Norando this is a modern and elegant serif font. It carries a bold weight and with it in highlight the main thing, make a title or logo and much more. It can also be more expressive and playful, thanks to the many alternatives and ligatures that are harmoniously combined in this font and make it more attractive and versatile. Try to change the alternatives, ligatures and you will get a lot of options for your project that will make it unique. This font is easy to use and has OpenType features.

The typeface Stempel Sans Print Neo is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on a original set of 29 old rubber stamps (6 cm height). Digitized via hand-stamped, a scanner and Glyphs app. 3 font-styles (Rough, Misprint, Black) with 321 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎or #SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (6 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Stempel Sans Print Neo ■ Font Styles: 3 font styles (Rough, Misprint, Black) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Glyph Set: 321 glyphs (incl. decorative extras) ■ Lan­guage Sup­port (36 languages): Asu Bemba Bena Chiga Cornish English German Gusii Indonesian Kalenjin Kinyarwanda Luo Luyia Machame Makhuwa-Meetto Makonde Morisyen North Ndebele Nyankole Oromo Rombo Rundi Rwa Samburu Sangu Shambala Shona Soga Somali Swahili Swiss German Taita Teso Uzbek (Latin) Vunjo Zulu ■ OpenType features (16): aalt calt case ccmp dlig liga lnum onum ss01 ss02 ss03 ss04 ss05 ss06 mark mkmk ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

The 52 characters assembled by this Gothic font, Prince of Darkness, were once interred in coffins onboard the Russian cargo ship Demeter, when it set sail for the sleepy shores of Whitby, Northern England ages ago. Hunted down by Vampire Hunters for century after century, this noble Transylvanian set has hidden for years in England and Eastern Europe. Now, Prince of Darkness is available as a font with more Layers than Dracula has Lairs.

Rocker Squad is a natural dry brush font that has a cool bold display. It’s perfect for logos, quotes, posters, movies, and every other design which needs a unique bold touch. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Viory is a versatile font family. There are 7 thicknesses that match the italic version. They will complement each other to support your design. Equipped with Stylistic Set, Discretionary Ligature and Alternative Character features. Viory has a smooth shape because the pressure on each curve has been adjusted to the ideal. The impression of an elegant and classic is in this family.

Midnight, Pacific Coast Highway. You're driving home alone at night and your battery's dying. Your headlights have dimmed and you can barely see the road or the signpost up ahead. But there's an eerie green light glimmering in your rear view mirror and that strange warning uttered by the pump attendant at the Devil's Elbow gas station has put the frighteners on you. Is that Satan's face glowering at you through the mist, or something far worse? ⁠The only way to handle this font is with one foot on the gas pedal and one foot on the brake. Originally designed by John Roshell for GAMBIT titles, this sharp font has appeared on vampire & rock magazine covers, Star Wars & Star Trek merch, and the logo for the INHUMANS comic & TV show!

Raveny is a high contrast modern display font by moonbandit, This typeface is a unicase font, meaning that the uppercase and lowercase has the same height. Raveny also comes with multilingual support and several alternates for you to explore.

Ellida is a very elaborate and elegant script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer. I really enjoyed designing this script and maybe one day I will add starting and ending letters. Doing this script was extremely time- and brain-consuming, it is a huge challenge to make calligraphic letters work on computers so that they join perfectly. That's also the reason that this has become my most expensive font so far, but I think the price is fair for the incredible amount of work I put into the script. I really need a break from scripts now! Yours very exhausted Gert Wiescher.

The original Avenir typeface was designed by Adrian Frutiger in 1988, after years of having an interest in sans serif typefaces. The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura , Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. In 2012, Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next to life, as a new take on the classic Avenir. The goal of the project was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. Since then, Monotype expanded the typeface to accommodate more languages. Akira’s deep familiarity with existing iterations of the Frutiger designs, along with his understanding of the design philosophy of the man himself, made him uniquely suited to lead the creation of different language fonts. Avenir Next World family, the most recent release from Monotype, is an expansive family of fonts that offers support for more than 150 languages and scripts that include Latin, Cyrillic, Greek, Hebrew, Arabic, Georgian, Armenian and Thai. Avenir Next World contains 10 weights, from UltraLight to ExtraBlack.

A font drawn in a rounded rectangle looks modern – if we do not mind that it was in vogue mainly in the 80s of the last century and was created in the fifties, when various Italian designers noticed that the outline of a glass TV screen is actually the letter “o“. Since then, this progressive idea has undergone many improvements, which can be summarized in the notion of “popular-scientific typographic revival”. The present incarnation called “Superscience” has the advantage of having extreme variations and nicely simplified letters, as well as the usual repertoire of OTF functions and playful variations.

It took the Italian designer Antonio Pace more than five years to create Linotype Gianotten™, a successful new interpretation of the classic Bodoni types. To re-draw the 200-year-old characters for the world of modern digital technology, Pace studied Giambattista Bodoni's original punches at the Bodoni Museum in Parma. He felt that previous Bodoni interpretations were not well suited for body texts, so he focused his study of Bodoni's "Manuale Typografico" on the types made specifically for text sizes. Consequently, his Bodoni has strong hairlines, rounded transitions and shorter, fluted serifs - elements that help to achieve readability by providing an overall tranquil effect. This contemporary, highly readable family is an excellent choice for text settings in books, newspapers, and magazines. Incidentally, the name Gianotten has nothing to do with Bodoni, but was chosen by Pace and Linotype to honor Dutch typographer, Henk W. J. Gianotten."

Kholodos - the slang name of the refrigerator in Russia. This font contains 383 characters, supports Latin, Cyrillic, Latin-1 Supplement, and also has the symbols of the Ukrainian and Belorussian alphabets. A font feature is a large number of alternates that define the connection of letters. Kholodos - the perfect solution for vibrant retro lettering.

The Mosafin font is a sans-serif typeface that has a modern and elegant design. This font has a very consistent and proportional letterform, and has clean and firm lines, making it easy to read and very suitable for various graphic design purposes. Made with the latest technology and excellent design, the Mosafin font has distinctive characteristics, such as very geometric letter shapes, with sharp angles and clear, thin lines. This font can be used in various media, such as poster designs, logos, business cards, banners, and various other design purposes. This font also has a proportional font size ratio, so it's easy to read at any size

Ratafly is versatile serifed font that can be used for display or text. The family has ten styles, with five weights and italics for each weight. The name Ratafly is a reference to the origin of the family. It began by blending two very different serifed typefaces, Rataczak and FlyHigh. After a lot of cleaning up, the end result is a family that works better for book text than either of the parents.

Heyday is a font in its prime! This font was inspired by vintage style typography with the use of thick rounded serifs, while the shape of the letterform has a contemporary edge which brings it into the modern day. This combination of classic and modern creates a unique look and feel that enables the font to feel at home in any era. The Heyday family consists of a serif and sans weight.

With Linotype Albatross, Hans-Jürgen Ellenberger has played with flames that come out of the exhausts from Michael Schumacher's Ferrari, or the hot rod cars in America, or at tractor pulling contests. This gives this sans serif face a speedy and wavy flavour. It fits ideally for speedy headlines like for bikers couriers.

Just when you thought every possible fat alphabet has already been done, Kofi shows you that there still are plenty of good ideas left in the genre! Kofi is simply fat, fun letters that scream for attention and promise delight. This package ships with two fonts, the second constituting a busload of alternates.

This font was made possible by creating a custom brush in Illustrator. I started with a flat brush dipped in India ink to create the stroke. From a scan of that stroke I made a vector tracing which I then I altered as necessary to get the desired dimensions. The lower case letters have a thinner stroke than the capitals.

When I was surfing the internet, with rock n 'roll music. I accidentally found a picture of a hotel sign with a very unique style, namely: Mid-century Modern (MCM). It looks very pretty and charming to me. And inspired me to create Font Family. And I am proud to present the Vallery Hills Font Family. This font is in the Retro style of the 50s to 60s. Okay, here are the specifications. 1. Vallery Hills Schrift There is one unique thing about this font. Usually, script fonts with Retro style always have an angled anatomical shape, but I made this font upright. The goal is to make a difference with other script fonts I've seen. By the way, this font comes in two styles, namely: Regular and Bouncy. Why do I make it like that? Because I want to make this font into two different functions, namely: If you want to make it a Display Font, which is usually used for Headings, then use the Bouncy style. And if you want to use it as Bodytext, then use Regular. 2. Vallery Hills Sherift This second font is a font that is very synonymous with the Mid-century Modern (MCM) era. A very distinctive form of the serif font of that era. Similar to the first font, this font also has 2 styles, namely: Regular and Bouncy. You can combine this font with the other two fonts in Vallery Hills. It could be Title, or Bodytext. And you can also combine two styles, namely: Regular and Bouncy. Try! 3. Vallery Hills Suns Sherift This last font is Sans Serif. Also has 2 styles like his two brothers, namely: Regular and Bouncy. The goal is actually the same. I am sure you are cooler to create a design that uses this font family. Well, there is one advantage of this font from its two siblings, which is that it has a feature, namely: SMALLCAPS. Which will be an option when you are bored with the mediocre shape or style of Lowercase. Try combining the Smallcaps with Uppercase or Lowercase. Must be cool! : D Oops, almost forgot. This font consists of several font formats, namely: OTF, TTF, and Webfonts. And of course everything is MULTILANGUAGE. OK, friends. That's all I can describe about the Vallery Hills Family. Hopefully it will please all of you. Cheers!

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Looking for a font that feels both cozy and stylish? Look no further than Comfy Cozies. This organic sans serif font has a skinny form that gives it a light and airy feel, while the regular and slanted styles offer versatility and creative potential. Whether you're designing for a playful brand or a casual event, this font will add a touch of warmth and charm to your work. Features : Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual 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.

Rephone is a handwriting font that has a force and rush personality but still beautiful. Each letter was made with love so that it can work well with one another. Rephone are designed to work well on the design like invitation, clothing, photography, branding, album covers, signature and the style that can work well with this font. Rephone support Multiple Language & OpenType features, that can allow you to choose a character that you like and suitable for the project you're working on.

Spooky Monsta is a spider web display font. This font is inspired by an old embossed nameplate with cobwebs in it. So I made it a font. This font has an uppercase and lowercase version that doesn't have a cobweb, so you can be more creative. In addition, this font has a ligature feature that makes the cobwebs of each word cooler. Spooky Monsta would be perfect for Logo, title, logotype, cover, headline, apparel, comic, cover books, cards, posters, or anything that requires a horrror or scarylook!

This Font is inspired by the Nintendo game: Tetris® It has 2 styles: BOLD and THIN. They both have simulated greyscale and can be used out of the box like you see them on the pictures. It comes with more than 450 glyphs per style. More than capable of supporting all european languages, small caps and different numeral figures.

Debrosee is a font with a modern, luxurious, classy and different style from the others. Debrosee has uppercase, lowercase letters, numbers, and symbols that are elegant, modern and according to the standard. This font suit for modern style letter, example for logo, sport, adventure, fitness, and other masculine styles. This font also supports 17 languages ​​(see in the preview image).

Satisfice is alteration of satisfy, influenced by Latin satisfacere. The formal use dates from the 1950s and I hope that with this font you as a user of this font can feel satisfied using this font. Satisfice is a modern serif typeface. Clean, delicate, classic and has a characteristic. Please let me know if you have any questions. Lettercorner Studio

Rettyllda is a script-typeface that seems like it was handmade. This typeface has an exquisite, simple, lovely blend and harmony between letters, making it ideal for your particular project. Yes, as you can see, the ligature that gives this Rettyllda font its beauty and sensuality may assure beauty and sexiness in your creative project works. Not only that, but this font has a genuine handwritten feel to it, which has been developed to create a portion and composition that matches your demands. As a result, this typeface is appropriate for craft projects, children’s writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotations, social networking page covers, and furniture banners, headlines, book covers, and much more.

Introducing Kaylani – a Vintage Script Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: - uppercase & lowercase - numbers and punctuation - multilingual support - ligature - alternative - swashes - PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature. Happy Designing!

Introducing Niraloka – a Serif Vintage Display Typeface. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! Feature: uppercase & lowercase numbers and punctuation multilingual support ligature alternative swashes PUA encoded We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Please read the READ ME file to enable the feature.

Lingkari Heart is a new vintage handwritten font. This font is perfect to be applied especially in logos, packaging, headlines, posters, t-shirt/apparel, greeting cards, wedding invitations, and other project. As you can see at the previews, this font has unique swashes that allows you to create beautiful lettering in a snap. Lingkari Heart has many stylistic set alternates that you can choose from.

Introducing GGX89, the ultimate display typeface with a minimalist look that exudes Swiss-style sophistication. With its tight spacing and sleek lines, GGX89 is perfect for creating eye-catching headlines, logotypes, and titles that demand attention. Inspired by the iconic mid-20th-century sans-serif typefaces like Helvetica and Univers, GGX89 embodies the essence of Swiss graphic design, a style known for its simplicity, clarity, and precision. Its clean and straightforward design is sure to make any project look polished and professional. But GGX89 isn’t just all looks. It’s also incredibly versatile, making it a top choice for a wide range of design applications. Whether you’re creating marketing materials, advertising campaigns, or editorial designs, GGX89 has got you covered. And if you’re looking for a font that’s equally impressive for body text, look no further than GGX88. Together, these two typefaces offer a complete and cohesive design solution that will elevate your work to the next level. So why settle for anything less than the best? Choose GGX89 and GGX88 for your next design project and experience the timeless elegance of Swiss-style typography at its finest. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.