Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton+, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican+, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

The raw emotional energy of German Expressionism is evident in this font, based on Judith Type, designed by C. H. Kleukens in 1923. This version takes its name from the Biblical character who lost his head to the original font’s namesake. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Sofimaria is a super unique ligature font that you wont forget! It’s a high contrast serif that has loads of style. A modern take on a Caslon style typeface, this font is ideal for those bold headings or wedding invitations. It’s got hundreds of characters and ligatures plus all those European letters! Sofimaria pairs perfectly with a light scripts font or minimal sans serif. Main Features: Uppercase & Lowercase letters Punctuation and special characters Multilingual support Ligatures & Alternate glyphs

Looking to take your design game to the next level? Look no further than Auzhera Brush Font! Handmade from a real analog fude brush pen, this stunning handwritten font boasts a unique brushed texture that adds a natural, hand-written feel to any project. From bold headlines to understated designs, Auzhera Brush Font’s versatility is unmatched. Crafted with meticulous attention to detail, this font is perfect for creatives looking to add a touch of personality to their work.

For those of you who require a typeface with an attractive classic, retro, and vintage vibe, Ruihant Retro Condensed is the ideal option. This font was created with an original and striking look, making it ideal for all of your creative projects. Premium features like ligature, alternative, and multilingual support are included with the Ruihant, allowing you to customize the font’s design to suit your needs. This font’s straightforward and compact form will enable you to produce designs that are more well-structured and effective. Ruihant is the ideal option to boost your creative endeavors because of its distinctive style and flexibility to alter the font’s appearance. Purchase this font right away and benefit from its advantages to raise the caliber of your designs. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Meet the new font family! This font came to my mind while I was sitting in line at the dentist. There are often different magazines at the front desk to read and pass the time while waiting. One of those magazines turned out to be about fashion. When I opened it on a random page, I saw beautiful pictures. But you know what the first thing that catches my eye? The font! The font in which the headline or quote is written. After you read it, you look at everything else. And I wondered what my font would be in this case. I present to you my version of a font for fashion lettering. Good luck and love to you, friends!

Iza W and Intellecta Design are proud to announce Invitation Script, a modern and clean revival of the classic work of the Portuguese master penman Manuel de Andrade de Figueiredo, whose work can be seen in “Nova Escola para aprender a ler, escrever, e contar (...)'' (1722). Invitation Script is the third script superfamily published by Intellecta Design, after Penabico and Van den Velde Script. Invitation Script has original letters designed by Iza W. Creative direction and core programming were provided by Paulo W. Chyrllene K assisted with some work on unusual and archaic styles, resulting in a special font - Invitation Script Archaic (soon available). Invitation started out from Andrade’s script style and evolved into a voluptuous script font family. The result is a typeface ideal for beautiful headings, signatures, art work typography, titles and short pieces of hand-lettered text. Invitation family includes two multi-table Opentype fonts, three supplementary fonts for ornaments and fleurons, and the Archaic font with some of the Andrade’s original characters. Embedded in the regular fonts are additional sets of letters. Over 40 variations are available for certain letters via the Special Sets Opentype table. The two regular versions of Invitation Script contains the following: (i) An extensive set of ligatures providing letterform variations that make eye-popping designs or simulate real handwriting. These are accessible via contextual alternates and other open-type features. (ii) Many stylistic alternates for each letter (upper and lowercase, accessed via the glyph palette, encoded in the ranges of the Special Set Opentype feature). Since there are over 1100 glyphs in each font, we suggest using the glyph palette. (iii) A set of ornaments and fleurons accessed with the glyph palette or using the Ornaments feature. Additional ornaments can be found in the two Invitation Script Ornaments fonts. (iv) Initial and final letters with artistic variations accessible using the initial and final form open-type features. (v) Major kerning work: over 6000 kerning pairs, hand-set to avoid collisions and to create intricate combinations of letters, using swashes and other resources. These powerful features are all accessible in InDesign, Illustrator, QuarkXpress and similar software. We recommend exploring the magic of this font using the glyph palette. Our sample illustrations and PDF brochures showcase the power and pizzazz of this calligraphic script. Let your imagination go wild and use Invitation Script in ways that Andrade could not have foreseen. In non-OpenType-savvy applications, Invitation Script is still an exceptionally beautiful calligraphic typeface that stands up to the competition. The regular fonts contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish, with a full set of diacritics and punctuation marks. --- 1 FIGUEIREDO, Manuel de Andrade de, 1670-1735 Nova Escola para aprender a ler, escrever, e contar. Offerecida á Augusta Magestade do Senhor Dom Joaõ V. Rey de Portugal. Primeira parte / por Manoel de Andrade de Figueiredo, Mestre desta Arte nas cidades de Lisboa Occidental, e Oriental. - Lisboa Occidental: na Officina de Bernardo da Costa de Carvalho, Impressor do Serenissimo Senhor Infante, 1722. - [18], 156 p., 44 f. grav. a buril : il., ; 2º (31 cm)Engraved royal coat of arms supported by angels over the city of Lisbon, engraved portrait of the author (both of the foregoing by Bernard Picart), (12)ff., 156pp., engraved calligraphic section title, 44 engraved plates. Wood-engraved culs-de-lampe and lettrines. Sm. folio. “Andrade de Figueiredo was born in Espirito Santo, where his father was Governor of the ‘Capitania.’ The fine portrait is dated 1721 and is showing Figueiredo at the age of 48. He was an eminent calligrapher and a creator of the Portuguese handwriting until the reign of Don José I (ca. 1755). His work follows the style of the great Italian masters in its use of clubbed ascenders and descenders, and of Diaz Morante, the famous Spanish writing master, in its very elaborate show of command of hand. By his contemporaries, he was known as the ‘Morante portugues’” (Ekström). “Ce livre est un manuel, composé de quatre parties, destiné à apprendre à lire, à écrire, à conter ainsi que l’orthographe. Les planches comportent des examples d’écritures, d’alphabets et de textes ornés de remarquables traits de plume exécutés d’une main sûre et enjouée” (Jammes).

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Cabo Soft is the 2.0 version of our original Cabo Rounded Typeface, created back in 2015. With this new version, Cabo Soft, we have brought multiple upgrades and updates compared with the original version. Some of those consist in the addition of more glyphs and accents, alternate designs for many of the glyphs (including an alternate for @, #, some of the numbers and more), and most importantly, we have done a slight update in the design of the letters, which we'll give more details in the following paragraphs. The main style and thought behind our Cabo fonts has always been the rounded corners and the soft and welcoming vibe that it gives. It's friendly and familiar, but also modern and slightly elegant, especially the Thin and Light styles. With Cabo Soft we have worked on adding an extra touch to the design of the letters by working on the termination edges of each letter. If Cabo Rounded had an exact round termination for each letter, with Cabo Soft we have developed a unique non-equally rounded shape that is applied to all types of terminations for each letter. This new design approach makes it have a more clean style, a more modern and unique look, but it also gives stylish, exclusivist and elegant vibes, while still being friendly and familiar. Thanks to it's variety in weights and styles, you can use Cabo Soft in almost any design project. It works well with headlines and paragraphs, it's a perfect match for logo design and branding, but can also do wonders in videos, signage and many other elements. The typeface covers most likely the entire Latin Alphabet, it comes with multiple design alternates for many of the letters, glyphs and numbers, with accents applied for all of the available alternates. As a finishing note, with the help of our Cabo Soft typeface you can create an friendly and welcoming designs, as well as stylish, elegant and exclusivist. It has all the necessary glyphs and accents for any Latin Alphabet projects, and you can play around with all of the alternates to create unique designs right from the start.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Danah” is the first name of a very close and cherished classmate, friend, and peer. Danah is a Palestinian woman who used to study with me in the same university where I was honorably introduced to her several years ago. In fact, I decided to dedicate this typeface wholly to her in return for all the years of friendship that we had spent together as classmates during the late 1990s. She was—and absolutely still—a source of support and inspiration for me in life due to her brilliant, big-hearted, and philanthropic personality. Danah likes different things in life and among them the sea, horses, reading, and also travelling. She lives and works now in Palestine, and yearns for being granted a new life—like many other free Palestinians—full of freedom, peace, and happyness. Danah® is a handwriting and scribbly Arabic display typeface. The main trait of this typeface is the realistic handwriting design of its letters and ligatures. This feature renders it as one of the stylish typefaces used for headlines and also texts. Among the distinguished letters of Danah® typeface are the “Qaaf”, “Kaaf”, “Meem”, “Noon”, and others. Moreover, Danah® typeface has a character set which supports Arabic, Persian, Urdu, and Latin letters/numerals with a limited range of specific Arabic and Latin ligatures. This font comes in a single weight (i.e., regular) with exactly 639 distinctive glyphs. Due to its free and streamlined design, Danah® typeface is appropriate for heading and text in Arabic, Persian, and Urdu. It can be graphically and visually exploited in magazines, posters, and interfaces of different things such as clothes and equipment. Moreover, it can be pleasingly used in writing personal, friendly, and unofficial letters, messages, documents, invoices, notes, dispatches and menus which require a smoothed handwritten touch and trend. It is also elegantly suitable for signs, books’ covers, advertisement light boards, and titles of flyers, pamphlets, novels, and books of children and adults. In brief, Danah® typeface is one of the new hand-drawn typefaces which can be brought into play efficiently in diverse graphic, typographic, calligraphic, and artistic works in different languages and cultures. 2018-09-13 00:00:00.000 10.0000 F25946-S114426 10913 Timeless URW Type Foundry https://www.myfonts.com/collections/timeless-duplicate-font-urw NULL NULL 2016-01-08 00:00:00.000 89.9900 F10913-S42560 54569 Jellofries Maulana Creative https://www.myfonts.com/collections/jellofries-font-maulana-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/JtHgrbkPi7YU282OWix69Tqb_97b690350e4b3ed453d7c27fe0eb6664.png Jellofries is a fancy brush script font. With brush bold contrast stroke, fun character with a bit of ligatures and alternates. To give you an extra creative work. Jellofries 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 sans or serif. Make a stunning work with Jellofries font. Cheers, Maulana Creative 2022-05-06 00:00:00.000 12.0000 F54569-S252887 38361 Alt Moav ALT https://www.myfonts.com/collections/alt-moav-font-andreas-leonidou https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/70046_aa489c02cd589f8f924b405c901a8014.png Moav is a geometric experimental display typeface for use on logos,posters etc. 2011-12-13 00:00:00.000 15.0000 F38361-S179452 42255 M Elle HK Monotype HK https://www.myfonts.com/collections/m-elle-hk-font-monotype-hk NULL HK series fonts are in Unicode encoding and consists of BIG 5 character set and HKSCS characters. The character glyphs are based on the regular Traditional Chinese writing form and style. It is generally used in Taiwan ROC, Hong Kong and Macau. 2011-05-11 00:00:00.000 523.9900 F42255-S193845 71839 Kaerobi Kulokale https://www.myfonts.com/collections/kaerobi-font-kulokale https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10004/ieVtB18gl4EgKrVVDIPLtX8b_33d93ffd2cd339b2544feb3d7a0a3121.png Kaerobi is an condensed display font, and with a style that is very different from the others. This font comes in four styles, Regular, Oblique, Rough, and Outline Version. Kaerobi is well-suited for posters, social media, headlines, magazine titles, clothing, large print formats - and wherever you want to be seen. Inspired by the style of design that is currently popular, and this is the answer to all the needs of every idea that you will pour in this modern era. We highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. Thank You. 2022-08-16 00:00:00.000 17.0000 F71839-S298671 52588 The Heather Romie Creative https://www.myfonts.com/collections/the-heather-font-romie-creative https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/Lc4estBSB0wCiDunz9GNDUcb_097035319875b31f0a18a4bb2e8e675b.png The Heather Script is a formal calligraphy design, including Regular. This font is casual and pretty with a stroke. Can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes and much more. Heather Script featuring OpenType style alternatives, ligatures and International support for most Western Languages ​​is included. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: *https://www.youtube.com/watch?v=XzwjMkbB-wQ Heather Script is coded with PUA Unicode, which allows full access to all additional characters without having to design special software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/application. How to access all alternative characters, using the Windows Character Map with Photoshop: *https://www.youtube.com/watch?v=Go9vacoYmBw 2022-02-23 00:00:00.000 19.0000 F52588-S242949 16709 Pastina Lebbad Design https://www.myfonts.com/collections/pastina-font-lebbad-design https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/220264_a574aa9e49d2f9f1da3950f1fef09123.png Pastina is an elegant serif font consisting of caps, lower case, and alternate characters. Soft serifs and the graceful flow of each character add to the classic feel of this font. 2008-07-31 00:00:00.000 24.9500 F16709-S66588 2367 Munira Script Picatype https://www.myfonts.com/collections/munira-script-font-picatype https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/309621_5c93006e7517281c082dc7c75bfd1c2b.png Munira Script is a modern calligraphy design. This font is casual and pretty with swashes. It can be used for various purposes. such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signature, book covers, posters, quotes and more. Munira Script features OpenType stylistic alternates, ligatures and International support for most Western Languages. 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. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Munira Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. If you need help or have any questions, please let me know. I'm happy to help :) Thanks & Happy Designing! 2019-07-05 00:00:00.000 10.0000 F2367-S10062 27004 Ketimun Hanoded https://www.myfonts.com/collections/ketimun-font-hanoded https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/306179_8517cd9a57ccc15cff68737e17de4e85.png Ketimun means ‘cucumber’ in Bahasa Indonesia. At home we eat a lot (A LOT) of Indonesian food, which often includes Acar Ketimun (Sweet/sour cucumber salad). I usually make the simple version, but sometimes I go for the more elaborate cucumber salad (the recipe of which you’ll find on poster 2). Ketimun font is a rather delicious script font; uneven, organic and full of life. Comes with a fresh taste and lots of diacritics. 2019-06-06 00:00:00.000 15.0000 F27004-S120951 38675 Psalterium Alter Littera https://www.myfonts.com/collections/psalterium-font-alter-littera https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/204202_94b78204200645ccd1daa5d5f1a63916.png A clean, smooth adaptation of the magnificent gothic types used by Johann Fust and Peter Schöffer in their famous Mainz Psalter (Psalterium Moguntinum) of 1457, also used in their Canon of the Mass (Canon Missae) of 1458, and in their Benedictine Psalter (Psalterium Benedictinum) of 1459. [Although these works were published after Gutenberg’s break with Fust, it is generally agreed that Gutenberg was working along with Fust and Schöffer on the Mainz Psalter while the 42-line Bible was still being printed.] In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, uncial initials (adapted from both the Mainz Psalter and early sixteenth-century Dutch types by Henric Pieterszoon), alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in the Mainz Psalter and later incunabula. The main historical sources used during the font design process were high-resolution scans from the copy of the Mainz Psalter preserved at the Österreichische Nationalbibliothek, Vienna (the only copy whose colophon includes the famous printer’s mark of Fust and Schöffer). Other sources were as follows: Masson, I. (1954), The Mainz Psalters and Canon Missae, 1457-59, London: Printed for the Bibliographical Society; Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 8). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Psalterium” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable). 2012-07-06 00:00:00.000 25.0000 F38675-S178340 23791 VLNL Donuts VetteLetters https://www.myfonts.com/collections/vlnl-donuts-font-vetteletters https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10001/190114_ca5047d6d6754375933067862f9328a8.png VLNL Donuts’ first incarnation was designed already in 2005 by DBXL as a logo for Dutch funky house music outfit Hardsoul, and since then has been used for lots of music related projects. Donuts is heavily infused by hip 1970s geometric fonts like Blippo, Pump and ITC Bauhaus, but nonetheless has both feet in this modern day and age. Meticulously designed and tightly spaced, VLNL Donuts is very suitable for logos, headlines and music artwork. We especially recommend using it on big 12 album covers. Oh, and it got its name for obvious reasons (“the O looks like one...’) VLNL Donuts is deep fried, glazed and can be covered in a variety of sweetness: sprinkles, cinnamon, coconut, chopped peanuts, powdered sugar or maple syrup. They also can be filled with cream, custard or jam. As a very sweet and saturated snack should, VLNL Donuts is fitted with a full set of alternate swoosh caps that can be deployed to liven up your already ‘out there’ designs.

Ahganirya is display font that boasts a modern, minimalist design, making it perfect for businesses looking for a clean and sophisticated look. The font's elegant curves and sharp edges make it a stunning choice for logos, business cards, and other design projects. Ahganirya font offers versatility and flexibility to designers looking to create a cohesive and professional brand identity. Whether you're working on a print or digital project, Ahganirya font's legibility and unique design will surely make your work stand out. Complete with - ligatures - alternates - regular - italic - icon - kerning - multilingual support

Ant Serif is a font that can be used for advertising, logo creation, webfonts and more. The font comes in two styles, Regular and Italic and has all the characters in the Latin Basic, Additional and Extended scripts. The font's design came from my love of Marvel's Ant-Man and the Wasp logo. The typeface used, which was custom, was of interest for me, so I decided to create it as a font. It's not a perfect font, but I have put work to make sure it looked as decent as possible. Hope you'll enjoy it!

Casual Face is a display variable font with a natural handwritten feeling. The font supports Latin and Cyrillic uppercase characters, numerals, and the main set of punctuation and symbols. The character of the font is based on the classic sign-painter casual script. The font’s option variability is upright and slanted letters up to 17 degrees. This enables the designer to define the gradient himself and be free to create designs suitable for advertising, packaging, and events. The font is perfect for headlines and personal products with casual characters and the mood conveyed is warm, and relaxed.

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

Collogue - Variable Font is a cutting-edge and versatile typeface that brings a new level of adaptability to display typography. Unlike traditional fonts with fixed styles, a variable font allows designers to manipulate various aspects of the typeface, such as weight, width, and slant, along a continuous spectrum. Here's a comprehensive explanation of the features and functions of the Display Variable Font: Key Features: -Adaptive Design Elements: The primary feature of the Display Variable Font is its adaptability. -Designers can seamlessly vary specific attributes of the font, including weight, width, slant, and more. -This flexibility empowers designers to fine-tune the typography to suit the visual aesthetics of their projects. -Single Font File, Multiple Styles: Display Variable Fonts consolidate multiple styles into a single font file. This eliminates the need for separate files for different styles, providing a streamlined and efficient solution for designers. -Smooth Transitions: Changes in the font attributes occur smoothly and continuously. Unlike traditional fonts that switch abruptly between styles, a Display Variable Font ensures a fluid transition, allowing for a more harmonious and visually pleasing typographic experience. -Precision Control: Designers have precise control over the variation axis, enabling them to adjust the font's appearance with granular precision. This level of control enhances the typographic customization possibilities and allows for fine-tuning based on specific design requirements. -Responsive Typography: Display Variable Fonts excel in responsive design. They adapt gracefully to various screen sizes and resolutions, ensuring optimal readability and aesthetics across different devices. Functions: -Dynamic Branding: For brands looking to establish a dynamic and adaptable visual identity, Display Variable Fonts offer the perfect solution. The font's ability to adjust seamlessly allows for a versatile and cohesive branding experience across diverse applications. -Editorial Freedom: In editorial design, Display Variable Fonts provide editorial teams with the freedom to experiment with typography. The font can be adjusted to suit different sections or emphasis points within publications, enhancing the overall visual appeal. -Web Design Innovation: Display Variable Fonts are at the forefront of innovation in web design. They enable designers to create dynamic and interactive typographic elements that respond to user interactions, contributing to a modern and engaging web experience. -Attention-Grabbing Displays: Whether used in signage, banners, or large-scale displays, Display Variable Fonts stand out with their adaptability. Designers can experiment with different styles within a single font to create attention-grabbing and visually dynamic displays. -Customizable Interfaces: In digital interfaces, Display Variable Fonts provide a customizable typographic experience. Designers can optimize text elements for different device sizes and orientations, ensuring a seamless and visually pleasing user interface. -Innovative Advertising: Display Variable Fonts offer a fresh approach to advertising typography. Brands and advertisers can leverage the font's adaptability to create visually striking and memorable campaigns across various media channels. In summary, Display Variable Fonts represent a groundbreaking evolution in typographic design, providing designers with unprecedented flexibility and control

Brotherline is a connected script built from a single bold mono-line, inspired by hand-lettering style and various calligraphy letterforms.The first idea with this font is to create a font for Logotypes. Curves are smooth and flow with very nice circle shapes. This font is great for logos, logotypes, packaging, and store-front or signboard. NOTE: To access the alternate glyphs, you will need a program that supports OpenType Features. Activate the Ligature (liga) and Contextual Alternates (calt) for better experience.

Devil Inside is a spine-chilling display font that will send shivers down your spine. Designed in a large, bold font, this typeface demands attention and exudes an aura of darkness. Each letter is meticulously crafted with a square shape, high contrast, and haunting brush details, adding an eerie and sinister touch to the font. The large size of the letters enhances the font's ominous presence, making it impossible to ignore. The square shape of each letter adds a sense of rigidity and sharpness, while the high contrast brings an element of drama and intensity. These design choices contribute to the font's unsettling and sinister look, immersing the viewer into a world of darkness and fear. The brush details in Devil Inside give the font an organic and handcrafted appearance, as if it were inscribed with ancient symbols by a malevolent force. These haunting details add a sense of craftsmanship and enigma, creating an atmosphere of mystery and foreboding. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Devil Inside fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. 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.

Hello Freeday is a striking display font that combines a bold and clean font weight with playful swinging endings. With its uniform letter proportions and unique character details, this typeface effortlessly balances sophistication and a touch of whimsy. The bold and clean font weight of this font commands attention and adds a sense of strength and impact to your designs. Each letter is meticulously designed with precise geometric forms, resulting in a polished and professional appearance. The consistent proportions of the letters contribute to the font's overall coherence, ensuring a harmonious and balanced visual experience. What sets this display apart is the charming swinging endings found in select letters. These decorative details add a hint of playfulness and movement to the font, injecting a touch of personality and delight into your designs. The swinging endings give the letters a sense of rhythm and flow, making Hello Freeday an excellent choice for projects that require a dynamic and captivating visual presence. The font's bold and clean aesthetic ensures legibility and readability, even at smaller sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Hello Freeday fits in headlines, logos, attention-grabbing titles, product packaging, greeting cards, branding materials, editorial layouts and website headers. 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.

Isonorm was created in 1980 by the International Standards Organization (ISO). The font's design is simple, clean, and geometric, with strokes that all have rounded ends. Isonorm is a font whose forms are very legible by both the human eye and machine readers. The font is also a good choice for drafting and architectural purposes, as well as for technical charts and graphics.

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.

Goldie Sans is a clean sans serif that is perfect for logos, quotes, long-form copy, and more. Both uppercase and lowercase are included in light and bold, but I am particularly fond of using it as an all caps font for logos, headlines, and short quotes. INCLUDED uppercase letters lowercase letters numbers & punctuation light and bold fonts foreign language characters

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Maily is a display serif font to provide efficient quality, consistency and performance. It shows light, expressive, moving nuances in balanced function and creativity. The font’s main character is the hooks on each letters’ edges like other serif fonts. In addition, it is truly legible because of the wide spaces of the letters with which you may freely apply for any text sizes. You can also enjoy the available features in this font. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Maily fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, 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.

Introducing “FATHUK Font” – Where Playfulness Meets Creativity! Unleash your inner creativity with FATHUK Font, a playful display font designed to ignite your imagination. FATHUK Font adds a whimsical touch to your projects, making it perfect for playful and imaginative designs. Whether you’re working on children’s books, fun posters, or quirky branding, this font brings an element of joy and creativity to your work. Crafted with precision, FATHUK Font’s unique style is sure to capture attention. Its playful and charming appearance invites readers to engage with your content and sparks curiosity. With FATHUK Font, the possibilities are endless. Use it to infuse a sense of fun into your designs, and watch as your projects come to life with personality and flair. No matter the creative endeavor, FATHUK Font is your go-to choice for adding a playful twist to your work. Embrace the spirit of creativity, and let FATHUK Font elevate your designs to new heights. – PUA Encoded Characters – Fully accessible without additional design software.

Introducing Squide Font, the experimental liquid urban display font that brings a bold and modern touch to any design project. With its fluid lines and urban edge, Squide Font is perfect for creating eye-catching headlines, logos, posters, and more. Whether you're designing for print or digital media, this font will add a unique and distinctive style to your work. The font's liquid quality gives it a sense of movement and energy, making it ideal for projects that require a dynamic and futuristic feel. With its versatile design and exceptional readability, Squide Font is a must-have for any graphic designer, art director, or marketer looking to take their work to the next level. Get your hands on Squide Font today and elevate your designs to the next level!

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Glypster - Bold Aesthetic Serif Fonts is a font that has boldness in every line. This font's robust and bold style conveys a luxurious, elegant, retro, and aggressive feel. The serenity afforded by this font's blend of boldness and subtlety makes Glypster suitable for a wide variety of design choices. Apart from that, the strengths of Glypster are its ability to support multiple languages and additional features that can add interest to every design you make. In terms of marketing, Glypster is very suitable for purposes such as logos, posters, business cards, and many more, so you can explore the potential of this font for various designs. Glypster's simplicity, but still elegant and luxurious, makes it the right choice for all procedures.

Dialogist is a display serif font animated in balanced beauty with curvy lines on each letters’ edges to make it look elegant and classic. Due to its bigger size than any other serif fonts, it becomes a noticeable and eye-catching font design. Proportions among letters equal to low contrasts, but it is still legible due to the font’s wide spaces. As a result, you may apply this font for any text sizes. Additionally, you can enjoy various features available here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Dialogist fits best for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, 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.

It is complicated to find an aesthetically charming font in a professional look. The thing is that a wrong font choice can damage your projects. For that reason, Honey Ponds is here for your needs. Honey Ponds is a simple display font in a plain, yet interesting, professional design. To create a better display and to be legible, the font’s form or geometry is presented in a simple style without many details. Additionally, this font provides you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Honey Ponds fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, invitations, name cards, 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.