Nurhalifa New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !! Nurhalifa The comes with 564 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers. Nurhalifa Uppercase & lowercase International signature & symbol Punctuation Support & PUA number Unicode Style Style Alternative Style Style Range 1-22 Contextual Character Variations. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows).

"Old is Gold".. Perhaps that's the best words to represent this typeface called Fragtude - a pair of vintage display typeface consist of bold script and serif. One of our finest typeface, crafted carefully to make sure its quality. Inspired by 40s 50s lettering and signage, the nostalgic feels will bring you back to the good ol' days. This typeface is perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual swash and ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

Introducing the new font Making Signature Font. This font suitable for use in a variety of design fields, such as event advertisements, vintage design, product promotions, mug design, book titles, activity titles, logos, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. Features: - Uppercase - Lowercase - Number & punctuations - Multilingual Accents - StylisticSet - Stylistic Alternate - Swashes ligatures - 72 Standard ligatures - PUA encoded I highly recommend using a program that supports OpenType featuresand Glyphs panels such as Adobe Illustrator, Adobe Photoshop, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access toall 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. I hope you enjoy the font, thank you.

The Kairos™ Sans family melds 19th century wood type design traits from fonts called Grecians with current-as-today sans serif letterforms. The distinctive octagonal corners of the original design are still there, but Kairos Sans has been streamlined through the sensitive shaving of its serifs. Drawn by Terrance Weinzierl to complement his Kairos family, Kairos Sans provides a natural counterpoint sans serif design and stands on its own as a powerful communication tool for everything from two-foot high display copy to the smallest sizes of text content. Kairos Sans is available in 48 styles; 8 weights in three widths, all with matching italics. In addition to a full Latin character set that support most Eastern and Western European languages, it also has the necessary characters to support Greek and Cyrillic scripts. Kairos Variables are font files which are featuring two axis and have a preset instance from Thin to Black and Condensed to Extended.

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details. It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs. Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike. Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.

Donnerstag is an extended slab serif and a new companion to insigne's Montag, Dienstag and Mittwoch typefaces. Donnerstag conveys power and personality with its strong slab letterforms and ball terminals. Donnerstag's seven different weights give it a great deal of versatility, from its beefy and masculine black weight to the delicate and feminine hairline. Because of Donnerstag's width, this typeface is best used for logotypes, headlines or short blocks of text. Donnerstag includes many useful OpenType features, including a set of upright italic swash alternates, ligatures, small caps, fractions and old style figures, alternates for the ball terminals and simplified characters for titling. OpenType-capable applications such as the Adobe suite or Quark can take full advantage of automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of latin based languages. For complementary companions, be sure to check out the rest of the typeface super family, also available from insigne.

Amory Script: a sweet, casual and dynamic handwritten fonts with dancing basics. Also available are Platypus Sans & Ornaments to help you mix and match them to suit your creative work in harmony. all to add an authentic touch to your design. Perfect for Branding, Logo, Greeting Cards, Wedding Stationery, Quotations etc. It comes with a set of Alternative OpenType Characters, Ligatures and various language support. To activate 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 newer versions. This is coded with Unicode PUA. Mac users can use Font Book and Windows users can use Character Maps to view and copy any of the additional characters to paste into your favorite text editor / application. Thank you very much for viewing, I really hope you enjoyed it and don’t hesitate to send me a message if you have problems or question

The great value of something crafted thoroughly by hand has been observed for years by Guille Vizzari throughout a wide spectrum of clients and projects developed at «Yani & Guille» —the studio he runs cheek by jowl with Yani Arabena—, and they both noticed that recently it has been taking on a new meaning. From barbers at their shops, to a barista that passionately prepares coffee every morning, or a bartender that deeply enjoys diving towards unknown ingredients, and even Guille’s admiration for sign painters worldwide that keep spreading their passion for the perfectly constructed letter. This wide trades universe, where craftsmanship represents a huge difference, is where «Proprietor» lives, and it’s the reason why it exists. «Proprietor» was born in a Moleskine notebook —just pencil, paper and ink— as a tribute to those crafts, and to regain the art behind Type Design that involves the fusion between tools, materials and the action of the hand. Fed by these principles, every single glyph within the whole «Proprietor» Family has been fully designed and illustrated by hand by its author (including all the ornaments, frames and crafts icons that can be seen along this specimen), showcasing Vizzari’s solid formation in the drawing field. Proprietor can be described as a compact type family system illustrated by hand, intended and designed to be able to create solid —but beautifully ornamented— paragraphs, and elaborate compositions. For this purpose, Proprietor Roman and Open displays a notorious x-height which goes perfectly with plenty of ornaments that unfold along the ascenders and descenders, but always containing its swashes inside the text line. The icing on the cake, Proprietor Script, a copperplate-based font unbelievably flooded with ornamented capitals, flourishes and endings to break through the coarse feeling of the Proprietor non-script sets, with a huge load of delicate and warm letterforms. Proprietor Wide and Wide Open hand a complete font set to complement the family for composing extended words in uppercase, matching in style and adding a striking personality. And as being part of Sudtipos’ catalogue «Proprietor» comes packed with full Open Type support —thanks to Ale Paul, fearless to tame this hand–drawn beast, supported by his vast knowledge in programming and optimization—. 7 imperfectly elegant and completely handmade fonts join the «Proprietor» system, bringing life to designs that are meant to represent the spirit of the genuine and skilled craftsmen, showing respect for their trade, and at the same time being part of it.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Directors Cut Pro is a compelling new font series designed by Alex Kaczun. It recently won the second place—a commendation in the Canberra Typeface Competition. This handsome Geometric Antique serif design is based on the early 19-century Moderns and Scotch styles, infused with the warm charm of traditional antique, added for interest. Capturing the best of both ages: it's warm, comforting and persuasive. Directors Cut Pro's graceful aspects naturally invite uses at large sizes, for which we have created a stunning and elegant lighter weight. But, this workhorse typeface series incorporates a solid regular weight, along with its italic—ideal for a multitude of text purposes, at varying point sizes. A robust Bold weight is available for headlines and emphasis. Director Cut Pro comes with proportional as well as tabular lining figures for quickly setting up charts and tables. It also contains an extended character set—including most Central European languages. Alex Kaczun is in the process of expanding this typeface series to include additional weights, styles and proportions. Stay tuned! The large Pro font character set supports most Central European and many Eastern European languages.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. NEW: the new Futura W1G versions features a Pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets Futura® font field guide including best practices, font pairings and alternatives.

Brown Amsonia is a lovely script font of which letters are in handwriting to express unique, personal nuances in your designs. Such a handwriting font is available in high contrasts having noticeable differences between the bright and the dark letter parts to produce clear, firm displays making the designs look professional and modern. Besides, Brown Amsonia can express personal, artistic displays to create more interesting, noticeable designs. The letters are interconnected and their details show sharp, curvy scratches on the edges. Due to the complex font style details, this font is better to apply for big text sizes. In addition, you may enjoy the available features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Brown Amsonia fits best for various design projects, such as brandings, invitations, greeting cards, name cards, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

It can be a difficult task to find a unique, attractive, prominent display font for your design because you always want to use a more distinctive font than the others. Therefore, Chubby Lines offers you the best solution. It is a lovely display font in rounded shapes to express soft, friendly nuances to your design. Its unique geometry details and contrast sketch lines create a visually interesting font. To be easily readable, this font is best applied for big text sizes, which also provides you with a special clipart as a bonus. Furthermore, you can enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Chubby Lines fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Gothic fraktur inspired design, I wanted to resemble old german calligraphy but making it very geometric, so I used an isometric reticle during sketching. This is a display font, created for BIG sizes, non textual. I recommend it for branding, poster, logos or titles. Its very experimental -- it exists within the limits of legible and illegible reading. I choose the name “Garbancera” because gothic calligraphy has issues that are linked with dark, gloomy, lugubrious things or fear feelings, culturally in Mexico. I related this with death and for mexicans, death is something we celebrate and give us joy and happiness, annoying, the most representative Mexican characters, one of those is “La Calavera Garbancera” or better known as “La Catrina”, a clothes skeleton with only a hat. It was drawn this way to make a critic to all Mexicans at that time, that were poor but they wanted to represent a high lifestyle, “those that where to the bones, but with a French hat with ostrich feathers”. La Catrina was created by José Guadalupe Posada, a Mexican lithographer but also a newspaper illustrator. I think this is a beautiful font that can lead to great results, just use it wisely.

Introducing the new font Automobile Contest - Handbrush, the new version of Qillsey Einstein Font, a type of script that has a natural scratch texture. I made by using a brush pen that makes the impression seem natural. My font is complete with two StylisticSet which will make the writing more beautiful and charming. This typeface is suitable for use in a variety of design fields, such as event advertisements, product promotions, book titles, activity titles, logos, adventure, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. I highly recommend using a program that supports OpenType featuresand 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 toall 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. I hope you enjoy the font, thank you.

Monggirella script font is a pretty calligraphic script font with flourishes, that will look gorgeous on all your designs, wedding invitations, love stories, branding materials, logos, business and wedding cards, calligraphy Insta quotes elegant fashion sketches, calligraphy love monograms and much more. Monggirella script font contains the Cyrillic glyphs too. Monggirella script font contains a full set of uppercase and lowercase letters and can be used to create a handwritten calligraphy look. Some letters include the flourishes and you can receive them by typing numbers after letters. Please use the glyphs map to choose the letters with flourishes Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. Cyrillic glyphs support for Russian, Belorussian, Bulgarian, and Ukrainian languages. (Does font support more Cyrillic languages just type a message in the text box below and see if all characters you’ll need are there.) Please note, sometimes the text box may not display the flourishes, but they are definitely available! :)

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the classic sans serifs, Standard is an alternative that is considerably warmer and a bit more idiosyncratic. In 2008, CastleType released additional members of the Standard CT family to make it a complete typographic solution with three widths (normal, condensed, extended) of four weights each (Regular, Medium, Bold, and Extra Bold). Some of the original Standard fonts, particularly Standard Regular, appear to have been hastily designed (or perhaps too closely imitated Helvetica); these have been greatly improved in the CastleType versions with more harmonious proportions and other refinements. The three lighter weights of the Extended subfamily were designed from scratch based on the new Standard CT Regular and Standard CT Extended Extra Bold. More recently, four light weights (Light, Extra Light, Ultra Light, and Hairline) have been added to each of the three widths. The entire Standard CT family includes support for most European languages, OpenType features, arbitrary fractions, and a collection of geometrics, dingbats & fleurons.

Oliver Label solves a problem many creatives face – the endless search for a realistic pencil-textured font to add handwritten notes to images, quotes, blog posts, and more without having to do it themselves. With Oliver Label, you can easily add handwritten notes to your images! BIGGEST BENEFITS: Vector pencil texture 26 hand drawn elements so your quotes look beautiful and custom No more wasted time trying to add your own notes and handwritten feel to your work (or worrying about your handwriting!) INFO: Oliver Label Regular: A textured vector font that works with any Desktop application (Word, Photoshop, Canva, etc.). Includes ligatures ll, ss, and tt. Oliver Label Alternates: 'Alt' version of Oliver Label, where you'll get a whole new set of letters and numbers. This way, you can swap out regular letters for the alternates when you have two of the same letters close to one another (i.e. oo or bb) to look as realistic as possible. Includes ligatures ll, ss, and tt. Oliver Label Drawn: You'll also get 26 different hand-drawn shapes to add to quotes and graphics. Non-English support for the international designer

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Do you want something prominent yet legible? This is Long Vacation, our new handwritten font, ideal for all of your design needs. Long Vacation is a visually interesting handwritten font showing a unique handwriting style giving the natural, lovely nuances on your designs. The flowing letters are interconnected and the scratches that connect the letters make the font look more natural. Details on each letter and curves on the edges show high contrasts. Due to its great legibility, you can apply this font to both big and small text sizes. Additionally, enjoy the features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Long Vacation fits best for various design projects, such as brandings, posters, banners, invitations, greeting cards, magazine covers, quotes, printed products, merchandise, logos, 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.

Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases 'n' or 'd', for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.

Introducing the new font Qillsey Einstein, a type of script that has a natural scratch texture. I made Qillsey Einstein by using a Japanese calligraphy pen that makes the impression seem natural. My font is complete with 3 Stylistic Sets which will make the writing more beautiful and charming. This typeface is suitable for use in a variety of design fields, such as event advertisements, product promotions, book titles, activity titles, logos, adventure, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. I 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 if you are interested in purchase and using my font. I hope you enjoy the font, thank you.

Moodboard is a unique blend of hand-drawn and AI-generated design, bringing a fresh twist to the retro serif font. With bold rounded letterforms and a funky vibe, Moodboard is perfect for young-at-heart audiences. Its combination of sketch and machine learning makes it usable and versatile, while still retaining its cool new-retro feel. Use Moodboard in logotypes, headlines, and graphics for a standout, youthful look. Its designer Mans Greback has created an exceptional mix of vintage and modern design elements in Moodboard font. Choose Moodboard for your next project to add a touch of fun and boldness to your designs! The Moodboard family consists of six high-quality fonts: Regular, Italic, Light, Light Italic, Bold and Bold Italic The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

NorB Architect Line architectural fonts will add a beautiful architectural hand-lettering style to all your CAD project drawings. Architects have always wanted their CAD drawings to look more like they were drawn by hand, rather than by a CAD program. These AutoCAD fonts are the first step in bringing back that “artistic hand-drawn” feel to your CAD drawings or any graphic design project that can use true type fonts. They even can be used with any word processing program for text and display use, print and web projects, apps and ePub, comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! NorB Architect Line is a retracing from scratch of my "NorB Architect" font coming in a sharp and round look, featuring small caps with some long stems of the following letters: b, d, f, h, k, l so resulting in more dynamic lettering font. It comes with 8 weights: Regular Italic Bold Bold Italic Round Round Italic Bold Round Bold Italic Round Note: The Italic versions are intentionally set to 20° rather to 12° for more dynamic lettering look.

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. NEW: the new Futura W1G versions features a Pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

Boxer Punch - Soft Bold Font Boxer Punch - Soft Bold Font is a stylish and modern font designed to catch the attention of your audience. The font's unique design combines a soft bold shape with a cute sans serif, making it perfect for creating eye-catching designs. The idea behind creating Boxer Punch was to incorporate the concept of understated realism into the font. This is evident in the font's smooth and elegant lines, which make it perfect for a variety of design projects. The font is ideal for those looking to create a professional touch in their designs, while also maintaining a stylish and modern feel. Boxer Punch is an excellent choice for anyone looking for a font that is versatile and can be used in a variety of different contexts. It is perfect for sports-themed work projects, as well as branding, packaging, logo design, album covers, posters, and social media graphics. One of the standout features of Boxer Punch is its versatile OpenType features, including alternates and ligatures, which allow for even more creative freedom when designing with the font. Additionally, the font comes with uppercase and lowercase characters, as well as support for multilanguage, numbers, punctuation, and symbols. Inside the font package, you'll find three different file formats: Boxer Punch otf, Boxer Punch ttf, and Boxer Punch woff. This means that no matter what platform you are using, Boxer Punch will work seamlessly with your software. Boxer Punch is a font that is sure to make your designs stand out from the crowd. Its unique design and versatile features make it perfect for anyone looking to add a touch of elegance and style to their work. If you're looking for a stylish and modern font that is perfect for sports-themed work projects or a variety of other design projects, then Boxer Punch is the font for you. In summary, Boxer Punch - Soft Bold Font is a versatile and modern font that combines a soft bold shape with a cute sans serif to create a unique and stylish design. With its versatile OpenType features, multilanguage support, and uppercase and lowercase characters, Boxer Punch is perfect for a wide range of design projects.

Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker. C.P. Company communication makes use of media such as the press and the web and that’s the reason why we have always felt the need for a font that would not show incongruities through the monitor. Therefore we have decided to change the structure of glyphs like a, e, g, s… in the most contrasted versions to prevent the serifs from touching the internal parts of the letters and in this manner we have made a really unusual stylistic choice for a group of types. The difference between the height of caps and smalls is very low (about 20%) so that the smalls are easy to read even when their dimensions are on a very small scale. Moreover this stylistic solution gives the possibility to avoid using the small capitals in case of charts and catalogue codes (i.e. Tricot M5) and provides more vertical compactness between the lines. Even a sentence written in capital letters next to another one written in smalls does not look so much contrasted from a typographical point of view and then it is not unpleasant. The limits due to different constructive principles have been overcome by means of a grid based on the automatic division of EM square of 9-point type and in this manner the letters have a wider face. The font is even more unusual owing to the style chosen that belongs to the classical tradition of hair-lined types for glyphs like e and also thanks to ligatures like ? in the characters set. CP Company is a geometrical font whose alphabet makes use of the style of types that preceded the Helvetica, matched with more experimental and updated solutions. Numbering is monospaced. The bending of number 2, the slight raising of the oblique serif of number 4 and the presence of a hair-line in number 7 are the solutions adopted to make the types match in a more balanced manner.

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Arabetics Symphony is a Sans Serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. It is designed with a uniform glyph thickness and weight throughout, using a combination of simplified and clear open lines and curves and plenty of spikes and visual hints to compensate for the missing Latin serifs or traditional cursive Arabic calligraphic influence. This type family is suitable for both text and display applications. Additional Latin spacing is added to match an overall open-looking Arabic and is further maintained by a careful implementation of a typical Latin font kerning process. The design of this font family, including metrics and dimensions, was intended to make its Latin harmonize with other Arabetics foundry fonts. Arabetics Symphony fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Symphony includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the “tatweel” key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Symphony includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

I'm happy to present to you luxurious handwritten script font West Byanetta Cyrillic. It's the best option for your branding, logo designs, invitation designs wedding stationery, social media, product packaging and other projects that require an elegant touch. West Byanetta Cyrillic is an elegant, graceful handwritten script font, as well as a West Byanetta Symbols font with 36 lovely hand-drawn flourishes and illustrations. West Byanetta script font contains the Cyrillic glyphs too. West Byanetta script Latin part contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, initial and final forms). To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) And 40 ligatures - which can be used to create a handwritten look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Also Cyrillic part of the font contains 31 handwritten Cyrillic ligatures. West Byanetta Symbols is a font with over 36 hand-drawn elements, floral illustrations, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included West Byanetta Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Language Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.