Fruit and Veggie Doodles is a 33-picture clipart font. Use them as dingbats or enlarge the small pictures and use them as clipart. Lots to choose from potatoes, tomatoes, avocado, eggplant, fig, watermelon, radish, peppers, broccoli, asparagus, corn on the cob, green onions, carrots, peas, lettuce, mushrooms, onion, olives, garlic, okra, beans, lemon, pear, pineapple, grapefruit or orange, pumpkin, apple, strawberry, grapes, cherry and banana. This is the companion font to Food Doodles Too. Also works nicely with Coffee & Tea Doodles. And if you need some fancy cakes check out Party Doodles. All in the same line drawing style to mix and match.

The Boston Type Foundry called the pattern for this elegant typeface "Moslem," suggesting the exotic appeal of faraway lands. The face succeeds in fulfilling its promise, with remarkably little extraneous fussiness. The font's name suggests that it's a wise choice for headlines which tout the lure of distant charms. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Main Street is a revival of the old font Soutache, the original version of this decorative alphabet was created in 1873 by Julius Herriet, a type designer active during the period marked by the Western expansion. Main Street with its split serifs and ornate scrollwork reflects the romantic splendor of the old west from fancy garb and Cowboy Saddles to Ice Cream Parlors and painted window signage. Main Street goes one step further by creating a base fill font which can be placed behind the regular Main Street font giving this font more of an inline appearance. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.

Ponderosa font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also created Rosewood, Zebrawood and Pepperwood together. As the name suggests, it is so-called wood type. The origins of this kind of typeface can be found in the early 19th century. Called Italian or Italienne, these typefaces quickly became very popular. They are distinguished by square serifs whose width is larger than the stroke width of the characters. When the letters are set together, the heavy serifs build dark horizontal bands. The distinguishing characteristic of Ponderosa lies in its extremely fine figures between heavy serifs. The designers approached the boundaries of the impossible with this contrast. The typeface is reminiscent of the Wild West with its shootouts and heroes as well as of the 1970s with their platform shoes and wild hair-dos. When used carefully in headlines, Ponderosa font will surely attract attention.

Also known as Schoolbook. 900+ glyphs. After Linn Boyd Benton's and Morris Fuller Benton's 1894 lower contrast version of Scotch Modern, Didone. The part of the large project on revival and further development (by drawing many additional glyphs) of the 20th century’s typewriters’ fonts. And especially the most famous, versatile and beautiful typewriter: IBM Selectric’s golfball fonts, lost for the civilization for many decades after ‘80s, not being created since then in digital vector form. This new sub-project started in July 2018 for the restoration of the most beautiful classical typefaces, used during the 20th century on the extremely rare now IBM Selectric Composer typewriters / desktop publishing systems. Together with Nick Hamze and the Right Reverend Theodore Munk, the collectors of old typewriters. IBM showed the perfect taste by developing these best historical book typefaces of the human civilization for typewriters. So people could type then using both the real book faces, and the famous classical ones.

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.

Please welcome Barela. Barela is a handwritten font and has character such as friendly, casual type family and smooth. It is intended to be used everywhere where a pleasant feeling should be conveyed like advertising, food, fashion or something that include happiness. It will look great on all of your products and make them more fancy and relax. With the uniqueness of the shapes, Barela can attract attention of anyone and be an eye catching font in your design. The bold letters of this font makes it stand out from the crowd. This font also provide with feature such as Uppercase & Lowercase, Number, Punctuation, Multilingual Support (Western and Europe), Support in Mac and Windows OS and easy to install. We hope you like our Barela and thank you for purchasing. Scratch Design

Radio Classic is a retro handwriting font, the soft design makes it friendly to anyone, this font is the perfect choice for each of your designs.

Cinema Moderne is created to pay homage to he fabulous small town theaters from 1930's and 40's America. This unique font plays off of the Art Moderne and art deco style of the day. Art Moderne some times called Streamline Moderne design architecture emphasized curving forms, long horizontal lines, and sometimes nautical elements. Many of these masterpiece buildings have been lost forever. Some have managed to find new life with a new function. Cinema Moderne was created to preserve a small piece of that history forever. This font is to encourage the appreciation of the neighborhood theater culture as well as the grand style of the buildings. Comes in 9 different weights for one low price, or as individual fonts. Perfect for logo creation, or any art deco style project. Previous projects have included event flyers, Gatsby themed party invites and digital marketing content. Give your images a unique effect with this one of a kind font.

Introducing Hirokawa - A Japanese Font Konnichiwa! Hirokawa is a handcrafted, elegant font, containing the beautiful Japanese culture within. Use this font on your work, websites, social media, presentations, printed materials and many more! Inspire your audience, clients, or guests with this stylish Japanese font. 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.

This is a free abridged edition of the full-featured Gutenberg B and Gutenberg C fonts. Although (as the name suggests) it was originally conceived as the first release in the B42-type series, it actually represents the colophon to this series. In addition to having a narrower scope, the font differs from its full-featured predecesors in both letter and word spacing, as well as in glyph design, using exclusively straight lines for every glyph and providing a significantly rough appearance at medium to large point sizes. The font includes the usual standard characters for typesetting modern texts, as well as a few special characters, alternates and ligatures that can be used for typesetting nearly as in Johann Gutenberg’s 42-line Bible and later incunabula. Please note that the use of this free font is subject to the same terms and conditions as those for Alter Littera’s pay fonts. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg A” Font Page.

Introducing Koweti, a premium Arabic style font. Specially designed to bring luxury and prestige to your designs. This unique letterform gives you the flexibility to create the look and feel you need for any occasion. Using this font is the best choice to bring harmony to your designs.

Inspired by the Inland Type Foundry's 1901 design "Hearst," (which was a copy of a design by Frederick Goudy... The story behind this font and its naming can be found in the Hand-Picked Links below), this rustic font makes an excellent companion to P22 Arts and Crafts.

Mancave SRF is the perfect font for the ultimate party Neanderthal. Holding court in his den with a case of beer, wide screen TV and all of his sports buddies, he is safe and secure in his lair. Bold, brash and angular, this typeface was designed for Stella Roberts fonts by Jeff Levine. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Todes is an elegant and modern sans-serif font family. It includes upright and Italic style, each of them has five weights from light to bold. This is a multi-purpose font that is perfect for any project, it is contrasted, modern and easy to read. With it, you can create logos, use in advertising, packaging, book covers and magazines, headings, descriptions and much more. Todes includes stylistic alternates and ligatures, with them you can add dynamics to the font and make your project more individual. This font is easy to use has OpenType features.

"Weekday Mornings" are the 2 first words from the song "Nancy" by Prefab Sprout. Just like the song, the font has a romantic theme and could be considered as "easy listening". Well, I've added 7 slightly different versions of each letter, enough to make the font look like the real handwriting which was the base of the font. Fun fact: I had this song on repeat when finishing the font. I still do love that song! :)

Jemrok is a stunning display font that embodies a classic modernist style. With its beefy and elegant design, this font is perfect for creating stylish and sophisticated designs. The letters are happily made with cute and adorable shapes giving it a different, unique, and professional look. Jemrok has a unique combination of classic and modern elements that makes it stand out from other display fonts. The characters are designed to be bold and impactful, making them perfect for headlines, titles, and branding. This font also comes with different characters and alternatives, allowing for even more creative possibilities. Whether you design logos create posters or design websites, Jemrok is the perfect choice for any project that requires a classic modernist style. With its timeless design and versatility, this font is sure to make your designs stand out and leave a lasting impression.

Comic World is a cool, vintage styled display font. It is the perfect font for titles or words needing a more dramatic emphasis. Whatever the topic, this font will be a wonderful asset to your font library, as it has the potential to enhance any creation.

Grandix is ​​a very elegant handwritten font. created with original handwriting in mind for a flexible and beautiful font. The font is equipped with an open type feature for easy creation. These fonts are also created in several families to give the user the choice they want.

Sunwind is not really made to write long copy. It is a font for shopsigns and short sentences that need that hot, sunny and windy touch. And that is how I got around to designing it: I saw some letters on a shopsign in Cannes when driving into town. I shouted at my son Julius: "Quick take a picture of that sign, the blue one." That's what he did, only he used the macro setting, so I had a very small sign but lots of nice background. Anyway I got the basic idea! Then I made a lot of sketches and this is what came out. I added a smallcaps set and I also made some initials as a rough version, so they look like written with a brush on heavygrain paper. Swinging that brush is yours truly Gert Wiescher

»Prima Script« was designed especially for use in Menus and Cook-books. One of my sons is a chef in Munich and he was always bugging me to make a new font for his menus. I already designed one for him »Konstantin« but he likes to have new stuff every couple of years what I understood. So here is the new »Prima Script« (that’s what he said when he first saw the font). To give it more usability I made alternate initials and end letters as well as medieval cyphers. Then I did a couple of swashes and a handdrawn Sans font to complete the set. Have fun!

SK Greenland is a humanist sans serif font family with geometric and organic forms. Synthesizing Greenland's thousands of years of organic history and modern period, this font combines the organic nature of Greenland with the geometric structure of its urban areas. This font family, which contains 14 fonts and 9856 glyphs in total, contains all the typographic elements you will need in your designs. You can use this font family, which includes many unique ligatures, without any problems, from headlines to long text. Greenland offers full support for the Latin alphabet while also supporting many other alphabets.

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

The font family offer various combinations that work together to can be used to create interesting varieties of color and texture. Whether you are looking to achieve a traditional, vintage, worn, or modern look or a cool mix - all can be achieved with this font family. Outline 99 Font family contains 8 fonts: Outline 99 Outline 99 Italic Outline 99 Inner Outline 99 Inner Italic Outline 99 Blockprint Outline 99 Blockprint Italic Outline 99 Inner Blockprint Outline 99 Inner Blockprint Italic The fonts are ideal for sports themed designs. They can be used to take a design to the next level and add a bit more sophistication and complexity to make your text really stand out from the crowd.

Untrouble – Elegant Futuristic Font is a powerful font that is here to answer design problems. with the presence of this font will maximize the project to the point of perfection. Untrouble is perfect for design, esports, logos, social media, branding, advertising, product design, handwritten quotes, product packaging, headers, posters, merchandise, and other designs. What’s Included : + Standard glyphs + UPERCASE + Web Font + Multilingual Accent + Works on PC & Mac, Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support + Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Thanks

It’s Monday, the weekend’s just ended and there’s a looong way to friday. But let’s get things shaking, even though Monday is considered the worst day of the week (by many, but not all, people!) I like Mondays, that’s why I made this font - in order for you to have a great day using this comic thin lined party font! Fun fact: This font was finished on a Tuesday! :)

Amfibia™ is a soft, flat-sided geometric grotesk family with a lot of character, equipped with tons of ligatures and swashes. Its main function is display use of all kinds, however it is prepared to serve as paragraph text typeface thanks to its 5 widths, giving total amount of 100 fonts. It is crafted for a broad variety design situations - from posters, magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted obliques - over 900 glyphs, full of swashes, initial forms, terminals and ligatures - pronounced ink traps and large x-height improving legibility in small sizes as well as adding strong personality to display sizes - flat-sided letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (swashes, initials, terminals, standard and discretionary ligatures, stylistic sets, contextual alternates, case sensitive forms, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

AndrewAndyCollege is an outlined font derived from the Ingrimayne font AndrewAndreas, a san-serif face. In 2018 the inside and the middle ring were separated out and made independent fonts. They can be used alone, or layered with the original to produce letters with two or three colors.

Almondy Amor Script, A new carefully crafted fun script Typeface. The Ideas of this fonts are from wide range of reference, Dessert & Beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Almondy Amor Typefaces. Thjis typeface on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, Magazine, Packaging, Food Menus, restaurant and etc.

The first version of Kremlin was designed at ParaType (ParaGraph) in 1995 by Tagir Safayev. Based on an informal handwriting. Kremlin is a Russian word for a fortress or a citadel. The reason why the author selected this word for the font name is not quite clear even for him. Probably the appearance of the text line set in this font resembled a tight fence. Later the font was expanded in character set and got two style variations with extended proportions. The suffix "Pro" in the name was added to distinguish the new version from the previous one. The derivative work was done by Dmitry Kirsanov and Gennady Fridman in 2010. The font is recommended for advertising and display typography.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

This font represents the type style created by this very famous classic typewriter.

NEW UPDATES MORE THAN 80 CHARACTER SWASH & CONTEXTUAL ALTERNATES Hi ... Introducing the latest styles Malisia Script with the kind of modern hand scratches, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Malisia Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. This Font has given PUA unicode (specially coded fonts). if you have a problem? Contact me: genesislabstudio@gmail.com

Are you tired of weak, puny fonts that lack the power and energy to really make a statement? Look no further than Misadventures, the font that’s all brawn and no nonsense. Whether you’re designing a fashion headline or any other type of message that needs to be heard loud and clear, Misadventures is the font for you. It’s action-packed, high-octane, and ready to inject some serious adrenaline into your designs. Don’t settle for weak, feeble fonts that leave your message feeling lackluster and uninspired. With Misadventures, you’ll have the power and energy you need to create designs that are truly unforgettable. Get your hands on Misadventures today and see just how energetic your designs can be! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.