A collection of DIN Mittelschrift variants with some typical grunge style treatments. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) 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.

Dever’s brute, industrial lines are rounded up in this new typeface from Jeremy Dooley. Dever combines plenty of inspirations. It’s the flair of the Wild West melded with a shout out to the sign painters and package lettering artists of the 1800s. Dever’s big, bold, and handy frame moves through all three of the family’s strapping members. First is the sans. No doubts on what this brother’s like. Dever Sans is as straight-forward as you’ll find in this family with its four separate weights and numerous distressed options. The second of the kin’s a bit of half-breed, you might say. Pointed serifs bring a sharpness to this outfit. Rounding out the family is Dever Wedge, a bit of wild rodeo all its own. This poke’s a quick draw with any of its 107 font, and with it’s auto-replacing alternates, no two repeating characters are alike. You’re guaranteed a great show anytime Dever leaves the chute. The route to Dever was long, with many a switchback. The Wedge variant was designed first, shelved, then developed into Plathorn. But I wanted to return to those brutish forms and decided to round out the family with a sans, serif and plenty of other options. Any of the Dever family have an extended character set including Central and Eastern European languages. The strong faces have specially adapted sub-families, too, so they’re bound and determined to have an outstanding impact at whatever size you use ‘em. It’s a hard ride ahead corralling all those words. Be sure and add these able-bodied boys to your posse today!

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L. NO:8 Font's Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer. But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font. The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

Patricia Gothic is a Midwestern take on the traditional American sans serif style. It has been designed as a legible workhorse typeface family with just the right amount of character to add liveliness to your text. A hybrid of the gothic style and contemporary geometrics, its design has also been influenced by everything from vernacular signage, antique hand-lettered ads, early 20th century posters, and type used on mason jars. Its thinner weights can appear elegant, refined, and modern. Its regular weights set nicely legible text. And the heavier weights, especially the small caps, evoke vintage poster lettering. Download the Patricia Gothic PDF specimen

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Another variant to the ever-popular Art Deco sans lettering with solid centers (no counters) was found in the hand-lettered title on the cover of the 1933 song "There's A Ring around the Moon". This became the basis for the digital typeface Moonlit Walk JNL, available in both regular and oblique versions.

While watching the 1947 holiday classic “Miracle on 34th Street”, one scene in particular presented a chance to develop a retro type design. ‘Kris Kringle’ suggests to a mother visiting with her child in the Macy’s toy department to try Gimbel’s for a toy she couldn’t find at the store. The news of this behavior reaches Mr. Macy himself, who embraces the practice as a brilliant marketing strategy. A number of departments are then presented with reference books containing competitor ads, and the visual of the cover stating “R.H. Macy & Co. Shopping Guide for the Convenience of Our Customers” shows on screen. The thin, Art Deco sans serif monoline with a few serif-like hooks added onto some characters became the basis for Shopping Guide JNL, which is available in both regular and oblique versions.

Sheet music from the 1911 stage production of the comic opera “The Enchantress” featured the hand lettered names of both the star and composer in a monoline Art Nouveau style. This sans serif type design is now available as Theater Nouveau JNL in both regular and oblique versions.

Tisdall Script is based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for Jonathan Cape in the 1950s. Michael Harvey, also a designer of lettered book jackets, long admired Tisdall’s style and so, with the blessing of his widow, designed this typographic tribute. The augmented Tisdall Script Plus version, has many alternative characters and ligatures, together with Opentype features, to enable their automatic substitution where the application in which they are used permits.

At home we love bananas: the kids take them to school for ‘snack time’, they’re healthy and they look pretty as well! Republica Banana is a pun on the term Banana Republic, which was coined by American author O. Henry in 1901. In economics, a Banana Republic is a country that is run as a private commercial enterprise for the exclusive profit of the ruling class. Of course I can point out a few countries that fit this description, but let’s not get into that. Republica Banana is a very nice, hand painted brush font. It comes with double letter ligatures for the lower case and a lot of diacritics for you to play with.

Introducing the new font Hudiya. This font suitable for use in a variety of design fields, such as event advertisements, product promotions, mug design, book titles, activity titles, logos, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. Features: - Uppercase - Lowercase - Number & punctuations - Multilingual Accents - 5 StylisticSet - 1 Stylistic Alternate - Standard Ligatures - PUA encoded I highly recommend using a program that supports OpenType featuresand Glyphs panels such as Adobe Illustrator, Adobe Photoshop, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access toall additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/ application. I hope you enjoy the font, thank you.

Introducing the new font Bouncy Manuscript Font. This font suitable for use in a variety of design fields, such as event advertisements, vintage design, product promotions, mug design, book titles, activity titles, logos, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. Features: - Uppercase - Lowercase - Number & punctuations - Multilingual Accents - 2 StylisticSet - Ligature - PUA encoded I highly recommend using a program that supports OpenType featuresand Glyphs panels such as Adobe Illustrator, Adobe Photoshop, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access toall additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/ application. I hope you enjoy the font, thank you.

Introducing the new font Incredible Friday - Handwritten Textured Font. This font suitable for use in a variety of design fields, such as event advertisements, product promotions, mug design, book titles, activity titles, logos, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. Features: - Uppercase - Lowercase - Number & punctuations - Alternates and Ligatures - Multilingual Accents - PUA encoded I highly recommend using a program that supports OpenType featuresand Glyphs panels such as Adobe Illustrator, Adobe Photoshop, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access toall additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/ application. I hope you enjoy the font, thank you.

This antique-aged version of Monkton can be used to imitate old letterpress printed documents such as old English text. The rough edges resemble ink spread on paper to give an old look. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Blend is a hand drawn collection that takes its cues from the visual universe of bakeries and coffee shops. The name refers to the combining of different kinds of coffee beans to get a balanced taste, and Blend does just that, although here each typographic flavor can also be enjoyed separately. Projects such as branding, children’s books, wedding invitations and labels are sweetened with this cute family. The bouncing informal Script programmed with Open Type offers a wide range of features like ligatures, swashes, endings, initial forms and lots of alternates. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. Keep the Standard Ligatures feature always active. For further information about features and alternates, see the User Guide Blend has extensive Western, Central and Eastern European language support. Make some coffee and enjoy!

Compasse is a semi-condensed sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 12 style: six weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the large x-heights increases legibility and readability. The basic skeleton of their letterform was not designed over-modularly but moderately semi-modularly (adjusted by designer's experience). Therefore the typical artificiality and unnaturalness which come from module-design does not exist in this family. The sophisticated letterform and its universal, neutral, and standard design make it possible to be used across a wide range of applications in all medias, all purposes. Compasse supports almost all european languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

The name suggests it: the Chiq is based on a well-known system font from Apple's classic Mac OS operating system. By revamping and expanding good old “Chicago“, I want to make that 90s tech charm available for the future. The model consisted of just a single style and inspired me to create “Chiq Bold,” which later became the starting point for the entire font family. The shapes of the Chiq are constructed according to a very simple principle. The contrast of stems and hairlines becomes more pronounced towards the bolder cuts. A few basic shapes form the framework for all characters. The shapes are very regular and sometimes form somewhat unusual figures, which has a negative effect on readability and makes the font rather unsuitable for long passages of text, but results in a very even typeface. This is particularly true for the extra-wide “UltraExpanded,” which is so wide that you can no longer recognize word images but literally have to spell them out. In this way, words are turned into letter bands with a great decorative effect. With variants from “Light” to “Black”, from “Normal” to “Ultra Expanded” and the italics, Chiq reaches beyond its archetype. This opens up a wide range of uses. It is even clearer, even more sober, and to a certain extent speaks an even more modern formal language. Chiq is also a variable font!

This heavyweight poster sans is based on the typeface Samson, designed by Robert Hunter Middleton for the Ludlow Type Foundry in 1940. The slanted uprights suggesting brushwork make this face a perfect choice for casually commanding headlines. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

This unique font is characterized by the presence of only one sharp serif, skillfully positioned to give it an aggressive and distinctive appearance. This typographic singularity seamlessly blends the minimalism of sans-serif fonts with the visual intensity of a serif, resulting in a design that will undoubtedly catch the eye and make your message stand out.

Another addition to the Whiz-Bang Wood Type series is this ultra-condensed font, well suited for very large headlines. Named for the body of water which separates Padre Island from the mainland of Texas. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

introducing ADVENTUROS - a fresh dry brush font - This font is great for branding, packaging, logos, cards, apparel, quotes, banner, social media, and another project that needs urban style. Adventuros is All Capital fonts, but the uppercase and lowercase characters are totally different. You can combine them as you like. I also created 52 swash to complete this product. They will be a perfect combination. Features: Uppercase Lowercase Number & Punctuations International language Swash PUA Encoded Hope you love it. Grab it fast! regards, Abo Daniel Studio

Galvantur Grand is an uppercase-only display font, intended to be used for attention demanding titles and headers, or generally any form of text that needs to take center stage. An offshoot of the Galvantur font, Galvantur Grand takes things one step further towards the extreme, to really give your design projects that special flair. Characterized by the double lines and negative space between them, this powerful font can make any form of text stand out strongly. The multiple styles included can further help customize your designs and projects, to get the perfect feeling you're going for. Comes in 7 different styles - Regular, Oblique, Light, Light Oblique, Outlines, Light Outlines and Oblique Outlines. To get an idea of the various styles, please check out the images or use the preview field to type in text. Galvantur Grand supports Latin and Cyrillic based languages. IMPORTANT: This is an uppercase-only font. Typing out lowercase characters will look exactly like typing out uppercase ones. Furthermore, it is recommended that this font is used with bigger sized text.

Kulturista is an unmistakeable linear slab serif typeface with pronounced rectangular serifs. The drawings are based on the sans-serif Nudista typeface, and Kulturista also inherits Nudista’s distinctive narrowed character proportions, range of weights and glyph sets. The italics are inclined sufficiently, and have the same width and colouring as the plain styles. They aren’t just a mechanically-slanted version of the basic styles, as is often the case for typefaces derived from geometrical images — a whole range of characters have their own drawn variants, which greatly strengthens their highlight function. The italics are therefore an equal partner for the roman styles. Kulturista is definitely a good choice for a headline typeface for magazines and book covers. The range of boldness can come in handy when editing sections, headlines and supplements. The typeface understandably proves itself as a healthy foundation for a unified visual style, and holds up at display sizes as well as on shorter texts.

Rameau for classic elegance The type family Rameau™ was designed by Sarah Lazarevic She started with the italics; these she derived from the manuscript of the opera Les fêtes de l´hymen et de l´amour", the music for which was composed by Jean-Philippe Rameau in 1747. In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period. Rameau exhibits much of the harmonious rhythm associated with genuine manuscript. The marked Antiqua contrasts make the pages on which the font is used quite literally sparkle. This effect is enhanced by the excessively sharp terminals and the prominent serifs of the upper case letters. This highly legible and stylish type family can be used for printing high quality books, invitations, menus and all kinds of texts - anywhere the grace and elegance of France in the 18th century is to be invoked."

Novalion s a condensed variable sans serif font with with many weight you can choose. It has 8 weight styles which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : variable font with 8 weight style uppercase & lowercase numbers and punctuation 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.

Born on May 8, 1892 in Reno Nevada, Lewis Franklin (“Lew” ) Hymers left an indelible mark as a caricaturist, cartoonist and graphic artist. At the age of twenty [in 1912] he worked for the San Francisco Chronicle. During World War I he worked for the Washington Post. He even was employed for a time by Walt Disney as an animator - but most of his life was spent in either Tujunga, California or his birthplace of Reno, Nevada as a self-employed illustrator. Hymers inked a feature for the Nevada State Journal called “Seen About Town”, which was published during the 1930s and 1940s. In this panel, he caricaturized many of the familiar faces around Reno. He also designed signs, logos, post cards and numerous other commercial illustrations for clients, but what has endeared him to a number of fans was his vast library of stock cuts (the predecessor to paper and electronic clip art) which feature his humorous characters in various professions and life situations. So popular is his work amongst those “in the know” that a clip art book collection of over seven hundred of his drawings that was issued by Dover Publications [but long out of print] commands asking prices ranging from just under $15 to well over $100 for a single copy. Lew Hymers passed away on February 5, 1953 just a few months shy of his 61st birthday. Although his artwork depicts the 1930s and 1940s lifestyles, equipment and conveniences, more than sixty years after his death they stand up amazingly well as cheerful pieces of nostalgia. The twenty-seven images (and some variants) in Hymers JNL were painstakingly re-drawn from scans of one of his catalogs and is but just a tiny fraction of the hundreds upon hundreds of illustrations from the pen of this prolific artist.

Steinweiss Script began its journey towards daylight when Michael Doret was asked by Taschen Publishing to do cover lettering for the huge commemorative edition they were putting together on the work of Alex Steinweiss—“The Inventor of the Modern Album Cover”. The lettering was to be created to appear similar to the famous “Steinweiss Scrawl” the calligraphy that Steinweiss had used on countless album covers. While designing this piece of lettering, Michael realized that there was great potential for a font that was designed in the spirit of that famous “scrawl”. Through his contacts at Taschen Publishing, he was fortunate enough to be able to contact the Steinweiss family, and get the official Steinweiss approval to proceed with his “Steinweiss Script” project. Michael decided that in addition to giving the font his name as an homage, that he would donate a portion of the proceeds from the sale of this font to the man himself: Alex Steinweiss. Read more about the background of Steinweiss Script in Steven Heller’s article in Imprint. Steinweiss Script is a family of fonts in three weights: Light, Medium, and Bold. Additionally, within each weight there are three variations: Simple, Fancy, and Titling. These variations relate to the size/ratio of the caps to the lowercase, the complexity of those caps, and the size of the ascenders/descenders on the lowercase characters. These variations add usefulness to the font, making it accessible not just for headlines, but for longer passages of text as well. For a better understanding of its unique features please download The Steinweiss Script Users Guide from the Gallery section. PLEASE NOTE: the three Steinweiss Script fonts are cross-platform fonts which depend to some extent on certain advanced OpenType features, therefore they can be used to their full potential only with programs that support those features. When setting Steinweiss Script one should almost ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Mintaka is a gorgeous and retro-styled script font crafted to add tons of stylish character to your designs. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! This font can be used for logos, branding, invitations, stationery, wedding designs, social media posts, and much more! Mintaka Features : Ligature Kerning Stylistic Alternates Swash PUA encoded which means you can access all glyphs Multilingual Support

Stairway is a modern and elegant calligraphy script font that comes with exquisite character changes, a kind of decorative script with a modern twist, designed with high detail to present an elegant style. This font is very interesting for you to use because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many luxurious and simple letter relationships. This font style is perfect for your various designs, such as invitations, labels, restaurant menus, logos, fashion, makeup, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels and others. Stairway has 602 glyphs and 392 alternative characters, including multiple language support. With OpenType features with alternative styles and elegant ties. The OpenType features do not work automatically, but you can access them manually and for the best results required for your creativity in combining variations of this Glyph. The Open Type feature can be accessed using smart Open Type programs such as Adobe Illustrator, Adobe In Design, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this font has provided PUA unicode (special code font). So that all alternative characters can be easily fully accessed by the craftsman or designer.

The Strapwork is a symbolic font with the ornaments from the 16th century Mannerism era. These type of ornaments are called Strapwork and are combined with the Moreske ornament. Together they create a rich and refine style. As a prototype for this font I took the tables of ornament examples by etcher Balthasar Bos (1554). The font contains high quality vector graphics with a special attention paid to details. This collection consists of many friezes (borders). There are more than ten basic motifs and a great number of combinations. The ribbon elements are easily laid out by typing the combination of letters. The four typefaces help to combine ornaments in various tones and colors. By overlaying plants elements with ribbon elements you can get a multicolor richness and combinations variety. The font comes with a detail documentation and examples in PDF format. The Strapwork ornaments will ideally suit your needs in graphic design, textile industry or various decorations. The Strapwork font can be easily used not only in traditional approach but also in grunge stylistics, which will enrich your compositions.

The above-the-store signage for many newspaper stands, soda shops, candy stores, luncheonettes and pharmacies of the 1950s and early 1960s were what was referred to as “privilege signs” provided by one of the major cola brands. Consisting of the brand’s emblems on the left and right, the remainder of the sign would carry the desired message of the storekeeper (such as “Candy – Soda – Newspapers”) in prismatic, embossed metal letters. Inspired by these vintage signs, Privilege Sign JNL recreates the condensed sans serif lettering style in both regular and oblique versions. The typefaces are solid black, but adding a selected color and a prismatic effect from your favorite graphics program can reproduce the look and feel of those old businesses.

FeggoliteKeyed has letters on rounded rectangles with shadows. The letter shapes are from a decorative, monospaced font called FeggoliteMono. The typeface contains characters that will add color to letters. There are two ways to do this. One uses layers and the other a combination of characters, some with zero-width. A file in the gallery explains the ways that this can be done.

No secret here: this typeface was inspired by the opening credits for the television series "Justified." Alternate upper and lowercase letter to achieve the effect, or—in OpenType-savvy programs—activate the Contextual Alternates (calt) feature. Thin numbers can be found in these positions: ~^{}[]|\<>. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Want to give your design a bit of that vintage look we all love? Great idea, because the right font can change the way people see your brand. Introducing Nostalgiz - a Vintage Modern Font. Whether you’re designing presentations, ads, social media campaigns, or merchandise, Nostalgiz can step up to the task. Try it out and see what a difference a unique font can make. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns

Want to give your design a bit of that vintage look we all love? Great idea, because the right font can change the way people see your brand. Introducing Nostalgiz - a Vintage Modern Font. Whether you’re designing presentations, ads, social media campaigns, or merchandise, Nostalgiz can step up to the task. Try it out and see what a difference a unique font can make. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Introducing our stunning Goodfood Font Family, a versatile and delicious sans serif display typeface that is perfect for your most tasteful design projects. With a total of five different weights, this font family offers you ultimate flexibility in creating captivating and impactful designs. Whether you're working on a logo, branding materials, product packaging, or editorial projects, this font family will enhance the overall aesthetic and make your designs stand out. To further enhance creativity, Goodfood Font Family includes alternates and ligatures. These additional characters provide you with ample possibilities to customize and stylize your typography, creating unique and eye-catching designs. By utilizing alternates and ligatures, you can bring a distinctive touch to your headers, titles, headlines, and other important elements of your design. Here's what you can expect from this font family: Five Weights: The font family offers five weights, ranging from Light to Bold. This wide range allows you to experiment with different typographic hierarchies and create visually appealing compositions. Alternates: The inclusion of alternates expands the versatility of this font family. By simply swapping characters, you can create different stylistic variations, giving your designs a fresh and creative look. Ligatures: The font family also includes ligatures, which are special characters that combine two or more letters into a single unique glyph. Ligatures ensure smooth and visually pleasing connections between characters, resulting in a harmonious and cohesive typography. Superior Legibility: While the Goodfood Font Family features elegant and decorative serifs, it doesn't compromise on legibility. The carefully crafted characters and balanced letterforms ensure readability across various sizes and mediums. Extensive Language Support: This font family supports a wide range of languages, allowing you to create designs for global audiences with ease. Whether you're a professional designer looking to elevate your creative projects or an individual seeking a unique font for personal use, the Display Serif Font Family offers an impressive array of options. Add sophistication, versatility, and a touch of uniqueness to your designs with this remarkable font family.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Gorga is a modern sans serif with Grotesque touch. With 6 Fonts with 3 different weight and matching italic version of this fonts. Inspired by a Geometrical fonts and also Humanist Sans serif. This fonts are most try and error when I'm working on it for a better readiblity and legibility. Gorga comes with Opentype features that help some of the important areas. The Opentype features available on this fonts such as : Ligatures, Discretionary Ligatures, Contextual Alternates, Fraction Height Number Sensitive, Small Caps, Numerators, Denominators, Superscripts, Scientific Inferiors All of the Fonts are support for Multilanguage, Carefully Crafted. Even on the small caps there are available diacritics set.