Mapuche means ‘man of the land’ and it is also the name of a group of indigenous inhabitants in South America. During the southern Winter solstice, between June 21 and June 24, the We Tripantu, the Mapuche New Year fest, takes place with a magical rite in the middle of the nature. Indigena is a dingbat font that remakes the artistic expression of the Mapuche people in Chile, recovering the handmade stroke they used in textiles and ceramics, but with a fresh look. This dingbat is based on pre-Columbian iconographic drawings shown in the book Dibujos Indígenas de Chile (1929) by chilean art teacher Abel Gutiérrez.

Fossa is an unconventional serif designed primarily as a display typeface. Its splayed, pinched vertical strokes and pointy wedge serifs give it a distinct flavour. The style for Fossa was initially conceived while studying the forms of Optima – in particular, the subtle taper towards the midpoint of the stems and strokes. Taking the idea of vertical strokes with a nipped waist to the extreme, Fossa was born. The sharper style created by these vertical strokes is echoed within the serifs, resulting in a contemporary wedge serif with an elegant but dramatic character. Available in five weights: ExtraLight, Light, Regular, Medium and Bold. OpenType features including ligatures and fractions.

Introducing, Argusho font a modern typeface that takes a classic style. Designed to give the impression of elegance and luxury with a classic feel. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

When horror and retro are combined in a more elegant composite, we present Suzanstein! Because darkness is not always about ghosts, death, and sadness. Suzanstein takes you to explore other possibilities. This font is perfect for horror themes surely, but can also be used on themes of darkness, passion, youth, idealism, social issues, even motivation. Suzanstein is an all-caps font with small caps and comes with an OpenType feature to add variety to your designs. You can apply Suzanstein for T-shirts, logos, posters, flyers, stickers, quotes, book covers, short editorial, and many more! Featured : Uppercase Smallcaps Numbers Punctuation Symbols Multilingual accents Stylistic alternates Ligatures That's all, folks!

Introducing Aerodyne, a highly versatile font family with seven weights and italics. While both modern and sleek in its line quality and flow, the fundamentals of this font set takes many of its design cues from more antiquated typestyles of the Roman era, especially in the capital letter set. Pair that up with the influence of mid-20th century humanist letterforms, and you have a type that is full of individual character, but with a smooth uniformity that conjures great beauty and individuality without drawing too much undue attention to itself. The subtle serifs give the font a unique character at both text and display sizes.

Linotype Mateo is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Jürgen Ellenberger included three styles in his font, roman, bold and outline. The characters of Mateo consist exclusively of lines, giving the font an extremely angular look. However, Mateo retains a certain handwritten style somewhat reminiscent of the graffiti left on wooden grade school desks by previous classes. The bold and outline styles have emphasized stroke contrasts but keep the angular, consciously irregular look. The roman style is best for smaller texts and the bold and outlines styles for headlines.

So I made five rather odd characters for a logo for a friend… Then I thought I'd fill a couple of spare hours expanding it to a single alphabet… And some considerable time later I ended up with a whole font with full punctuation, a bunch of alternates, pretty broad international support and some OpenType features to keep things varied… There are elements of Art Deco, Art Nouveau, Lego, circuit boards and Ceefax, Memphis lamps and lab clamps, hieroglyphs, googly eyes and who knows what else… Intricate, insane, highly irregular, but somehow it hangs together… Throw down a few letters nice and big when the fancy takes you…

Serial: a killer font takes influence from the Son of Sam letters. Depicting an unstable mind and ill motives, this font is as erratic and discomforting as its author. Containing two similar but discernible font styles, you can mix and match to create your own story. Serial Regular is neater and more thoughtful. It is controlled and has an obvious flow. Serial Alternates illustrates a very different frame of mind - it is turbulent and rushed with little to no consistency. Serial Regular contains a secondary A-Z set, and a latin character set. Serial Alternates contains over 60+ ligatures (which gives it its natural handwriting style).

Julia Script is a playful calligraphic font designed by David Harris in 1983. It takes the viewer back to the flower power of the 1970s. Generous capitals with cheerful, rounded stroke beginnings and endings contrast perfectly with the narrower, closer, but nevertheless vibrant lower case letters. Characteristic of this typeface and similar to Candice is the marked increase in stroke width in the lower third of the figures. This detail is reminiscent of the platform shoes typical of the 1970s. Julia Script suggests freedom and fun and can often be found on party fliers and retro advertisements. Used sparingly in headlines and slogans, Julia Script will be sure to attract attention.

Solantra is a solidly crafted handwritten script. I’ve long felt that beautiful writing is more pleasing to the eye than the more attention grabbing swashes and flourishes. That being said, both have their role in design and Solantra has a large slice of each. Solantra combines vintage style handwriting with all its quirks and English Roundhand of that same era. The result is a solid setting script filled with charm and personality. With default Adobe Illustrator settings for Ligatures and Contextual Alternates active, the vintage charm is in full display. Want to add more flair? There are loads of more embellished letters inside the full version. Solantro takes into account how scripts are actually written so that connections from letter to letter are more fluid and rhythmic than the average script font. In natural script/handwriting most letters end at the bottom right and move up to connect with the next. Some letters like o, v, and w, however; end at the top right. Rather than force these letters to dip down and go back up they should ideally connect from that upper right point. This is accomplished through a series of alternate letters and ligatures with extensive contextual feature programming. So, for example, you might get one version of a ligature in the middle of a word and a different one at the beginning or end of that word. Solantra also takes into account another often overlooked feature of natural handwriting. When you write you inevitably pick your pen up from the paper at times. This is often just to reposition the hand, but in the days of writing with dip pens this was also needed to attain a fresh supply of ink. Having these occasional breaks in connections makes the writing less static and more rhythmic. While the Basic versions are limited to a standard character set and several ligatures and alternates for better settings of text, the full pro versions contains 1292 glyphs and an abundance of features. Even with numbers there are options like Oldstyle numbers, fractions, and ordinals. Central European language support is included as well as some select ligatures that use accents. To see more on the technical aspects and instructions on using Solantra, please check out the user’s guide in the Gallery section. **Note: The Pro versions of Solantra which do not have the word “Basic” attached to the title, have everything in them. So if you license a Pro version there is no need to get the Basic versions.

Kaytek™ Rounded completes the Kaytek typeface family with seven carefully rounded weights. Every style of the typeface takes up exactly the same amount of space, thanks to the careful creation by Radek Łukasiewicz. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. Kaytek Rounded comes in seven weights, from Thin to Black. It pairs also with Kaytek Sans, Kaytek Slab, and Kaytek Headline.

Olio is a chunky geometric sans serif typeface. The bold version takes inspiration from classic geometric fonts like Futura and works well when creating clean, balanced typography. The inline version is the same font with a stylish and decorative stripe effect to each character. Olio inline is a nod towards graphic design champion Lance Wyman and his typographic treatment for the iconic Mexico 68 Olympic identity. Although both versions are designed in reference to great (timeless) graphic design from the past, they have a contemporary finish making them suitable for any design purpose or application.

Elegant and idiosyncratic, AB Ticena is a display and extended typeface inspired by the ancient forms of Lombardic capitals. The sometimes quirky and capricious letterforms take their inspiration from medieval forms found in inscriptions and manuscripts where latin Roman capitals were taken to new stylistic and even extreme expressions. The ultra-wide horizontal proportions and its modulated, humanistic strokes gives it a more refined and contemporary edge. AB Ticena works best for logotypes, short and striking headlines, and editorial purposes. A set of ligatures and stylistic alternates is also available for selected characters and pairings.

During the heydey of automobile travel hundreds of motels, motor courts and tourist cabins sprung up along the roadways in order to offer weary drivers (and most often their families) rest with a night's lodging. Tourist Cabin JNL takes the inline portion from the inline font Asbury Park JNL and creates this pleasant monoline design. The original design inspiration (from which the inline portion of the letters was taken) was a 1930s WPA (Works Progress Administration) Federal art project poster with the hand-lettered words “Work with Care”

Hexaplex is a geometric and modern font that takes inspiration from the world of architecture and construction. The font is named after its six-sided shapes, which give it a hexagonal motif that is both distinctive and visually engaging. Hexaplex is designed to be versatile, making it an excellent choice for a range of abstract or experimental projects, from logos and branding to headlines and captions. Whether used on its own or paired with other fonts, Hexaplex is a unique and powerful choice for any design project that requires a modern and sophisticated touch.

Wanderland Display Font is an inky, uncial display typeface with 271 characters, Adobe Latin 1 language support, and a small collection of swashes, ornaments, and alternates. As a modern take on an old style, Wanderland makes a great font choice for bold signage, branding & logo designs, cover designs, video titles, and label & packaging designs. Designed for use in large sizes with soft corners for a vintage, ink-bled aesthetic. Activate the included ornaments and swashes with the Swash OpenType feature and by using the numerals and A to I of the alphabet.

The Vaguer is a very special font. because this font takes some time in the manufacturing process because I want to make a font that can adapt to modern design needs and can also look organic with the rounded version. In addition, The Vaguer has tons of Opentype features to choose from, such as alternates characters, ligatures and swashes and is equipped with multilingual support. This font is very able to meet your needs to create designs ranging from logos, quotes, branding, you name it! That's all from me, I really hope you like it!

Linotype Red Babe is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. With Red Babe, Austrian designer Moritz Majce produced an energetic typeface which gives an impression of movement and change. The letter forms seem to be composed of countless fragments which can’t sit still, fragments which make the original forms burst and then draw them back together with their own rhythm. Linotype Red Babe is best used for headlines in larger point sizes.

Tiza is a rough take on informal faces and handwriting, brought on by the recent demand for scripts and brush lettering. Its flow leaves traces simulating runny pen ink, which makes it very suitable for handwriting-like paragraphs as well as casual greeting card and invitation setting. The bold weight, Tiza Negra, fits very nicely on book covers as well as large signs. Tiza is the proverbial reminder that typefaces can sometimes be more human than they are normally perceived. Designed by lettering great Angel Koziupa, and digitized and completed for Sudtipos by Alejandro Paul.

Introducing Antimage Retro, a charming and versatile Bold Retro Script Font that easily takes your designs back in time while adding a modern twist. This typeface exudes nostalgia and is perfect for a variety of creative projects, especially those with a vintage theme. Antimage Retro's timeless elegance and lots of alternative character make it a great choice for designers who want to infuse their work with a sense of the charm of the past. Feature A set of lowercase glyphs Numbers, symbols and punctuation Multilingual Support Alternatives & Ligatures

A storm has been brewing. It’s Hurricane. A complete redesign of a popular style. New flair and excitement abounds with this fast moving spirited brush script. This updated version of Hurricane was created with high end advertising in mind but can also be used for designs outside of commercial uses— greeting cards and social expression, or even scrap-booking projects. There are three regular styles and a PRO version of the script styles, plus a graphics font to add an extra breeze to your work. Hurricane Regular is straight forward with the more Roman capital forms. The Script version swaps the caps out for the more flourished uppercase. And finally, the Swash version contains many of the alternate letter forms found in the PRO version. Hurricane Pro offers the features of all three of the regular Hurricane versions with added OpenType programming and additional alternate glyphs. The Contextual feature of Hurricane swaps out the regular forms for more flashy characters along with necessary ligatures and alternates that give perfect flow to the words. Access the stylistic sets for even more creative options. In addition, see GLORY— a sans serif spin-off (pun intended) to complement the script styles. The Glory styles contrast to Hurricane’s slanted, brushy speed. In addition, an inline font has added to complete the pro package. I sincerely hope you enjoy this exciting update to a font I have always found to have huge potential.

Your branding missing something that makes people amaze? Looking for an elegant font to attract your audiences or customers? What if we told you, you only need to change one element to engage and convert your clients? Introducing Anthony Hartman - A Modern Script Font Giving you a simple, yet gorgeous solution to your branding. This font is another level script font. It encapsulates the essence of elegance and modernity. With its clean script-type design and curved indentations, this font will take your projects to the next level! Use it for headings, logos, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Anthony Hartman includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Alternates Swashes Multilingual Support PUA Encoded Numerals and Punctuation

Mr Lucky is Mr Happy's slab brother and a hand-drawn narrow typeface designed for one of our books. You can layer different styles over the background style to achieve lots of colorful effects. Use just one style to get a single color letter or set Fill over Background or Stripped Background to get a two color mode. Mr Lucky has upper and lowercase characters with up to three alternate glyphs and special alternate uppercase diacritics. Build in OpenType Contextual Alternates feature will automatically set alternate glyphs depending on frequency of appearance of the same character (even in web font but only in HTML5 browsers). The script doesn’t throw random glyphs. For example in the word “HIPPOPOTAMUS” you will automatically get three different “P” glyphs and two “O” glyphs. It really works great but of course you can always fine tune it by hand.

We know what you're thinking... This is not a new font, just an old one with a few bullet holes in its helmet, dirt on its shins and some carbon scoring on its breastplate. You're thinking this is like a variant cover by Joe Madureira or J. Scott Campbell -- handsome and rugged on the outside but weak and effete on the inside. Well, my fine, font-finagling friend, you'd be Dead Wrong! This really is an All-New, All-Different, All Star, Ultimate Collectable, from the Comicraft House of Ideas! Our Dynamic Duo -- Johnny Comicraft and Ferran 'Nuff Said have brought you another winner from the Silver Age of comic book lettering. It’s a little worse for wear, we admit it, but wouldn't you be after three rounds with the Justice League of Avengers Assembled?!? See the families related to Battle Scarred: Battle Cry & Battle Damaged .

Galix is a technical sans designed to look futuristic without any of the retro appearance often found in this genre. It has a squarish, slightly condensed anatomy, and is characterized by thin joints and deep ink traps that add a sparkle to the otherwise monoline typeface. In the italic styles, these cuts are accentuated even more which creates a feeling of speed in the letterforms. Galix is optimized for display typography (the ascender height is the same as the cap height, and the spacing is somewhat tight) but the middle weights are very readable at smaller sizes, where I'd recommend adding a little tracking. OpenType features include ft and tt ligatures, stylistic sets/alternates, automatic fractions, tabular, superscript and subscript figures, case sensitive forms. Perfect for websites, apps, infographics, magazines and logotypes, Galix is technical but with a warmth and personality that is often missing from this genre.

Papillon Script is an eloquent pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, headline, brochure, model for a neon sign or any display use like that. Papillon Script is completely monolinear and it gives a clear but vivid impression of a hand writing style. Papillon Script is equipped with following OpenType features: • Standard Ligatures is automatically on and it adds variation and smoothness to typing. If a same letter repeats in the same word the latter will automatically change to an alternative version. • Contextual Alternates is an optional feature that cuts the connection between letters every once in awhile. • Titling Alternates changes the last character in every word into an ending Swash alternative. • From Stylistic Set 1 you’ll find a set of 34 ornaments, strokes and arrows. • Small Caps turns lowercase into a set of legible capital letters.

BigStripesMono is another typeface family from IngrimayneType that explores the possibilities of alternating letters sets. The family is monospaced with four fonts: a base or solid style, an outlined style, and two styles in which each character is cut diagonally and the halves are separated to form two characters. These split styles are not designed to be used alone but layered with the base style, outlined style, or both to form colorful lettering with an unusual striped appearance. The stripe is not apparent in single letters but only in words or lines of text. For best results use an application that supports the OpenType feature Contextual Alternatives (calt) to alternate the letters of the split styles. The four styles can be combined in several ways to create unusual lettering appropriate for titles, headlines, and similar uses. And if one wants a bold, monospaced, sans-serif face, BigStripesMono has that too.

I became interested in designing Bodoni Classic because of a lazy graphic designer at Jacques Damase publishing house. He had to change a single letter on a bookcover about J. B. BODONI. The French call him Jean Baptiste instead of Giambattista! And that unknown graphic designer just took any old “J” from some newly cut Bodoni. All the new Bodoni cuts have square serifs, whereas the originals had rounded serifs and slightly concave feet. The single letter “J” with the squared off serif was for me like a road sign to start redesigning the entire Bodoni family. That’s exactly what I started in 1993 and a dozen years later I am finished. Okay, I am still adding new Bodoni Classics, but those are my personal additions. Recently I designed a family of seven »Bodonian Script« fonts, that can be mixed with most of my Bodonis. Yours very retro, Gert Wiescher

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Introducing Wyvern—the sans-serif typeface that exudes professionalism and precision. With its high x-height and short descenders, Wyvern is a true testament to the vintage typewriters and daisy wheel printers that inspired its creation. Its sleek and compact design boasts clean edges that give it an open and vibrant appearance, perfect for businesses looking to make a brave statement. But it’s not just its appearance that sets Wyvern apart—its italics are a testament to its strength. With angled stems and altered stem widths, Wyvern maintains a dynamic and natural appearance without the use of cursive forms. This makes Wyvern ideal for businesses that want to convey a sense of innovation and forward-thinking. Wyvern comes in seven weights and italics, providing a range of options for businesses looking to make their mark. Whether you’re creating an audacious new brand identity or refining your existing design, Wyvern is the perfect choice for designers that want to make an impact. So why wait? Experience the power of Wyvern today and take your design to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

Say hello to Montgova! a lovely elegant calligraphy with adorable ornaments. more than 120 included Opentype Stylish Alternate letters and ligatures, allow you to mould your type design any way you like:) It also includes a fancy little bonus ornaments font. A delicate modern calligraphy script ideal for weddings, elegant branding like greeting cards, sublimation, wedding invitation, branding materials, business cards, quotes, posters, aheadings, signature, logos, t-shirt, letterhead, signage, lable, news, posters, badges and adding a lovely feel to your projects What's new ? This font is equipped with Latin pro. which covers various languages in the world with a wider range and can be used easily. For Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Montgova also comes with Opentype features such as access to all the alternate letters and double letter ligatures. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

Patrilya Script A New Romantic Script Calligraphy made with a touch of lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, wedding invitation, branding materials, business cards, quotes, posters, headings, signature, logos, t-shirt, letterhead, signage, label, news, posters, badges and more Patrilya Script has a script typeface and extra letters and included floral ornaments that allows you to be more fancy and more extraordinary in designing. Patrilya Script requires no special software to use or access the alternate letters. You can even use Patrilya Script in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Patrilya Script also comes with Opentype features such as access to all the alternate letters and double letter ligatures. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never came to be, but the Hipster Japanophile Magazine World’s loss is your gain, as this beautifully crafted, editorial oddity is now available to license. Use it editorially, obviously, but it would also look great on posters, perfumes, postmodern publications, and perhaps some other things that don’t begin with p.

Bambusa Pro is a sturdy expressive modern calligraphy family of 4 fonts: Regular, Bold, Basic and Ornaments. It owes its name to the bamboo pen that was used to draw all of the characters and swashes. The typical ink-strokes of the bamboo pen give Bambusa Pro a distinctively different appearance than dip pen calligraphy fonts like Salt & Spices Pro. Similarities between the two are a wide variety of long swashes that connect to the first and last letter of a sentence or name. But with Bambusa Pro this even goes for accented characters, and all upper and lower case letters. Together with five different connecting spaces you can create phrases that look as if the pen was never lifted from the paper. Like Stylist Pro all characters of Bambusa Pro connect to each other, both lower case and upper case letters and vice versa. Bambusa Pro Basic also is hand-lettered with a bamboo pen, but is a lot more straight forward. It combines beautifully with the connected styles Regular and Bold. On top of that Bambusa Pro Ornaments offers 100+ glyphs for additional designs possibilities. Enjoy! You will need an opentype savvy application to get the most out of Bambusa Pro.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

It's been said that creativity requires ten parts to perspiration to one part inspiration. But not always. According to its creator, Mira Vucko, ITC Needlescript was designed in one breath." An accomplished lettering artist, Vucko was sketching letters one afternoon. "I was using a calligraphy nib and was drawing the alphabet without much thought," she recalls. "When I allowed the down strokes of a couple of letters to fall below the baseline, I realized that I had created the impression of movement. I kept drawing letters in this fashion and did the same with horizontal lines. I added a firm ending to the descenders. Instead of dots above the 'i' and 'j,' I placed strokes in the opposite direction." In this way, the first characters that were to become ITC Needlescript emerged. The finished design is a lively, distinctive alphabet that produces a striking texture on the page. Letters intertwine and overlap to create a sense of movement and graphic intensity, especially when reversed out of a dark background. Vucko lives, works and was educated in Zagreb, Croatia. She lived in France and Sweden while in her twenties, but then returned to Croatia to work as a graphic designer for the country's largest newspaper. It was here that her passion for type and typography was born. Vucko has since gone on to become one of Croatia's leading graphic designers, and has won many awards for her advertising and packaging design. Vucko recommends that ITC Needlescript be used for "titling, lively but 'thorny' content, and anywhere that a little typographic drama is called for.""