to bring the electrifying energy of neon lights to your designs. With its big, bold uppercase letterforms and mesmerizing neon style, this typeface captures the essence of a lively and dynamic atmosphere.. Each letter is meticulously crafted to emanate a radiant and electrifying glow, just like the vibrant neon signs that illuminate city streets at night. This neon style adds a touch of excitement and energy, instantly drawing the viewer's attention. Inspired by the pulsating rhythm of city nightlife, Goneon exudes a sense of modernity and vibrancy. The font captures the essence of an urban atmosphere, casting a dazzling neon glow that creates a lively and captivating visual impact. Each letter radiates with an unmistakable charm, bringing your designs to life with its electrifying vibes. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Goneon perfect for headlines, banners, posters, and any design that requires a bold statement. The neon style adds an extra layer of excitement, making your text shine with a dynamic and eye-catching appeal. Whether you're working on advertising campaigns, event promotions, digital artwork, or any creative project that calls for a lively aesthetic, this font will instantly infuse your designs with an electrifying energy. It particularly shines in applications related to nightlife, entertainment, music, and urban-themed 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.

Buckthorn is a genus of about 110 species of shrubs and small trees, native to North America and Asia. Its uses are varied: it is used for dye, oil, printing ink and oil. That concludes the botany class for today, on with Buckthorn ‘The Font’. Buckthorn is a handmade typeface with a lot of character. It is severely eroded, giving your designs an authentic look. It comes in 4 styles, including a ‘hollow’ style, plus a dingbat font with very nifty shapes. Buckthorn is quite a pleasing font and comes with a rich harvest of diacritics.

"TheMix" is a semi-serif typeface with low-contrast – i.e., the differences between thin and thick strokes are not very pronounced. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading.

Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister font is a contemporary design based on Garalde types. The letters have an oblique stress, capitals are wide, serifs are prominently concave. Minister font has obvious calligraphic overtones, making it a good informal text face.

HT Qays Sans New Arabic Font performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs, while massive print headlines – even complicated way-finding projects pose no stumbling blocks to the family’s typographic dexterity.

"TheMix" is a semi-serif typeface with low-contrast – i.e., the differences between thin and thick strokes are not very pronounced. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading.

Avenger is a vintage screen font with many stylish alternative substitutes that will provide you with many options when working with your project. This font can be easier when using lowercase letters, as well as more playful, try using alternatives they will make your design unique.

Hua type family is a sans-serif with very humanist details to represent the essence of nature. It features 14 weights from the very thin to the very bold, generously covering a wide range of the natural spectrum. Aiming to represent the soft and elegant side of nature, Hua features very unique italics that have their own take on the identity. The letterforms of the italic fonts are inspired by the lineage of both traditional calligraphic approaches for serifs and much simpler forms for sans-serifs. Hua provides very crisp performances on screens and its large x-height combined with fine-tuned proportions help it retain legibility very well on smaller sizes.  Features: • Support for 200+ Latin languages • Double & single storie “a” & “g” • Unique italic letterforms • Low contrast with unique details • Small caps with symbols • Arbitrary and defined fractions • Support for superscript & subscript in normal & scientific alignments • Proportional lining, proportional old-style, tabular lining, tabular old-style

No frills. No fluff. Still friendly. Keep your look clean and simple with the utilitarian but gentle Ultine. This font with a slightly extended geometric architecture gets straight to the point without pushing your reader away with too firm an approach. Ultine covers a large set of multi-Latin languages. It includes a wide range of other OpenType features, too, including ligatures and contextual alternates. Moreover, small caps of Utline and titling alternates are available for deepening your design capabilities with this basic face. The Ultine family consists of 42 fonts with three different widths and italics counterparts for every style. The design is well suited for graphic design and any use of the screen. It can easily operate as a webfont, as text for banner ads and for branding as well as editorial design. And just to show you how simple and friendly the font can be, the regular weight is free, so you can use it to your heart's content.

Sicret is a perfectly geometric typeface family. It was drawn by Måns Grebäck in 2020, and each one of its glyphs was manually created by following a strict mathematical pattern consisting of only two basic shapes, in four different combinations, set on a three units tall grid. The resulting product is a true monoline font with a solid character, with an official look while yet going towards sci-fi because of its digital nature. The family consists of nine weights: Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black. The range of weights makes it very adaptable, and all the weights works very well together to give a sentence or graphic tone and emphasization. As Sicret is a font with over 850 glyphs, it is guaranteed to contain all characters you'll ever need, including all punctuation and numbers. It has a very extensive lingual support, covering Greek, Cyrillic, Hebrew as well as European and American languages.

Many decades back, churches, schools and other buildings with a need to display an outdoor message often chose a sign making system utilizing characters silk screened onto metal pieces in a block chamfer style. Each piece had a crimp in the top of the metal which formed a hook to fit over the existing rails of a message panel. This allowed for a finished sign to be displayed within minutes, and a quick change of information was not very time-consuming. A popular version of these signs provided white letters and numbers on black backgrounds. This was the model for Announcement Board JNL, which is available in both regular and oblique versions. There are two different width blank panels on the broken and solid bars for those who wish to kern the letters tight to form a ribbon, however they were designed to have slight spacing in order to emulate the hand assembly of those vintage sign panels.

Many of the fonts available from Canada Type are revivals of historic brush scripts (such as Bruschetta, Coffee Script, Puma, Tiger Script). Hunter is a deserved addition to the collection. Imre Reiner's Mustang design from 1956 now enters the digital realm to continue living in this world of new typography. Hunter has a wilder streak than other brush scripts. Its irregular terminals give it an almost wooden appearance and a most natural, hand-made expression. This natural look was extended by the expansion of the original design and the addition of some alternates and ligatures, built within the font and easily accessible from any program's glyph palette. Hunter was also slightly modified to accommodate not only sentence- and lowercase-setting, but also all-capital setting, which is a flexibility hardly ever found in most brush scripts. So if you have been looking for a natural, quirky brush script for your designs, Hunter is your type!

A title font that looks better as larger the font size. First of all, it is designed for use in the upper-case format. Feature style: futurism, space, modernism, glyph variety (uniqueness (minimum automatic generation)). A kind of „s‟ in the lower-case format sets the tone and emphasizes the character, formed in the Prime Numbers Nebula — they determined its appearance, and influenced the style as a whole. Particular attention is paid to the kern: the kern table is formed manually, taking into account absolutely all the glyphs included in the font-family. Two types of stress (grave, acute) for all letter glyphs. The font contains basic Latin and several additional tables, as well as three types of quotation marks, a non-breaking space and a hyphen, a short, medium, and long dash. For a set of mathematical expressions there are centrifugal signs: equal, minus (not a hyphen or minus-hyphen), plus, multiplication (X-shaped and dot), plus-minus, division. The font was made for 3 years.

Pusia is a versatile font family with a lot of character and warmth. It is a professional, contemporary sans serif with original letter forms, friendly and dynamic feel. Its subtle curved shapes and attention to details give Pusia a very distinctive look. Its proportions and optimized kerning make it a very clean and legible in all sizes. Pusia is a great choice for all kinds of design work, both print and on-screen. It is perfect for display use in headlines, advertising, logo design and branding as well as long and short paragraphs of text. Pusia consists of 20 fonts - 10 weights and their corresponding italics. It has extended language support including cyrillic and true italics, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic alternates, contextual alternates, lining, oldstyle, tabular, small cap and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Squad is a humanist sans serif with semi condensed proportions. Inspired by Adrian Frutiger’s perfectionist style this typeface is a harmonious breed of humanist heritage and contemporary simplicity. The balanced characteristics, clear and legible silhouette and simultaneously vivid appearance of Squad makes it perfect for any design purpose. The figures are evident — it consists of 18 styles from Thin to Black; covers Extended Latin, Cyrillic and Greek with span for more than 130 languages; flawless functionality and supporting many OpenType features, such as localizations, tabular numerals, inferiors & superiors, numerators & denominators, fractions, discretionary liga- tures, case sensitivity etc. Designers: Svetlin Balezdrov, Svet Simov Features: • Over 780 glyphs in 18 styles (Thin to Black) • Extended Latin, Cyrillic and Greek scripts for more than 130 languages; • High x-height and Semi Condensed proportions; • Moderate contrast and vertical stress; • Humanistic characteristics and open vertical terminals; • True form of italics; • Coverage of multiple OpenType features; • Perfect for text, headlines and web;

HS Albadr is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, geometrical and streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy that support Arabic, Persian and Urdu. It has one weight only which is similar to the bold weight. This typeface is created for being used in technical and engineering companies under strict geometric conditions . The company desires to follow the geometrical shape with uniform and equal dimensions in both vertical and horizontal storks; where some parts of the letters are to be cut at a slanting angle of 45 degree to give the impression of a coherent geometrical nature for this font. The typeface HS Albadr is considered as a chain of geometric fonts series designed for engineering companies. After HS Almohandis and HS Alhandasi were designed we are looking forward to giving some additions to the geometric typefaces field.

Back when OpenType hadn't yet opened and Apple was developing the Line Layout Manager called GX Typography I created a test font that I name after my stepdaughter, Kristen (now ITC Kristen). Not wanting to offend my wife I started on a font project and gave her name to this new set of glyphs, Roberta. Unfortunately, the name was already in use so I needed to find another name for the fonts. After September 11th I decided that there were people I'd met during my life who were truly cut from the cloth of the hero. Master Sargent McLemore of the 75th Ranger Battalion was one of these people. I met the Sarge when I was in basic training at Fort Gordon. I saw him 2 weeks before he died in 1970. All of the heroes we see on the silver screen pale in comparison to this man. John Wayne and Clint Eastwood both have played the type well, both could have taken lessons from the Sarge.

Lucida Grande Mono is a humanist, sans-serif, monospaced font with a large x-height, clear letterforms, and space-saving economy. Its easy reading qualities make it legible for printing and screen displays even down to small sizes. Lucida Grande Mono matches the weight, vertical proportions and look of Lucida Grande but with fixed-width functionality that has made its design popular in a wide range of practical applications, including programming, terminal emulation, and typewriter styling for business or personal correspondence on-line or print. Lucida Grande Mono is part of the Lucida superfamily of fonts from Bigelow & Holmes. Lucida is highly regarded for legibility and its extensive range of type styles. The Lucida Grande Mono has four fonts: Regular, Italic, Bold and Bold Italic. Each font has 685 glyphs and supports the W1G character set. This includes Latin, Greek and Cyrillic alphabets to support many languages in Europe, the Americas, and worldwide.

Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

La vie est une fleur dont l'amour est le miel Fleur is the French for flower and I've chosen this language for a good reason. Over the past 5 years, I've had the opportunity to travel a lot to Paris and I've always tried to catch every moment and detail of this delightful city through the eyes of the designer inside me. Paris is full of surprises, mainly for us, artists. In fact, I believe the city is a museum itself. Every corner of any street has something inspiring. But, there’s something I particularly love and I want to address here: The Palais Garnier. Built between 1861 and 1875, this opera house is a dream made true for many of us, who love somptuosité. Garnier, the architect of this magnificent building, said that the style he proposed was not Grecian nor Roman/baroque, he created something new and called it Napoleonic: Luxurious at its best. Fleur is inspired in this palace which, in fact, has some similar letters inside. Garnier put his name at the ceiling of the Rotonde des Abonnés: Letters are interlacing each other with nicely done art nouveau curves. I thought I could take this idea and achieve something very delicate and imposing at the same time if the font consisted entirely of caps with the logic of a didone and a bit of art-nouveau. This mix of elegance and flamboyance gave birth to Fleur which has a wide range of uses but was mainly intended for perfumes, fashion magazines, storefronts, book covers or logos. Not only you'll find many decorative glyphs, but also a vast amount of unique ligatures will make you really adore this font. Get Fleur and profite de la vie TECHNICAL As suggested above, the font has many open-type coded alternates and a vast amount of unique ligatures. Install the font in applications that support them, like Adobe Illustrator or Photoshop.

Welcome to the world of Anowy, where handwriting seduces with impressive display dynamics. This font offers seven font styles including Regular for a classic look, Slant for a dynamic slanted touch, Blur for a natural ink writing effect, Smooth for softness, and Shadow for a dramatic feel. The specialty of the Anowy font is Seven Tiered Styles: Explore a variety of seven Anowy style variants to create a unique and attractive design according to your wishes. A Touch of Handwritten Vulnerability: Every character in Anowy provides a touch of seductive handwriting, creating an air of authenticity and humanity in every detail. Anowy is an ideal choice for projects that require a beautiful handwritten touch and a diversity of styles. Whether you're designing promotional materials, greeting cards, or other creative works of art, these fonts bring an unmatched personal element. Do not miss this opportunity! Get Handwritten Fonts for Anowy Looks now and watch how each word becomes a special artistic expression.

"Pearly Smiles," a delightful handwritten font meticulously crafted with love and attention to detail. This font encapsulates the essence of joy and brings a touch of whimsy to your design projects. "Pearly Smiles" embodies the playful nature of handwritten script, with its charming curves and natural stroke variations. Every letter reflects the genuine warmth and sincerity of my personal handwriting, infusing your designs with a sense of individuality and happiness. With its elegant yet cheerful style, "Pearly Smiles" is versatile and perfect for a wide range of creative applications. Whether you're designing logos, branding materials, invitations, greeting cards, or any project that calls for a lighthearted and personal touch, this font will add a touch of enchantment and personality. The meticulously designed letterforms of "Pearly Smiles" ensure both legibility and artistic appeal. Its balanced proportions and thoughtfully crafted characters make it a pleasure to work with, whether on digital or printed mediums

Geographica Hand replicates the neat hand-lettering typical of engraved British maps of the 18th century, including the work of cartographers Emanuel Bowen (circa 1694–1767), Geographer to King George II, and Thomas Jefferys (circa 1719–1771) Geographica ro King George III. A kindred font to our Geographica serif family, Geographica Hand exhibits long serifs, irregular edges, and a genuinely hand-made character. Use to simulate historical materials, vintage documents, or other time-worn text. The OpenType release of Geographica Hand comes with true small capitals, contextual and historical ligatures, a series of sketchy map ornaments (e.g., trees, churches, windmills, boats), and full Latin support.