Charming 80's retro inspired typeface with wonderful versatility given it includes 30 fonts. This is a perfect for any project Inspired by magazine adverts from the 70's and 80's - this family fit right in with bringing retro back into the 21st century. Super-versatile - have a scroll through all the preview to see the very wide range of variety the Avantime back can manifest the possibilities are really quite endless :) Avantime Font Features: 30 fonts Full Set of standard alphabet and punctuation PUA Encoded - no special software needed to access extra characters Language support: All European languages Multilingual Characters

The inspiration for this font came from a wall-writing in Cuba. At first glance we thought: "There is something wrong with the wall-writing." But a closer look revealed, that it just mixed up different stroke-styles. That "feature" became the designing principle behind CA Segundo: Round characters like O, U or C are available either with a fat or a thin stroke, whereas other characters with orthogonal lines come in two different styles – uppercase characters emphasize the vertical strokes, while lower cases emphasize the horizontal strokes. This gives you the opportunity to design just while you type.

This American original was designed in 1901 by Frederic W. Goudy for the American Type Founders in Jersey City. Copperplate Gothic is an all caps font which looks like a sans serif at first glance. But closer examination reveals tiny, pointy serifs which almost seem to round off the letters. Designers rely on this font’s lofty and sublime impression and it is often seen in advertisements, but it has also made a place for itself in private and business correspondence and corporate design. The AB and BC designations in the style names refer to the relative sizes of the capitals and small capitals.

Linotype Sketch is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. German designer Dieter Kurz gave his display font a calligraphic character. The forms lean slightly to the right and have a spontaneous and individual look. This light, cheerful font also displays a harmony among the forms and gives text a personal touch. Linotype Sketch combines well with modern text fonts which have the same narrow proportions. This font is well-suited for headlines and short and middle length texts with point size 12 or larger.

A title is something strong. Something that leaves its mark through time, in the memories and in the hearts. A title tells things about the content, its purpose, its meaning, its point. For your needs in strong titlecase letters comes Anthracite. Looking almost like they were carved out of raw wood in the 1820s, the letters of Anthracite will not only imprint well but they will also impress. Its carving gives a feeling of relief, or shades, of textures that will be unique every time you use it. The perfect font if you want to stand out and be read.

The Bustani™ typeface is a typographic interpretation of Naskh, a principal calligraphic style of Arabic script. Designed by Patrick Giasson and Kamal Mansour, Bustani is the first OpenType® font to offer full classical Naskh contextual shaping, while supporting all the numerous languages that use the Arabic writing system without the need for auxiliary plugins (an OpenType compliant application is required). Through the use of OpenType® stylistic sets, Bustani features intelligence to choose the appropriate letterforms for faithful interpretation of Naskh calligraphy. Bustani supports Arabic, Farsi, and Urdu – in addition to many other languages. While primarily intended for setting literary text, the Bustani typeface can also be used in a broader variety of projects that require classic, graceful shapes. “The face shines in environments where the text is given breathing space,” says Giasson. “This includes poetry, literature and artistic publications – perhaps even adding a bit of flair to parking tickets,” he quipped.

For the next generation, Atiku is the font of choice. This one-of-a-kind and opulent font family was designed from the ground up with beauty and exoticism in mind. Customers recognize the value, sophistication, and uniqueness of your brand with just one glance. Each style in this impressive collection was created to help you get the most out of your designs: ads, posts, and a slew of other creative projects are all made easier with this lovely typeface. This font can be easily optimized for any project or client thanks to its many OpenType features and 18 different styles. With our newest font family, you’ll be able to create stunning looks in minutes. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

The design of this typeface was inspired by old Slavonic handwritten fonts. This font includes about 500 Cyrillic ligatures.

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

Features: Palmer Lake Print: Uppercase letters, numbers, & extended punctuation Palmer Lake Script: Lowercase letters, numbers, & extended punctuation Non-English support for the international designer Same stroke thickness with each font, so you don't need to make any time-consuming adjustments to get it looking right! Palmer Lake Print (uppercase font) letters are the same height as the Script lowercase letters, so making quotes is super easy! This is such a fun new duo, perfect for creating quotes, logos, or just adding a hand-written touch to any project! While other fonts usually take some size adjusting to look just right, Palmer Lake duo has the same stroke thickness for both fonts, so you can set each font to the same size and you're done! Plus, the uppercase letters of the Print font are the same height as the lowercase letters of the Script font (see the samples), so lining them up with one another is a breeze! Each font also has alternates for each letter, so when you type uppercase or lowercase for each font, the letters will change slightly. For example, tying in all caps with the Script font will connect each letter, whereas typing all lowercase will disconnect each letter. Test it out for yourself in the box above!

Cal Roman Black is one more font from the PKG “Cal” (Calligraphic) group. This time for calligraphic sketches we used a wide brush instead of the iron pen. Instead of minuscule letters, there are Small Caps (which are almost the same weight as capitals). There was an intention to keep the spacing as small as possible, because of that, there is no obvious difference in the stroke thickness of the capitals and the lowercase capital letters. The difference in height is only one-third of the brush-width. Cal Roman Black font is rhythmic, informal, dark and hefty... romantic and strong at the same time (just like Ferdinand). As such, this font is widely used in the typographic creation of shorter and closely packed text forms such as magazine headlines, brochures and book covers, t-shirt designs, logos, posters, movie spots, banners...

Introducing the IMars Font - the future of typography is here! This sleek and modern font is the perfect addition to your design arsenal. Its clean lines and minimalist elegance make it ideal for contemporary, sci-fi, and space-themed designs. But that's not all - the versatility of the IMars Font also makes it the perfect choice for branding, adventure, and music projects. With its cutting-edge design, this font will bring your projects to the next level. Whether you're creating a stunning sci-fi movie poster or a sleek and stylish brand identity, the IMars font has you covered. So why wait? Get creative and try different styles and kerning combinations to find the perfect look for your project. Embrace the future of typography with the IMars font today! Try different styles and experiment with kerning for best results.

Column Sans, talking about space efficiency. The character set that condensed can maximize the use of limited space without losing good legibility aspects. The typeface is very appropriate to be used as a text in a small column widths, display text, caption, title, author credit on the film, etc. Column Sans is available in OpenType format in the three weights Light, Regular, and Bold, whereby there are corresponding italics for all variants. In the same narrow italic versions, the "a" has a closed form while the "f" has a descender. Besides of standard ligature, this typeface is also equipped with some additional ligature and deligature like "fr", "tt", "cb", "ch", "ck" and so on as well as three "stylistic ligature": "the", "Mr" and "Mrs". Please find more information about the OpenType Manual of this typeface on the gallery page (pdf) if possible.

This family was inspired from the set of fontfaces used by Francisco Del Hierro, to print in 1726 the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Diccionario de Autoridades). These two Transitional styles are said to have been the first set of official typeface in Spain, like the French “Reale” (take a look at our "[/fonts/glc/1790-royal-printing/ 1790 Royale Printing)". In our two styles (Regular & Italic), fontfaces, kernings and spaces are as closely as possible the same as in the original. This Pro font is covering Western, Eastern and Central European, Baltic and Turkish languages, with standard and “s long” ligatures and twin letters in each of the two styles and a few Italic swashes inspired from the font used in 1746 by the same printer for another edition from the Royal Academy.

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

The history of Aerolite, from Jan Paul: "The Aerolite fonts are essentially stripped down versions of a complex outline typeface I designed for the first Midnight Oil album in 1978, affectionately known as "The Blue Meanie". Many years later I saw the font "powderworks" and asked Brian Kent if he would be interested in digitizing Aerolite. Brian is a font (!) of knowledge and was of invaluable help by getting Aerolite to where it is today. Special care was taken in keeping the distinct character while as Aerolite Regular also providing a legible, thouroughly kerned body type which can be used in all sizes for large volume text." For the Pro version the kerning has been tweaked further, and the character set completed and expanded - and the alternate uppercase A (also with accents) is available as OpenType stylistic alternates. It is now ready for your next international science or sci-fi project. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

SGT PEPPERS LONELY HEARTS CLUB is a typeface inspired by the capital letters on the bass drum in the Beatles' Sgt Pepper album cover. The original lettering was hand painted by fairground artist Joe Ephgrave during March 1967 in an art deco style he called 'futuristic'. The font completes the uppercase, adds a lowercase, and includes a full complement of over 400 characters. SGT PEPPERS OUTLINE and SGT PEPPERS OUTLINE FILL are two fonts with matching spacing and kerning that can be overlapped for creating bicolor/multicolor effects and faux drums. The Outline and Outline Fill fonts do not contain lowercase characters, instead they comprise two weights of outline capitals as painted on the Sgt Pepper drum. The uppercase letters are in the wider style from around the outer edge of the drum, and the lowercase keys deliver the more condensed 'Lonely Hearts' inline style from the middle of the drum. The uppercase Y has been flipped to produce a more conventionally acceptable character with the thicker diagonal arm on the left. However, Joe Ephgrave's reverse Y (with inline) is included in the Outline fonts at the Section keystroke § (Alt-0167 on Windows). A simplified vector image (mono) of the bass drum without lettering is also included within the Outline fonts at the PlusMinus keystroke ± (Alt-0177 on Windows).

Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society's usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design. To those adventurous types (pun intended), Canada Type presents this new face called Go. It is very much a child of the new millennium, inspired by the unmistakable minimalist style of modern 21st century corporate logos, recent design shifts in electronic music and club-marketing collateral, and disc jockeys who have enthusiasm, energy, precision and total control of each and every vibration traveling from mixer to speakers. Go is an original modern techno-lounge face that offers the eyes pleasing collages of friendly minimal forms that give the words an impression of simplicity and depth at once. This is a font that prides itself on its precise grouping of elements and just enough original creativity in combining those elements. The precision builds the sharp edge sought for modern statements, while the creativity keeps the message rejuvenated, clear and interesting. Go's character set consists of a versatile and unexpected, yet mild mix of the uppercase and lowercase forms, with multiple variations on the majority of the letters. The e being a vertical mirror of G is only the first of the pleasant surprises. More than 30 alternates are inside the font. All the accented characters in Go have been meticulously (perhaps obsessively) drawn to be unusual for logos and short statements. Take a look at the character map and be ready for a space-age surprise. To borrow a Star Trek cliché, this font can Go where no font has gone before.

Spaclar is a captivating display font with a game-themed design, featuring uppercase letters with consistent proportions and rectangular shapes with sharp corners. This font shows uppercase letters with uniform proportions, ensuring a clean and balanced visual experience. Each character maintains the same size and shape, resulting in a cohesive and harmonious composition. This design choice creates a sense of order and precision, reflecting the strategic nature of gaming. The rectangular shapes with sharp corners in Spaclar add a modern and futuristic touch to the font. The clean lines and defined angles exude a sense of sleekness and sophistication, reminiscent of advanced technology and sci-fi aesthetics. This unique feature adds an element of visual intrigue, making this font the perfect choice for game-related designs that embrace a cutting-edge atmosphere. For the best legibility you can use it in the bigger text. Enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Spaclar fits in headlines, logos, posters, titles, branding materials, print media, editorial layouts, website headers, and any other game-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Secret Ring is a captivating display font that will unravel the mysteries of the unknown in your designs. Designed in uppercase and bold, this typeface commands attention and exudes an aura of secrecy and horror. Each letter is meticulously crafted with details resembling plant roots with sharp edges, adding an eerie and enigmatic touch to the font. With its bold weight and uppercase design, Secret Ring creates a powerful and impactful presence. The root-like details in each letter of this font bring an organic and otherworldly appearance, as if the font draws its power from ancient and malevolent roots. These haunting details add an element of supernatural energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of hidden rituals and occult symbols. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Secret Ring fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one. Birthday is a massive package that crosses the traditional font/handwriting solution of 2-letter ligatures and waltzes into the land of 3-letter combinations. Plenty of them, too! The complete Postscript and True Type versions of Birthday ship with no less than five separate fonts full of nothing but ligatures. And for even more realism, an alternates font is also included in the package, for a total of seven fonts of happy handwriting that can be used anywhere and everywhere personalization is of importance to a layout. For layout artists with advanced typography tools that take advantage of the power of OpenType, Birthday Pro is a wunderkind. All the individual letter alternates are accessible through the Stylistic Alternates feature, the 2-letter ligatures through the standard Ligatures feature, and the 3-letter ligatures via the Discretionary Ligatures feature (for the technically inclined: this includes a nice liga-to-dlig crossover, where the maximum number of possible ligated letters is automatically chosen at the push of a button). If you enjoy using OpenType, Birthday Pro is definitely for you. If on the other hand you like your fonts in Postsript or True Type, it is advisable to keep a character map handy while using Birthday. You will need it to take advantage of the many, many alternates and ligatures distributed over the fonts. The next time someone asks you for the perfect casual invitation font is, look no further. And as usually is with Canada Type, quality fonts are more affordable than ever.

This font is named "Halloween Party". This font was intentionally made to add to the excitement of the Hallowen event that will soon arrive. This "Halloween Party" font is very scary because there is blood on it. This font is perfect for adding to the excitement and mysticism of your Halloween event. In addition to Halloween events, this font can also be used as a movie title, book title or something else that is horror, can also be used to write quote words, tell mystical things, or as a horror and mystical pickle invitation card, and others.

Our latest fonts that save beauty in every word order you write with this font. made by paying attention to detailed geometric and paying attention to the perspective of the eye when reading the text using this font, so we made this font design to appear harmonious and comfortable to read. use this font to create a perfect design. This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

Reliant is a free interpretation of the classic design from fonts "BernhardSchoenschrift", originally designed by Lucien Bernhard and "Liberty", designed by W.T. Sniffin for ATF in 1927, following the original designs from Lucien Bernhard. This enhanced OpenType version has complete sets in Greek and Latin alphabet with Central European, Vietnamese, Baltic and Turkish complete resources with all diacritic signs and punctuation marks plus extra characters belonging this ranges. A Cyrillic alphabet completes the font, and we thanks to Dmitry Greshnev from Green Type. He help us to fix our original Cyrillic alphabet to the Cyrillic readers. We added a extensive set of ligatures (stylistic and contextual alternates plus discretionary ligatures) providing a lot of letterform variations that make your design really special, plus swashes and tails ornaments (to artistic increase any letter of this font) more fractions and number ligatures (a strange idea from Iza W). Over 800 glyphs which you have total access using software such as InDesign, Illustrator, QuarkXpress and others.

Modulus Pro, the extensive update to Modulus. This update was built around the original Modulus Font. This rounded sans-serif has a larger glyph set which covers many languages. Modulus Pro now comes in 8 weights from Extra-Light to Black. This updated version was designed with the designer in mind, you have many stylistic alternates to get creative with and make some really cool customised typography. A large range of examples have been designed to show just how versatile and creative you can get with this font family. It's fun but has a cool, edginess to it at the same time. Modulus Pro is not just another rounded sans-serif, you are going to want this in your font list.

Babyface Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a complete set of lowercase and uppercase letters, assorted punctuation, numbers, and multilingual support. Babyface is very suitable for market designs being developed today, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of opportunities every moment is a great way to highlight the celebration of the best of the party, because this font will be an advocate for the purposes such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank you, Attract Studio

Baligline Beauty Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a complete set of lowercase and uppercase letters, assorted punctuation, numbers, and multilingual support. Baligline Beauty is very suitable for market designs being developed today, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of opportunities every moment is a great way to highlight the celebration of the best of the party, because this font will be an advocate for the purposes such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank you,

Beautiful Delight Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a complete set of lowercase and uppercase letters, assorted punctuation, numbers, and multilingual support. Beautiful Delight is very suitable for market designs being developed today, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of opportunities every moment is a great way to highlight the celebration of the best of the party, because this font will be an advocate for the purposes such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank you,

This assertively Art Deco face is based on Cubist Bold, designed by John W. Zimmerman for Barnhart Brothers & Spindler in 1929, and takes its name from one of the co-founders—with Pablo Picasso—of the Cubist Movement. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Lisboa Swash is a display humanist sans-serif typeface and it was designed for big sizes purposes. The uppercase letterforms are much more decorative than the lowercase, but both contain hook-head terminals and few contrast. This typeface family contain stylish alternates characters which are more calligraphic than the main version. This typeface family has different encoding languages (Latin, Central Europe and Baltic).

Spaced out and a bit nutty. This typeface revisits the futuristic atmosphere of the 50s and 60s cartoons and is complemented with an amazing, wacky and super cool series of 50 pictograms, designed by the master designer Dimitris Foussekis. This is a very popular informal typeface which was expanded recently into a ‘Pro’ version that includes Latin, Greek and Cyrillic.

Introducing Calathea! This is an elegant calligraphy font that has a casual and luxurious style. This is an upright script font that is made slowly and thorough which aims to convey the character of the writing that is elegant, neat, simple, graceful, firm and still stylish. Available 584 glyphs in it! So, you can get used it freely and follow the current trends.

This is a display version of the Bergsland Pro serif font family called Bergsland Engravers Pro. The stroke is highly modulated. The width is very wide. This an attempt at a fully useful black serif display font. It has many OpenType features and 474 characters: Caps, lower case, small caps, old style figures, numerators, denominators, accented characters, ligatures, alternative forms, and so on.

This lively calligraphic font was designed by Friedrich K. Sallwey and appeared with Linotype in 1974. Present is distinguished by the buoyant rhythm of its characters, with their flowing forms and stroke contrasts. This contrast lends the font a faint Asian character, which is perhaps what has made the font so popular in international advertisements, an accomplishment usually reserved for text fonts.

This work is inspired by creatures that I have drawn for my six year old boy. The monsters can be found at chrismetcalfe.com. I wanted to take their hair/fur and translate the fun attitude to type. To be honest I think this font is used best as display type. However the fun attitude lends to many usages without structure.

This handy family takes its design cues from Beton, a slab serif designed by Heinrich Jost for Bauersche Gießerei in 1931. A number of characters have been softened by the addition of ball terminals, commonly seen on manual typewriter type in the 1950s. Both versions of this font contain the complete Latin A Extended character set, as well as extended ligatures and fractions.

Soft Aura is a minimalist and simple sans family that have four fonts in total. You will get the regular, italic, bold, and bold italic in the package. You can use this font for any purpose, suitable for contrast logotype and branding. Combine the style fonts, italic and bold in one word to get stylish contrast look. This font also support multi language.