Being a Star is one thing, but being a Twisted one is even better! JWX Twisted Star incorporates your deep desire for stardom into each alpha and numeric glyph, in a bold bordered font. The upper case letters sport a trailing accent, making them shooting twisted stars. This is a single bold typeface, and is intended to be used at a large size in graphics work, adding a not-so-subtle statement to everything from screen printed t-shirts to posters or even embroidery (available at www.janworx.com).

Cowboy Junk is my loose handmade impression of what would happen if the wild west crashed into grafitti! The letters are loose and jumpy and the terminals are kind of exaggerated to give that firce impression of handcraft! So, better get up early and leave this town, 'cos there’s only room for one sheriff in this here town, and that is Cowboy Junk! Comes with contextual alternates, which means that the font will automatically cycle through the 5 different versions AS YOU TYPE! Yieeehaaar!

Sans Atwic Modern is a clean simple sans serif typeface. It has a universal and neutral look thanks to repeated vertically cut end strokes and thanks to letters that have similar width. Lowercase has higher x-height and its end strokes are open, that a guarantee for better legibility in smaller sizes. Atwic has several alternates which together with left slanted italics freshen the whole font family. It's handy while working on poster, headline, brand identity, website or mobile app. Specimen: http://carontwice.com/files/specimen_Sans_Atwic_Modern.pdf

Mr Robot is a typeface designed for our next book for children. We wanted to have a colorful, dimensional and edgy looking letters for headlines. There are three ways to use Mr Robot. You can align three text frames with same text but with different colors and font styles (Regular, Shadow 1 or Shadow 3 and Shadow 2) or with ALLinONE font style but select a different OpenType Stylistic Sets (set 1 is like Shadow 1, set 2 like Shadow 2 and set 3 like Shadow 3). This works great but we don’t like to have unnecessary text frames in our layouts so we added a very cool Contextual Alternates OpenType feature. You just need Mr Robot ALLinONE style and only one text frame. First make sure that Contextual Alternates is off. Type every character three times (RRROOOBBBOOOTTT), select colors for each letter (first letter of every three is a side shadow, second is bottom shadow and third is a front of the dimensional letter). When everything is set just turn Contextual Alternates back on. Styles and alignment will be set automatically. Check out the Users Manual for a visual explanation. For web fonts it is better (at least for now) to use the first method (with font styles) as the OpenType features are not supported in older browsers.

Seasick and Seasick-Mirror features wobbly, wavy, distorted letters. They were derived from the almost monoline font Kwersity. The letters of Seasick have a slight backward slant and the letters of SeasickMirror have a slight forward slant. Each of them comes in four weights: Light, Regular, Bold, and ExtraBold.

A comic font with a twist of crunch! The Lie Detector font deserves headlines and comic lettering, but most of all it deserves long letters. Use Lie Detector next time you want to spice up your letter or invitation, and you'll be surprised by the powers in this font!

Unusual decorative capitals from embroidery work in a German church. Upper case has a diamond-shaped frame around each letter; lower case is just the letters without the diamond frame; and the ampersand gives just the diamond frame so you can use a different colour from the letter.

"Balissha" is a natural and elegant handwritten font with butterfly and flower decoration on the alternate letters. This font is perfect for mothers day, autumn, valentine, wedding, engagement, christmas, stickers and more. Equipped with uppercase letters, lowercase letters, numerals, punctuations, swash, titling, uppercase alternates, ligatures and multilingual support.

Disposable is somewhat similar to some letters that are about to disintegrate. The letters are a little worn and give a good impression of something eco or organic. I've created 6 different versions of all the letters, just so your text will look even more organic and handmade!

This is a cute story about a mother and her son. :) About a decade ago my own mother got very interested in my work. She used to say my letters had so many swirls and dazzling swashes, and suggested my job seemed to be very fun. She wondered if she could ever try to make her own alphabet... Well, she is a civil engineer and a maths teacher, and appeared to be a little tired of exact sciences... I remember answering this, while she was listening with her typical tender look: -"Mamá... While type-design may be a really enjoyable thing to do, it also involves having a great eye and knowledge about the history of letters: nice curves and shapes require a meticulous study and, like it happens in many fields, practice makes perfect"-. Well, she raised her eyebrows at me. -"and so what?"- She didn't have any experience neither in the field of art nor in the field of graphic design so, I told her that if she really wanted to get into this she should borrow some of my calligraphic books from my beloved shelves in my office. So... she did. Some weeks after that, she came to me with many sketches made with pencils and markers: some letters where very nice and unique while others naturally needed some work. I remember she added ball terminals to all of her letters (even if they didn't need them) because that was one of the rules she imposed. After some back and forth, we had the basis for what would be today, ten years later, the seed of this lovely font Girasol. Her proposal was nice, something I was not accustomed to do, that’s why many years later I decided to watch it with fresh new eyes and finished it. While she was in charge of making the lowercase letters, I helped with the uppercase and also added my hallmark in the alternates, already seen in others of my expressive fonts. The result is an upright decorative font that follows the behavior of the copperplate nib with a naive touch that makes it really cute and useful for a wide range of products. Many alternates per glyph make Girasol a very fun to use font which will delight you. Above posters are a proof of that! This font is a gift for my mother, Susana, who, in spite of her exacts academic background, taught me that beauty can also be found in the imperfect. 1 NOTES (1) In my fonts I'm always in seek of the perfect curve. When I designed Erotica and Dream Script, I read about Fibonacci’s spirals!

The hand lettered title on the sheet music for "Gee, But I'd Like to Make You Happy" (from the 1930 MGM motion picture "Good News") presented a conundrum. Some of the lettering was a classic Art Deco "thick and thin" design while the others resembled comic book title lettering. Leaning toward the comic book style, the conflicting letters were revised and the finished result became Funny Business JNL; available in both regular and oblique versions.

Junkwerk is my heavy metal grunge font! It has got that feel like something that was stamped on, jumped on, shaken and headbanged for hours...just like how you would feel after hours of heavy metal! Comes with different upper- and lowercase letters, alternate letters and ligatures for both double letters and double numbers - and ofcourse it has got unique accented letters! You will need to use OpenType supporting applications to use the ligatures.

Morthern is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font. With both weights you have two different shapes in terms of uppercase letters that aim to distinguish between title of the letter and the paragraph.

Blomma is a hand-lettered all-caps display font with intricate botanical details. It includes full support for 201 languages, plus a full set of punctuation, numerals, and more, all drawn in the same botanical style. The uppercase and lowercase versions of each letter were drawn independently of one another, so that means you get two versions of each letter to play with. This is so helpful if you want to give a more authentic hand-lettered look to type with repeating letters. Blomma is perfect for monograms, logos, headlines, editorial design, branding, poster design, and more. Blomma includes approximately 390 glyphs.

Gothamburg is a blackletter or square gothic face. The shapes of many of the letters were inspired by sets of letters in Oscar Ogg’s The 26 Letters (Thomas Y. Crowell Company, 1963, 1948) illustrating the gothic style of the middle ages. The Plain and Bold versions differ not just in pen width, but also in pen angle. The Plain version has less contrast between the thin and thick strokes. The ShadowedInside style has the letter shapes of the plain style but the spacing of the shadowed style. It can be layered with the shadowed style to easily create two-color lettering.

Chorasign is a stylish modern calligraphy font with casual chic flair. It is perfect for branding, wedding invites and cards, and maybe for red wine label. Chorasign includes full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation. All lowercase letters include beginning and ending swashes, giving realistic hand-lettered style. Main Features: Uppercase & Lowercase letters Punctuation and special characters Multilingual support Beginning lowercase swash: example: -a (hyphenlowercase letter) Ending lowercase swash: example: a- (lowercase letterhyphen) Short underline _1 or _2: example: Chorasing_1 / Chorasign_2 Long underline _3 or _4: example: Chorasing_3 / Chorasign_4

Pina is a typefaced based on Italian signage, incorporating simplified shapes for the letters and unique characters. The barebones S and the perfectly circular O are examples of the type of lettering you'd likely see on awnings. These letters have a thin footprint, and are quite condensed apart from certain letters like O and Q, which gives the font a unique bounce. It includes plenty of alternates, to letters like O, S, Q, R, K, and special ligatures for specific pairs. This font is named after my grandmother from Italy, Josephine, who was a wonderful figure in my life.

Fansthome is a modern Calligraphy font with magical Signature effect. it is perfect for creating signature logos and watermarks for photography studio or wedding invitation, best for initial or branding logo signature . Fansthome includes full set of beautiful hand lettered uppercase and lowercase letters, numerals, a large range of punctuation and ligatures. All lowercase letters include beginning and ending swashes, giving realistic hand-lettered style. lowercase beginning swashes: (-a) lowercase connecting & ending heart swashes: (b&a) or (a&) lowercase ending swashes: (k-) Main Features: Uppercase & Lowercase letters Punctuation and special characters Multilingual support Ligatures & Alternate glyphs

Killer Garbage is a grunge version of my Spitzenklasse font. It's worn and torn real bad - but not more than the font is still legible even at very small sizes. I don't fancy grunge fonts that only has one or two versions of each letter available. The text usually gets very static and predictable, because the same letters are repeated again and again. That's why I have included 6 different versions of each letter in this font! And the great thing about this is that the letters automatically cycles as you type! Forget everything about repeating the same letters all the time!!!

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.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

Czech designer Oldrich Menhart (1897-1962) devoted his life to making letters. He was a calligrapher, lettering artist, and typeface designer with over twenty faces to his credit. The Monotype typeface, Menhart, was the second of his designs. Menhart began work on the design in the early 1930s and turned over his final artwork to the Monotype Drawing Office in 1934. The first size cut was 14 Didot (Didot points are the traditional European system of type measure, and are roughly equivalent to the point system commonly used by today's digital fonts). The 14D font was followed by 18D and 24D, indicating that the design was considered most suitable for display work. However, a 10D size was later cut from the same master drawings at the request of a Monotype customer. Menhart's design was light and open, with an even color and a slight squareness" to its round shapes. Because the Czech alphabet has 15 accented letters, Menhart included these diacritics as an integral part of his design, not as an afterthought. As a result, accented copy set in Menhart has a cohesive quality rarely seen in other typefaces. Monotype's new digital release of Menhart is the first revival since the hot metal fonts were cut. Menhart Display is based on the original Monotype drawings, while a slightly heavier, re-spaced version has been created for text sizes. Both versions offer the full capabilities of the OpenType format, such as the automatic insertion of old style figures, ligatures and small caps. In addition to English, the extended character set supports most Central European and many Eastern European languages. One of Menhart's lifelong goals was to share the richness of his Czech culture by drawing typefaces that uniquely served Czechoslovakia literature. In his words: "I believe that a Czech style of type comes above all from the spirit in which it was designed, which gives it its 'signature,' and not so much from decorative composition, and even less from the geographic location of its creation." The typeface Menhart is a tribute to his values. Now, Menhart Pro and Menhart Display Pro capture the unique personality of this timeless design while greatly extending its range of use. "

The Ruthyne Handwritten Font is a captivating and versatile typeface that embodies the beauty and warmth of human handwriting. With its flowing strokes and authentic character, this font adds a personal and elegant touch to your designs, making it perfect for greeting cards, invitations, branding, and various creative projects. Features: 1. Authentic Handwritten Style: The Ruthyne Font captures the authenticity and charm of natural handwriting. Its flowing strokes and genuine character lend an intimate and genuine feel to your text, making it suitable for projects that require a personal and human touch. 2. Versatile Application: This font is versatile and well-suited for a wide range of design projects. Use it in greeting cards, invitations, social media graphics, branding materials, and more to add a touch of personal elegance to your designs. 3. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing flexibility and creative freedom in your designs. Mix and match the cases to create visually appealing and balanced typography. 4. Punctuation and Symbols: In addition to the alphabet, the Ruthyne Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. 5. Ligatures and Special Characters: The font offers a variety of ligatures and special characters that add character and uniqueness to your text. These unique glyphs create interesting connections between letters and decorative elements, allowing you to create personalized and visually appealing typography. 6. Easy to Use: Installing and utilizing the Ruthyne Handwritten Font is user-friendly. It's compatible with both Windows and Mac operating systems and seamlessly integrates into popular design software such as Adobe Photoshop, Illustrator, and InDesign. This ensures a smooth and efficient design workflow. Elevate your designs with the authentic and personal touch of the Ruthyne Handwritten Font. Let its flowing strokes and genuine character add a touch of elegance and human warmth to your greeting cards, invitations, and branding materials. Embrace the natural beauty of this font and create designs that resonate with sincerity and authenticity.

“Innovation” best describes Naghi Naghashian’s new Decora Two font. It is a “Liaison amoureuse” between the Sans Serif typeface and English manuscript style. Decora Two is the second of a series of typeface that enables graphic arts professionals the flexibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is a boon for manipulations of both vector-based and pixel-based graphic programs. Typographers worldwide, whose alphabets derive from the Roman one, depend on such innovations in order to meet increased demands of modern communication. This typeface enriches the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide!

We, GalaStudio (Lilia & Galina) represent the SlimOne BESTIARY font from our MELTING FONTS collection. It is a decorative style version of the SlimOne font family, which we designed by playing with glyphs: we converted them into funny animals and thus created a "zoo". One can use the BESTIARY font for children's books and notebooks as well as for all kinds of funky advertising, social media, greeting cards and comics. INCLUDED: GS_SlimOne_Bestiary.otf GS_SlimOne_Bestiary.ttf Numbers, additional glyphs & basic punctuation are included. PERFECT FOR: using in books titles, textbooks, notebooks, different brochures and advertising, especially for kids, home-ware design, packaging design; magazines, posters and flyers titles; logos design, books design, fashion design, slogans etc. :) Multilingual support included for the languages based on Latin alphabet.

Standly is a bold brush script that is beautiful and unique, it is a model of a calligraphy writing style. Font features included: - Contextual Alternates - Standard ligatures - Discretionary ligatures - Stylistic Alternates - Stylistic sets Font files included: - Standly OTF Languages supported: Breton, Catalan, Czech, Danish, Estonian,French, German, Hungarian, Icelandic, Italian, Romanian, Scottish Gaelic, Slovak, Latvian, Lithuanian, Norwegian, English, Finnish, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Welsh. Basically, all european languages that are based on latin alphabet Can be used for various purposes.such as headings, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.

Pacific Script is a font inspired by an alphabet created by Howard Trafton in the 1930s. However, I felt it needed some changes to bring it to the cutting edge of 21st century font design. Though designed as a display font, it works very successfully in longer passages of text, however, it should not be used in font sizes less than about 15 point. Small x height in contrast to extravagant caps gives the font a very dramatic feel. Though it has cursive qualities, the characters in this font do not connect, making it slightly more legible and less like handwriting. The inclusion of 26 alternate upper case characters give the user the freedom to create a hand crafted design. Language support includes all European character sets.

Introducing Harond font, a bold serif font with a retro touch. Inspired by the dynamic and chubby typography style of the 70s, this font exudes a delightful, playful, yet elegant impression, making it ideal for various design themes, especially in the realm of food-related design. Harond is a display font best suited for larger sizes. Its plump form and tight spacing offer a delightful design experience and captivate attention. It's the perfect choice for use in posters, decals, logos, branding, flyers, promotional materials, motion graphics, packaging, and much more! But that's not all you get with this font. In addition to the standard alphabet, Harond also comes with multilingual support and numerous special characters, making it easier to enhance your designs.

The Carlin Script family, inspired by the Carolingian minuscule alphabet (ca 800 A.D.), is one of the great new families available through Linotype's Library's Take Type 5 collection. Take a closer look at these beautiful characters; with them, one can create a different, more personal feeling than commonly comes from more available script and chancery fonts. Like a monk with his writing table, German designer Hans-Jürgen Ellenberger created this new design, which includes 10 different weights, bringing scribal excellence directly to your keyboard. The Carlin Script family includes an additional Initial set-allowing the creation of medieval-flavored drop or initial caps in snap. And the critics are raving: Carlin Script was a winner in the New York-based Type Directors Club's 2003 Type Design Contest!"

Linotype Flamingo, from German designer Michael Leonhard, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. The figures of this font have pieces missing, the curve of an a, the stroke of an n. The eye fills in the gaps, allowing the designer to present a unique font with reductionist forms which can still communicate written ideas to the reader. A small number of forms come together to create the alphabet and the 'missing pieces' make a light and airy overall impression. Linotype Flamingo should be used in point sizes of 18 and larger and because of reduced legibility should be used only for very short texts.

Sard is a modern and sleek sans-serif font designed for maximum readability and legibility. With its clean and cruise lines, Sard is perfect for any project that requires a professional and sophisticated look. Its minimalistic design is versatile and can be used in a variety of settings, from business documents to branding and marketing materials. Sard is a great choice for designers who want a font that is both contemporary and classic. It includes upright and Italic style, each of them has eight weights from thin to extra bold. Font Includes: Full alphabet with Uppercase and Lowercase A-z Numbers, fractions Punctuation and symbols Alternates for uppercase "C, K" Alternates for lowercase "a, с, e, f, g, k, t, y" Standard ligatures "ff, fi, fi"

From the basement labs and after hours lounge of R?U?S?S?T Institute, we present After 5. With a somewhat formal (ha ha) yet warm, friendly feel, its normally calm, even tempered and sensible rhythm takes on the syncopated, jazzy beat that goes along with too many martinis when discretionary ligatures are turned on. A friend once asked, was I trying to design a font that looked sort of �Korean?� I said no, I was trying to mess up the Latin alphabet. So, here it is: After 5, a bold, upright condensed slab-serif display typeface with a mixed-up attitude. Complete with bold roman and matching italics. This attention getting font is ideal for Posters, headlines, Packaging and logos.

Anelo is about beauty with objectivity. A handmade sans serif with a humanist style. 889 Latin and Greek glyphs covering lots of Western and Eastern European alphabets. You can use Anelo from a LaTeX equation (there are 117 Greek/Coptic glyphs; please see image #6 in the gallery for an example of an Anelo/Computer Modern combination) to billboards and traffic signs. Its crisp, upright, handmade aspect takes communication to a direct and personal level. Anelo has some important OpenType features, like kerning, standard ligatures, old style/tabular/proportional figures and diagonal fractions. There are 25 currency symbols, including Euro ₠ €, Shekel ₪ and Bitcoin ₿. Each Anelo style has a condensed version, which gives room to many interesting combinations. For best results on screen, the Semibold Family is recommended.

Decora one is a typographic innovation. It is the first of a series of typeface that gives the typographer and other graphic artists the possibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is suitable for manipulations in both vector-based and pixel-based graphic programs. Typographies in countries worldwide, whose alphabets derive from the Roman one, are dependent on such innovations in order to meet the increasing demands of modern communication. This typeface implies at the same time an enrichment of the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide.

The Roman alphabet has seen endless variations in interpretations of its classical form, and various wood type styles managed to explore everything from XXX condensed to hyper extended and expanded. This delicate and handsomely proportioned extended Roman was issued by Page Manufacturing Co. in 1872 and released as simply “No. 251” after Page was acquired by Hamilton. It is a rare font to find in print shops, most likely due to the very fine lines that would no doubt be less durable that bolder gothic jobbing fonts. While being quite wide, it still holds the elegant grace of wide Romans such as Craw Modern. This new digitization features a full Western and Eastern European Character set as well as ligatures and alternate characters.

Ezekiel Script is the font become flesh—mythic gesture imposed upon forms of mechanical medium. Typography has changed the internet; our phasing mimetic desires tend toward posture rather than rationale, and the face is a concept that explores that concept. Obviously some reading of McLuhan has infliunced this concept of analysis. The script has ample diacritic extensions, as well as an alternative for the ampersand (characteristic of MYSTERIAN type) and the eszette: an upper and lower case. The upper and lower case alphabets are diverse in that the majuscules do not have linking strokes while the miniscules do. This was the first script that I've made, and great attentiveness was taken to ensure that links were set accurately, and spacing harmonious throughout.

Giga Sans is a modern sans serif font with a clean and elegant geometric touch. Consists of 9 uprights and 9 matching italics ranging from Thin to Black. Besides being suitable for strong headlines, Giga Sans can also be used for long paragraphs such as news content, magazines, brochures, catalogs, logotypes and more. Giga Sans also has OpenType features such as stylistic alternates, old style figures, tabular figures, fractions, localized forms, superscripts, subscripts and also supports Cyrillic alphabets. There is no doubt that Giga Sans will make it easier for you to mix and match typography in graphic design, website, motion graphics etc. It would be more interesting if you pair this font with our script fonts like Hokyaa, Windtalker or Garris.

Patmos Sans is a carefuly hand crafted sans serif font, inspired by the art of the cyrillic calligraphy, as well as the script of the Greek Orthodox art. The font contains Latin, Greek and Cyrillic alphabets and supports Central, Eastern, Western European, Baltic, Turkish, Greek and Russian languages. Patmos Sans has a variety of stylistic alternates and classes, titling altrenates, discretionary and standard ligatures and it is fully unicode-mapped (PUA encoded). The standard ligatures of the font, are 4 decorative ornaments, that you may add at the end of a word and they fit perfectly with the titling alternates. All you have to do is to make sure that ‘standard ligatures’ are activated in your application, then type "d" and a number from 1 to 4.